PEGGY GOES HOLLYWOOD

Attractive Peggy Lane encounters the first serious

obstacle to her acting career when, her play closed, she
cannot get a job in New York. Discouraged, Peggy jumps at
the chance to go to Hollywood, although tart-tongued May
Berriman warns her that Hollywood can break her.
But Peggy, needing a job, and smarting from playwright
Randy Brewsters preoccupation with his new play, boards
the planeand lands in another world. Press cameras flash,
and Peggy is built up as a young starlet. Fast-talking Max
Gillian, her West Coast agent, has arranged everything
including dates with Doug Taylor, the most sought-after
leading man in films.
The excitement, the glamour, the thrills of Filmland,
U.S.A., are all experienced by Peggy as she struggles to
keep her feet on the ground in this rarefied atmosphere of
make-believe.
However, Peggys native common sense, her capacity to
bounce back, after bitter disappointment, and her sheer
acting ability enable her to emerge triumphanta triumph
with a new twist, something completely different from what
she or anyone else expected.

Peggy Lane Theater Stories

PEGGY FINDS THE THEATER
PEGGY PLAYS OFF-BROADWAY
PEGGY GOES STRAW HAT
PEGGY ON THE ROAD
PEGGY GOES HOLLYWOOD
PEGGYS LONDON DEBUT
PEGGY PLAYS PARIS
PEGGYS ROMAN HOLIDAY

PEGGY LANE THEATER STORIES

Peggy Goes
Hollywood
By VIRGINIA HUGHES
Illustrated by SERGIO LEONE

GROSSET & DUNLAP Publishers

New York

 COPYRIGHT BY GROSSET & DUNLAP, INC. 1964

ALL RIGHTS RESERVED

PRINTED IN THE UNITED STATES OF AMERICA

CONTENTS

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20

AT LIBERTY
GREEN EYES
SOMETHING ALWAYS HAPPENS
BETWEEN THE ACTS
GOOD-BYES AND HELLOS
PALMS AND PLASTER PALACES
THE PLAYHOUSE IS THE THING
THE LIFE OF A STARLET
A NIGHT ON THE TOWN
A DIFFERENT KIND OF BEACH PARTY
TIME TO MAKE A CHOICE
UNDER THE BRIGHT LIGHTS
A SHORT DELAY
A VERY BUSY DAY
TWO TELEPHONE CALLS
ROLL EM!
BETWEEN TAKES
A LIVELY GHOST TOWN
A QUIET RIDE
PREMIRE PLANS

1
14
27
38
49
59
69
79
86
95
109
119
131
139
146
157
167
176
186
198

I
At Liberty

Forty-eight . . . forty-nine . . . fifty, Peggy Lane

counted, vigorously brushing her dark chestnut
curls. She put down the brush and turned with a sigh
to her roommate, Amy Preston.
I think Ill rest my arm awhile, she said, and
then go for another fifty strokes. She sighed again
and shook her head ruefully. At least I have time
now to take care of myself properly and follow all
those little magazine beauty hints that take hours.
Thats one good thing about being out of a job!
Peggy! Amy said in mock disapproval. Youre
not out of a job! In the theater youre at liberty or
between engagements, but never out of work!
Thats true. Peggy smiled. Its kind of
comforting, isnt it? Which do you think sounds
better? I think I like between engagements best. It
sounds as if you have something definite to go to.
At liberty sounds to me like a convict on parole or
a canary that somebodys just set free from his cage.
1

I think Ill be between engagements.

Amy looked doubtful. Maybe youre right, she
said, but if you tell people youre between
engagements and they really believe you have a role
coming up, then you cut down your chances of
actually finding something. And if they dont
believe you, then you sound like a real theatrical
phony. Maybe its best to be at liberty after all.
Its best to be working, Peggy said with an
unhappy little laugh. Neither one of the alternatives
sounds terribly attractive to me. No matter how you
say it, were both just plain out of work!
Well, were no different from most actresses,
Amy said. We just have to get used to the idea that
well spend a good deal of our lives out of work. Its
one of the hazards of the profession. The only thing
we can do is to keep believing in our luck.
Somethings bound to come up. I wish youd start
making rounds.
Pretty soon, Peggy said listlessly. Ill wait a
little
longer.
Maybe
National
Artists
Representatives will come up with something any
day now. National Artists Representatives was
Peggys agent. Mr. Meredith told me not to be in
any hurrythat he is working for me.
Amy studied her friend, a worried frown on her
lace. Peggy, she said, its no fun to walk from
office to office and audition to audition. But were
2

