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THE HILLS ARE DOTTED 213
to see them go to waste. But that time I was lucky. Since we were in the middle of the depression, the house only cost me about $35,000. I moved the paneling and mullioned windows from the small house, which made the big house look much more expensive. And the swimming pool was on the same lot with the big house, so I was way ahead in that respect. Besides, I sold the small house for $27,000 and later sold the big house for $30,000, so I figure I really made money on the deal, counting the use I got out of the swimming pool and the mullioned windows. That's not a bad profit in Hollywood.
The big house was built on the overtime I collected from one of the worst pictures I have ever been in. It was called The Trumpet Blows. I'm not sure what was wrong with the picture; it had famous writers and a good director. But I do know that everybody was miscast. George Raft and I were the stars, and we were supposed to be brothers. He played the part of a Mexican bullfighter and I was a Mexican Robin Hood in tight pants and a big sombrero. Somebody must have heard that I could speak Spanish, so I got the part.
The picture ran for weeks and weeks over the shooting schedule because of the bullfight. That was the big climax of the story. George Raft was supposed to fight the bull and kill it. He became the darling of Mexico City and I had to forgive him for something or other because he turned out to be such a brave bullfighter.
We shot the bullfight sequences in Gilmore Stadium. The studio carpenters rebuilt the place so that it looked like a real bullfight arena, with a circular ring and a barrera, or protecting wall, around the ring. I went over to see it before we started shooting, and after one look I wondered how the producers were going to fill that arena with spectators from the Screen Actors' Guild without breaking Columbia Pictures.
But they had a way. The next day I discovered that they had filled the grandstand with dummies and that in between were