Modern Screen (Jul-Dec 1945)

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And got a reply. "Send him out. We'll see if we can help him." So Don scrounged around and got seventyfive bucks, and hitch-hiked across country. It was the standard way for aspiring young actors to arrive, and didn't impress anyone. However, through the Epsteins, he got an agent and, eventually, a screen test at Warner's. They kept him around for two months, then decided they could continue to make pictures without Taylor. He was living at the YMCA, which didn't cost much, but he had to eat. So he took a job as doorman at the Pantages Theater. "Standing room only in the balcony. Best seats now available in the loges." He ate. He didn't know anything about Hollywood. The first day he got there, he walked the streets looking for movie stars. There weren't any. Just extras in dark glasses. Disgustedly he stooged back to the Y, and went up on the roof for a sun bath. He lay down next to a long bronzed hunk of muscle whose brown face also wore dark glasses. Another extra, Don decided. "Are you in pictures?" he inquired politely. Might as well make the guy feel good. The hunk of muscle rose, stretched, and removed the glasses. "Now and then," said Johnny Weissmuller dryly, and strode off. Don kept plugging away at the studios. But he didn't have the right approach. He got in to see an important man at Columbia, who eyed him sourly. "What the hell have you done?" Don stammered. "Well-uh-stock, and plays at college." The important man laughed unpleasantly. "College! Hah! We'll get in touch with you if we need you." Don still stood there uncertainly. "Is that all?" "Sure. What did you expect — Kewpie dolls?" It would have been fun to take a poke at him. But impractical. Don went out, seething. Later he got another agent, Buster Collier, who believed in this string-bean kid with the dark eyes and restless manner. Collier sold him to Metro and Metro signed him for a bit part in "The Human Comedy," which eventually ended up as the face on the cutting room floor. After that he had a few minor parts in Pete Smith shorts, and one in "Swingshift Maisie." Then — the Army, gets stood up . . . That was February, 1943. A year later he was playing Pinky to enthusiastic Broadway audiences, and strolling into Sardi's as if he'd lived there all his life At first the fact that a girl named Phyllis Avery had the principal feminine role in the show didn't mean a thing to him. If you'd mentioned her name he would have looked at you blankly and said, "You mean the small blondish number? What aboul her?" Not that Don was allergic to small blonde girls. But he was busy with the