actresses. Its all part of the profession. I really wish

youd go tomorrow. This sitting around isnt good
for you. The sooner you get started . . .
Ill wait a little longer, Peggy said. I just dont
feel up to it right now. I guess Im tired from doing
two plays so close together.
Amy, sensing Peggys mood, was afraid to say
anything more. Okay, she agreed. I really cant
blame you. Im sure your agent will find something
for you eventually. And making rounds isnt the
most fun in the world. Amy, as yet, had no agent.
Youre right, Peggy said, abashed. Ive been
talking like a spoiled child. Was today a very bad
one for you, Amy?
No worse than usual, Amy replied. Just
discouraging. I saw six different casting directors
or their receptionistsand at least nobody was mean
or cruel or insulting today. They all acted polite, and
they all told me not to call themtheyd call me. I
can start to expect them all to call me around the
thirty-fourth of the month!
There seemed to be nothing more to say. Peggy
turned to the mirror again and began to give her hair
the second set of fifty strokes. Amy went into the
hall to check again for telephone messages.
Everything was silent except the electric crackling
of the brush through Peggys crisp chestnut curls.
Peggy made a face at herself in the mirror. The
3

mobile face of the girl in the looking glass frowned

back, her straight nose crinkling, her soft, wide
mouth turning down at the corners, her hazel eyes
reflecting frustration.
Quit feeling sorry for yourself! Peggy chided
the girl in the looking glass. You did have to make
a lot of decisions. And maybe you did make a
mistake. Maybe you should have stayed in the road
company of Innocent Laughter. But you thought you
were the luckiest girl in the world the night you got
called for Winters End.
Peggy turned away from the mirror, remembering
the excitement generated by that telephone call.
Oscar Stalkey, the veteran Broadway producer, had
growled, Tired of the sticks? Be in my office by
three tomorrow.
Mr. Stalkey, what are you Peggy had begun.
Winters End opens in three weeks, Stalkey
had shouted. Youll need all the rehearsal time you
can get, he had added, as if this were an
explanation adequate even for a moron. Do the
show tonight, then get on a plane. He had hung up.
A few minutes later, Peter Grey, the manager for
the road company, had told a dazed Peggy that
Stalkey was sending a replacement for her to
Kentucky and that he wanted Peggy in New York
for Montana Hemplers new play.
Peggy! Amy admonished her roommate, as she
4

returned from the hallway. Her voice called Peggy

back to the present. I can tell by that look on your
face that youre still brooding about Winters End. I
thought you were going to forget it, she pleaded in
her soft Southern drawl. After all, she reminded
Peggy for the umpteenth time, my play closed
before it even got to New York. And I consider
myself lucky to have been cast.
It wasnt a Montana Hempler play, Peggy
protested stubbornly.
The audience just wasnt ready for it, Amy said
patiently. Weve been over this five times. The
plays beautiful. Twenty-five years from now,
audiences will love it. But its just tootoo avantgarde to play very long right now. Honestly,
Peggy, Amy said, it wasnt your fault. Then, as if
reciting by rote, she added, No, Alison Lord
wouldnt have done a better job. No, no other actress
would have done a better job. No, you didnt have
the lead. No, the whole play didnt depend on you.
Peggy laughed. Im sorry, Amy, she said.
Its okay, sugar, said Amy, giving her a little
pat on the shoulder. I dont mind for me. I just hate
to see you so unhappyfor nothing.
Peggy and Amy had been friends since the year
before when, both newcomers to New York, they
had arrived at the Gramercy Arms on the same day.
Peggy, who had left college in her hometown,
5

Rockport, Wisconsin, to study at the New York

Drama Academy, had liked immediately the softspoken Amy, a shy honey blonde from Pine Hollow,
North Carolina. Amy, too, had been a student at the
academy, and together the girls had explored
Manhattan, made other friends, and this year
decided to be roommates.
What are you wearing tonight? asked Peggy,
changing the subject to prove she no longer was
thinking of Winters End.
Your beige silk, said Amy. Or maybe my
cream two-piece. I havent decided. The last
statement was not news to Peggy. Amy never
decided on a dress until the last minute.
What time did Mal say the boys are coming?
Peggy asked.
Six-thirty, said Amy. What time did Randy
say?
I havent talked to Randy in days, Peggy said,
exaggerating. He sends messages by Mal. I think
hes rewriting the entire play or something.
Theyre having cast problems, said Amy.
What are you wearing? Your slip?
I have to bathe, said Peggy.
Youd better hurry. Irenell be home any
minute, Amy warned.
Obediently, Peggy scooped up a robe and towel.
Dark, languid Irene Marshall, the household
6

queen of the Gramercy Arms, the theatrical

rooming house where the girls lived, worked as a
fashion model between acting assignments and was
addicted to two-hour baths, a routine that had to be
taken into consideration when the other girls were
going out in the evening.
Tonight, Peggy and Amy were going to the
opening of an off-Broadway production of The
Merry Wives of Windsor, which featured Connie
Barnes, a friend from the academy, as Mistress
Quickly. Even off-Broadway, opening night is a
glamorous and exciting occasion, and the girls
wanted to be dressed for it.
Running her tub, Peggy grinned to herself as she
heard Irenes footsteps in the hall. As she sank into
the steamy water, she reviewed plans for the
eveningdinner, the play, a party at the apartment
of one of the plays backers. She would be glad to
see Randy and hoped there would be time for some
talk. RandyRandolph Clark Brewsterwas deep
in rehearsal of his new play, One Last Chance, at the
off-Broadway Penthouse Theater. The Penthouse,
which had been located by Peggy and Amy after an
exciting search for an abandoned theater, had been
refurbished and converted into an experimental
theater by Randy and his friend, Mallory Seton, who
usually directed its productions. At the Penthouse,
Peggy had played her first New York role in a play
7

written by Randy, a part she secretly suspected he

had written especially for her.
Lately, however, events seemed to conspire to
keep them apart. In the summer, Peggy had played
stock in the Adirondacks. This fall, shed toured
with Innocent Laughter, then been frantically busy
rehearsing Winters End. Now that she had free
time, Randy was all tied up rehearsing his play.
Peggy smiled. It would be good to see Randy.
There was nothing official between them, but Peggy
did like him . . . at least, better than any other
boyfriend.
Hopping out of the tub, she toweled vigorously,
slipped into her robe, and scurried back to her room.
Another good thing about being out of work,
said Peggy, tucking discarded clothing into the
laundry hamper, is that you can dress in no time.
My hairs done. I dont need a manicure. My skins
had so many different creams that
Youd better hurry anyway, Amy urged.
Ill be ready before you, Peggy said knowingly.
She dressed hastily, and, good as her word, was
waiting by the time that Amy, vacillating one last
time, slipped into Peggys beige silk.
A few minutes later, the girls ran downstairs and
into the living room of the Gramercy Arms to
present themselves for inspection. May Berriman,
the retired actress who owned the theatrical rooming
8

house, looked up from her lace-making as Amy and

Peggy came in. A large woman with still bright red
hair, May presented a crisp, no-nonsense personality
to the world, but her girls soon learned that this
former great lady of the stage understood very
wellsometimes too wellthe problems of
aspiring young actresses.
Well, May said admiringly, you hardly look
like the same two girls who were in here glooming
about an hour ago! Nobody would ever think you
two are part of the great, grim army of the
unemployed.
Greta Larsen, Dot McTavish, and Gaby Odette,
three of the girls housemates, looked up from their
game of Scrabble.
Trs chic, said Gaby. Magnifique! Between
ze two of you, you ave one beautiful wardrobe.
Dot laughed. Between the three of us, you mean.
Amys wearing my necklace.
Make it four, said Greta. Peggys gloves are
mine.
However do you keep track? May asked in
wonder. I often think if I had a spare room, Id turn
it into one big community closet and staff it with a
wardrobe mistress. Then you wouldnt have to
worry about who owns whatyoud just go in and
get what you need.
We do anyway, May, said Peggy. And we
9

dont have the expense of hiring anyone to help us.

Its one of the fringe benefits of living here. I
sometimes shudder to think of how many things Id
have to buy if I ever had to move.
The door knocker announced the arrival of Randy
and Mal, who greeted May and the girls, paying
extravagant, teasing compliments to Peggy and
Amy.
Tall, lanky, redheaded Randy stooped to admire
Mays lace. Sure you wont change your mind and
come with us? he asked May, continuing a
longstanding joke between them.
One redhead in the party is enough, said May,
as she always did. Too much temperament causes
explosions.
Come on now, May, Randy protested goodnaturedly, you and I are the only nontemperamental personalities in this entire collection
of theatrical geniuses.
Even geniuses get hungry, urged Mal. Dark,
muscular, with the tough-looking face of a private
detective or a movie gangster, Mallory Seton spoke
in a cultured English accent that always surprised
new acquaintances.
Were off, said Randy, taking Peggys arm.
Soon, they were walking down the street, four
abreast, on their way to the restaurant.
Hows the play coming? Peggy asked Randy.
10

Its beginning to seem as if One Last Chance is

going to be a prophetic title, he replied dispiritedly.
I dont know how were ever going to open in two
weeks.
Whats the matter? asked Peggy. Is it just preopening blues, or is something really wrong?
Something really wrong! Randy echoed. A lot
of things, you mean. Weve had so many problems
and cast replacements He broke off, glancing
significantly at Mal. Mal nodded his head, his face
suggesting an executioner ordering his cohort to get
on with the grim duty.
The part of Irma is open, Randy said slowly.
Jane Audrey, who was doing it, got called for a
Broadway show. She asked for a release today, and
we didnt want to stand in her way, so we gave it to
her.
Oh dear, said Amy. Only two weeks before
opening!
Thats not such a big problem, said Mal,
glancing covertly at Peggy as he spoke. We know
two actressesboth at libertywho can do the part.
It was choosing between them He broke off.
Ill do it, Mal, Randy said resolutely.
Do what? asked Peggy. Then her hand flew to
her mouth as she realized what Randy intended to
say. Oh! You want Amy for the part, she said.
It was a hard choice, said Randy, looking
11

miserable. But we decided the part is more in

Amys style than yours. Actually, he went on, not
looking at Peggy, we had Amy in mind before we
began casting. Then she got that chance for a
Broadway show, so we didnt say anything.
You want the part? Mal asked Amy.
Of course! Amy said enthusiastically. Who
wouldnt? But youre sure Peggy
Oh, no, Peggy said before Amy could finish her
sentence. Im sure Randy and Mal have done a lot
of agonizing over this already, and I dont think we
ought to argue it out again. If they say the part is
more you than me, then thats the way it is. Not that
Im not disappointed . . .
Oh, my! This is such a hard business! Amy
said. I hate competing with my friends.
Peggy mustered up a smile. Its your turn
anyway, Amy. When we did Come Closer, I had a
part and a good oneand you worked as script
girl and scene painter and maid-of-all-work. Theres
no reason or room for jealousy between us.
Youll have to work pretty hard, Amy, Mal
commented. There isnt much time to learn the
part. Do you think you can do it?
Amys a quick study, Peggy said. Much
quicker than I am. But, of course, that was a tactful
white he. Peggy wanted to be generous, but it was
an effort for her not to feel disappointedand left
12

out.
After a few minutes of walking in silence,
however, Peggys spontaneous generosity returned.
She affectionately squeezed Amys arm. Im glad
for you, she said. And Im excited for you too. Its
a part you can really work withthe best thing
youve had so far.
Oh, Peggy, Amy said unhappily.
Dont, said Peggy. The boys are right. Ive
read the play, the same as you, and we both know
the part is more you than me. Now just dont worry
about it. Im sure my agent will come up with
something any day. So lets celebrate for you!
Well go to Astis, Randy said with relief.
As he hailed a taxi, talk reverted to One Last
Chance.

13

II
Green Eyes

The lights dimmed, and the tiny auditorium was

filled with applause. The cast of The Merry Wives of
Windsor gaily flitted back on stage to take their
curtain calls. Connie Barnes, glowing, stepped
forward twice, curtseying, as the audience
applauded her performance as Mistress Quickly. An
occasional Bravo rang through the house. This
continental cheer, long familiar to opera singers, was
heard frequently now in New York theaters as
members of the United Nations delegations had
become part of the regular audiences.
It was a happy, satisfied crowd which filed out of
the house, trooping to the nearby coffee shops and
delicatessens for after-theater snacks. Shakespeare,
because of diction and other technical demands,
always is difficult to stage; so the knowledgeable
theatergoer is especially appreciative of a production
that permits him to enjoy the poet he also reveres.
Peggy, Amy, Randy, and Mal lingered and were
14

almost the last persons to leave the auditorium. They

were in no particular hurry as the party would not
get into full swing for an hour or more. Members of
the cast needed time to remove makeup, to change,
to congratulate each other for the success they had
created. Ordinarily, congratulations are a little
strained until the late editions of the paperswith
the reviewsare out. But nobody doubted that
tonights reviews would be raves.
Do you want to stop for cappuccino? Randy
asked Peggy. It was a tender requestand so like
Randy. Randy had introduced Peggy to the
cinnamon-flavored coffee concoction on their first
date, back when the Penthouse Theater was still a
dream and Peggy had yet to play her first role in
New York.
Oh! said Amy, overhearing Randys question.
I cant eat or drink anything. You fed us too well at
dinner, she told the two boys, taking an arm of each
as they ambled out onto the sidewalk.
Peggy walked a step or two behind; the sidewalk
was too crowded for them to walk four abreast.
Watch your weight, Randy admonished Amy,
repeating a standard joke among the foursome. We
cant have a butterball playing Irma.
I declare, said Amy, smiling up at him, theres
just no pleasing you. Before dinner, youre
complaining that I mustnt starve. Now youre
15

telling me not to gain weight.

Finally, Mal dropped back to walk with Peggy.
That platform stage was a good bit, he
commented, commencing the inevitable technical
critique of the evenings performance. . . .
Peggy could hear Randy and Amy beginning a
discussion of Irmas character.
Two hours later, sitting cozily in a loveseat of Mr.
Portermans tastefully furnished Regency living
room, Randy and Amy were still discussing Irma.
Peggy, listening patiently to a tall Englishmans
complaints about central heating in American
buildings, unobtrusively glanced around, saw that
everyone at the party except herself seemed to be
having a good time. The brightly lighted room was
filled with people laughing, people talking intently,
people moving from group to group. Connie Barnes,
talking to Mr. Porterman and another man, who had
been introduced to Peggy only as George, still
glowed from her evenings success. Mal, threading
his way through the crowded room, signaled to
Peggy, meaning did she want to be rescued? Peggy
nodded her head.
I say, said the Englishman, youre the first
American whos actually agreed with me that all this
heating is unhealthy.
Peggy! exclaimed Pip Piper, an old friend from
drama school. Ive been trying to talk to you all
16

evening. You wont mind if I steal her for a little

while? he asked the Englishman, simultaneously
taking Peggy by the elbow to steer her away. Its
great to see you, said Pip. Ive been so busy with
my new show that I havent seen anyone in ages.
But I did see the opening of Winters End. You were
terrific, he told her.
Thanks, said Peggy. Kind words are
appreciated.
You really were great, said Pip. What are you
doing now? he asked.
There are two possible answers, said Peggy.
Ive been alternating them all evening. Half the
time, Im at liberty. The other half, Im between
engagements.
As she spoke, a little ripple of excitement swept
through the room. It was a quiet sort of thingjust a
ripple. Theater people are accustomed to celebrities.
But there was a little ripple, nonetheless.
Peggy looked around. A small path was clearing,
beginning at the doorway from the entry hall. People
were stepping back a little, making way. In the
center of the doorway stood Alison Lord, every
shiny auburn hair carefully arranged in the new
French style. Peggy had worked with Alison last
summer at Lake Kenabeek.
But Alison Lord, her glamor notwithstanding,
wasnt enough to cause a ripple of excitement in this
17

crowd. Peering over Pips shoulder, Peggy saw

Alison stroll into the living room, laughing merrily.
Slightly behind her, laughing with her, stood Doug
Taylor!

18

Mr. Porterman hurried toward them, and Alison

said something to him, then to Taylor, presumably
introducing Mr. Porterman. There was no need to
introduce Doug Taylor to anyone. It was his

19

presence that had created that modified,

sophisticated little stir of excitement. Taylors
irregularly handsome, pleasant face was known to
every movie-goer in Americamaybe in the entire
world. But Taylor wasnt just another Hollywood
pretty boy who had found favor with the box office
patrons. He was an actor. And this gathering of
actors and actresses acknowledged his peerage; their
tribute was that small ripple which had marked his
entrance.
Alison, enjoying basking in the limelight with
Taylor, moved languidly through the crowd of
guests. She introduced Taylor to little clusters of
friends, working her way toward the dining room
and its serving table.
Who is she? asked Pip.
Alison Lord, replied Peggy. We played stock
together last summer.
Oh! I heard, said Pip. Wasnt she the girl who
got the screen test? She played your role the night
you were marooned or something?
Peggy nodded.
Whats she doing in New York? Pip asked.
I dont know, said Peggy. I havent seen her
since summer.
Whats she like? demanded Pip.
Interested in her career, said Peggy.
There was something else Pip hunched his
20

thin shoulders, looking owlish behind his huge

glasses.
I heard, said Peggy quietly, that she read for
my part in Winters End.
Yeh! That was it! Looks like you two He
broke off.
Darling! Alison exclaimed, greeting Peggy.
Its divine to see you. But have you been ill?
Youre looking positively dreadful. So thin. You
must take care of yourself, she gushed, her hand,
simultaneously, calling attention to her own ample
curves. After all, darling, she continued, not
allowing Peggy to speak, it really wasnt your fault
Winters End closed. You mustnt take it so hard.
What are you doing now, darling?
Noth Peggy began.
Talking to me, Pip said firmly.
Oh! exclaimed Alison, her eyebrows shooting
up. Pardon me! With a little wave of her hand,
keeping Taylor in tow, she was off.
Cleopatra! Pip exploded. What was that!
Alison Lord, Peggy said quietly.
A sea monster! said Pip, shuddering. Sea
monsters are more slimy than land monsters, he
added.
She wasnt like that last summer. Not that bad,
said Peggy.
Deliver us all from Hollywood, intoned Pip.
21

Darling! he mimicked. What green eyes you

have! What sharp claws! She really must have
wanted that part in Winters End!
Will you excuse me? said Peggy. I need a
little air. . .
Standing on the microscopic terrace overlooking
Central Park, Peggy shivered. She knew she should
go inside for a wrap, but she couldnt face that
crowd again just yet. And the terrace seemed to be
the one place in the apartment where she could be
alone for a minute. Most of the guests, probably,
didnt know the terrace existed. Peggy had spotted it
accidentallywhen she and Amy had wandered into
the wrong room to hang their wraps.
From this height, the view was breathtakingan
abstract painting executed in lights. Peggys eyes
traced the pattern of lights outlining the streets and
paths of Central Park. To her right, in regular rows,
similar luminescent dots marked Fifth, Madison,
Park Avenues, the dots becoming a maze farther
toward the East River. She drank in the beauty of the
city, quiet now, spread out at her feet, a skyscraper
city clothed in a mantle of black velvet sequined
with diamonds, a city never so beautiful as now, at
night, from up high.
She sighed. Suddenly, a tiny sob escaped her. It
was followed by another. Quickly, bowing her head,
22

she fumbled in her purse for a tissue. But the tears

came fast, blinding her.
Want this? a male voice said softly. A
handkerchief was thrust into her hand.
Thank you, Peggy mumbled, burying her face
in the handkerchief. Seemingly, she couldnt control
the flood of tears.
Whats wrong? the voice asked, very gently.
Sometimes, saying things out loud makes them
seemless hopeless.
Im justjust being foolish, Peggy sobbed into
the handkerchief. It isnt anything.
The voice said soothingly, Just go ahead and
cry. Youll feel better. You dont have to talk. Just
go ahead and cry.
But, of course, the psychology of telling her to go
ahead and cry, telling her she didnt have to tell why
she was crying, achieved the very effect intended.
Immediately, Peggy stopped crying.
Its just, said Peggy, that I suddenly realized
Im the only one at the party whoswhos out of
work, she finished bravely.
And life seems black, black, black, and youre
feeling like a complete failure, and you really just
want to be alone, the voice finished for her,
underlining the last words.
Something like that, said Peggy, her back still
to the source of the voice.
23

Dont you know everyone in that room has been

in your spot lots and lots of times? It doesnt mean
youre a failure, you understand?
Peggy nodded, not speaking.
He took her by the shoulders, playfully shaking
her a little, then holding her shoulders comfortably
in the palms of his hands. Strangely, Peggy was
reminded of her big brother David, away now on
assignment with International Press. You should be
glad, he said, that youre a bright enough girl to
know that tomorrow youll feel better.
Peggy didnt say anything.
Youre an actress? he asked quietly.
Peggy nodded.
How long has it been since youve worked?
Only a few weeks, said Peggy. My play
closed.
And youre afraid its your fault?
How did you?
Anyone who takes acting seriously always
thinks he should have done better, given a little
more, he explained.
Is that true? Peggy asked.
Its true, he said emphatically. But see, he
continued, at least you had a play. Think of the
hundreds of actresses in New York who havent
been in a play this year. But, no, he corrected
himself, I take that back. Dont think about it. Its
24

too depressing. No decent human being takes

comfort from someone elses misery. Think instead
that youre in this exciting city where youve wanted
to be all your life. That youre working in the
profession that youve wanted all your life. Think
that right now youre experiencing one of the
hazards of that profession. And remember that even
experiencing the hazard is a part of actingand you
wouldnt miss any of iteven the rough partsfor
anything in the world.
How did you know that? demanded Peggy,
whirling around in her surprise. How do you know
so much about me?
He peered at her, trying to see her face in the
darkness. Im a wise, wise, wise old man, he told
her. Then, he said, in a changed tone, No, its only
that people arent so different. Thats how I feel, so I
can guess its how you feel. Anyone whos any good
at anything doesnt caretoo muchbecause life
isnt always roses. Roses every day would get pretty
dull, dont you think?
You are right, said Peggy, turning away again.
And Im ashamed of myself
No, he corrected gently, dont be ashamed of
being human. To feel pain, to weep is human. It isnt
anything to be ashamed about. If you couldnt feel
all the human emotions, you couldnt act.
Youre an actor? Peggy said tentatively, her
25

back still to him.

Yes, he said very softly. He didnt introduce
himself.
Suddenly shy, Peggy said, Im all right now.
And thank you.
He chuckled softly. The lady, he said,
dismisses me. I go. But dont cry any more.
Peggy turned in time to see him opening the door.
As the light streamed through it from the apartment,
she moved back suddenly, startled. In the glare, she
recognized the short-cut brown hair, the muscular
shoulders of Doug Taylor.
He didnt turn around.

26

III
Something Always Happens

A few days later, in the big, sunny basement kitchen

at the Gramercy Arms, Peggy loafed over a second
cup of coffee and idly scanned the casting notices in
Variety, the show business bible.
Running her eyes down the list of openings for
actresses, she noted the descriptions:
Motherly type . . .
Tall, blond, Germanic, athletic . . .
Young, attractive, with some training in
acrobatics . . .
Ingnue, able to play the cornet or French horn .
. .
Nothing that even remotely resembled Peggy!
She felt vaguely like a piece of candy that nobody
wants, lying sadly in the dish and watching its
neighboring goodies disappear. Soon Ill be the last
one left, she thought, and nobody will take me out of
politeness!
She finished her coffee, rinsed out the cup, and
27

put it in the drying rack by the sink. Then, aimlessly,

she went upstairs.
The Gramercy Arms was quite deserted. Amy
was at the Penthouse Theater being coached in her
part. Gaby was spending the day with her father,
who worked for the UN and had just returned to
New York after completing a fact-finding mission in
the Near East. Dot was at a television studio, filming
a commercial, and Irene had a fashion modeling
assignment. Greta was out making the rounds of
producers offices. Peggy had never felt so useless.
It was no use mooning around, she told herself
severely. The day was too fine to be wasted indoors.
Perhaps a visit to one of the museums or art galleries
. . . a trip to the zoo in Central Park . . . then maybe
she could drop in on her agent, just to see how
things were going. She hated to bother him again,
but . . .
Peggy hurriedly dressed and went out. She had to
keep her mind occupied somehow. Maybe the zoo
would work for herit usually had in the past.
But today was different. Even her favorite
animals, the big, lazy, cross-eyed tiger and the silly
yak with one horn bending up over his head and the
other curving down under his jaw, failed to amuse
her. The seals lay idly on their rocks over the pool
and refused to perform. The monkeys seemed
mostly to be sleeping. The birds bored her.
28

Peggy took a Fifth Avenue bus up to the

Metropolitan Museum, not far from the zoo, and
tried to occupy her mind with the pictures, with the
Egyptian relics, with the displays of armor. It was no
use. She could not get her mind off her present
predicament, and her thoughts kept returning to her
agent.
She put off the visit as long as she could. Peggy
had no desire to make herself a nuisance, but at last
she knew that she must go once morejust to
remind him. After all, he did have other actors and
actresses to represent, and perhaps he hadnt been
thinking of her.
She forced herself to stroll slowly down through
the park to the Avenue of the Americas. But when
she was within a few blocks of the big building, her
pace quickened.
National Artists Representatives was one of the
biggest agencies in the business, and occupied two
full floors in a large modern office building. Its
reception room, a vast carpeted space punctuated
with brightly colored chairs, tables, and couches,
seemed to stretch on endlessly. The walls were
covered with photographs of actors and actresses,
among them the biggest names and most famous
stars of the past and present.
An attractive receptionist sat behind an enormous,
polished desk with nothing on its surface but a small
29

appointment pad and two pale blue telephones. She

looked up as Peggy approached, and smiled warmly.
Well, Miss Lane, its good to see you! I know
Mr. Meredith will be happy when I tell him youre
here. She picked up the phone and dialed three
numbers.
Peggy was puzzled. Mr. Meredith, the man
assigned to Peggy, was cordial enough, but usually
difficult to see without an appointment. She had
hopedbut not expectedto be admitted
immediately to see him, and had been prepared for a
long wait, reading magazines in the reception room.
The receptionist put down the phone and looked
up at Peggy again. He says youre to go right in.
She smiled. You know the way, I believe?
Yes. Peggy smiled. She was tempted to
question the receptionist but refrained. Instead, she
walked through a door near the desk, and turned
down a long corridor past large executive offices.
Mr. Merediths office was near the end of the row,
smaller than those Peggy was passing now.
Meredith, a youngish man in his early thirties, had
explained with solemn humor on Peggys first visit
that you could tell exactly how far a man had
advanced in his career by the size and location of his
office, the style and condition of its furnishings, and
the age of the man. If you were good at weighing the
factors, you could come up with his exact income,
30

he had said.
Peggy judged that Mr. Meredith was doing well.
Although his office was smallish, and far down the
line, it was well appointed with handsome modern
furnishings, carpeting, and good drapes. This was a
lot for a young man, she thought, and especially for
one who was still handling newcomers like herself.
Mr. Meredith stood up as Peggy entered, and held
out his hand to greet her.
Youre sure hard to reach, he said. Ive been
ringing your place all day! Did they tell you that I
wanted you to come right over?
No, Peggy said, surprised. I just decided to
drop in . . . and I was half prepared to be sent away
without seeing you. I had no idea you wanted me.
Dodo you have a part for me?
Exactly, Mr. Meredith said, if youre
interested.
If Im interested? Peggy laughed. Why, the
way Im feeling, Id play the third witch in
Macbeth!
Well, its not exactly the third witch in
Macbeth, the agent said. Its also not a Broadway
lead. Its something of a gamblebut weve been
working on this thing for some time now.
What is it? Peggy asked impatiently.
Well, Peggy, let me explain step by step, Mr.
Meredith said with deliberation. To begin with, we
31

think that your next step should be to Hollywood.

You photograph well. Youre a good actress. And
we think the studios could use a versatile type like
you. However, we havent been able to firm
anything up. Weve finally decided that our best bet
is to get you out to the Coast any way we can, and
once youre there, well do our best to see to it that
youll get noticed and that youll have a chance for
casting.
Peggy looked doubtful. It sounds interesting,
she said slowly, but I cant afford to go to
Hollywood just on a chance. I havent got enough
money to last very long, and
We understand that, Mr. Meredith interrupted.
Thats why we didnt just send you out. The point
is, we now have a way for you to make a living there
and at the same time get yourself seen.
Make a living? Peggy said cautiously. Im not
going to take a job as a carhop or anything like that,
if youre planning on having me discovered in
some such place!
Peggy! Mr. Meredith said reprovingly. Of
course its nothing like that! As a matter of fact, its
an acting assignmentthough not in a first-run
professional show. Its with the Players Playhouse
in Hollywood. Its a good place to work, and
youll
I know! Peggy interrupted with excitement.
32

Its a wonderful place! I have a frienda

housemate of mine, Maggie Delahantyand shes
working there right now! I can hardly wait to tell her
about it! What will I be doing? Tell me!
Whoa! Take it easy! Mr. Meredith said.
Players Playhouse is a repertory company, as you
know, working with a more or less permanent
group, and they always have at least two plays in
production for alternate nights and at least two more
in rehearsal at the same time. I havent got any idea
of what youll be doing, because thats up to Henry
Berger, the director of the Playhouse. The point is,
weve been able to get Berger to take you on, sight
unseen, as an all-purpose ingnue and young
character actress. If you have any idea how hard it is
to get into the Playhouse even after a full-scale
audition, youll know how hard weve been working
for you. Youll get a straight salary whether youre
acting in a play, in rehearsal, or between plays. Its
not a lot of money, but its enough to live on, and

And thats more than I have right now, Peggy

interrupted happily. I wont have any trouble. Im
sure that Maggie will have room for me to move in
with her, so I can live on very little.
Very little is just about what youll have, Mr.
Meredith said, especially when youve finished
shopping. How are you fixed for clothes?
33

WellPeggy hesitatedIm not really sure

what Im going to need for California living.
Its not just California living, her agent said.
Its Hollywood living. Now Ive explained to you
that we at National Artists try to function as much
as we can as managers as well as agentsespecially
for our beginners, who we know cant afford
managers. I told you that wed see to it that you get
noticed, and that means going to the right places
with the right people. Youll have to have the right
clothes for that. Heretake a look at this list our
fashion consultant made up for you, then tell me
how much shopping youll have to do.
Peggy cautiously accepted the long list proffered
by Mr. Meredith and studied it with widening eyes.
Oh, my! she said at last. I thought I had a
pretty good wardrobe, but this . . . She paused
helplessly, I have three after-five dresses, and an
evening gown, but this says I need six! And four
bathing suits! And sport clothes! Oh dear! I couldnt
even borrow this kind of a wardrobe from my
housemates!
Mr. Meredith smiled. Miss Engel, our fashion
consultant, figured that youd need a lot. How are
you fixed for money?
Peggy considered. I have some put away, she
said at last, but Im going to need some of it for
plane fare, and Im sure I cant afford all the things
34

you say Ill need.

If you need a small loan, the agency will be glad
to help you with an advance on your salary, Mr.
Meredith said. I told you we try to function as
managers too.
But Peggy started to interrupt.
No buts, her agent said. Consider it an
investment in your future. Its pointless for us to
arrange to have you seen in the right places with the
right people if you dont look as though you belong
there. I know you dont like to borrow money. But
sometimes its necessary.
I dont know, Peggy said doubtfully. All this
about being seen in the right places with the right
people, I dont like
Thats just part of the business. Youll find when
youre out there, that theres very little glamor in
Hollywood, although theres a lot of it in the heads
of the movie fans. The people who pay to see the
movies want to believe in the wonderful life of the
movie stars, and its up to the actors to seem to live
glamorous lives for them. Ill warn you in advance
that youre likely to be pretty bored by some of the
right people, and youre apt to find the right
places kind of dull, too. But you cant skip that part
of the business any more than you were able to skip
the set-painting and stage-sweeping of your
apprentice days!
35

I dont mind work, said Peggy. Its just that I

dont like to borrow moneyespecially for a
nonessential like clothes. I dont feel right
What Im trying to tell you, Meredith said
patiently, is that clothes are an essential, not a
nonessential, for an actress.
Let me think
Now, Peggy, the agent said soothingly, its not
going to be that much money. And you do have a
jobwhich you dont have in New York. This
oncejust this oncetake some advice from your
agent. Trust me a little.
Peggy bowed her head, remembering that she had
made the decision to appear in Winters End without
consulting Meredith. Once she had arrived in New
Yorkand her replacement had taken over in
KentuckyMeredith hadnt been in a position to
protest, if he had wanted to protest. All right, she
said. Ill do whatever you think best.
Good, he said. I was sure youd be a sensible
girl. So I took the liberty of making the
arrangements. Youll leave Monday. I have your
ticket reserved. So you wont have to worry about
that. But youve got a lot of shopping to do. Here
he handed Peggy a second sheet of paperis a list
of stores where we think youll find what you
wantat reasonable prices. Youll see that at each
store, weve written the name of the fashion
36

coordinator there. Check in with her as you shop

they all expect you. Theyll give you special
discounts as a courtesy to us, and they know the sort
of things youll need. Dont buy anything without
their say-so.
Meredith gave her a few other instructions,
including telling her that he wanted to see her again
before she left. But he could see that she wasnt
really hearing him, so he ushered her to the door.
Dazed, too excited to resent the implicit slur on
her taste in clothes, Peggy clutched the two lists as
she waved good-by to Meredith, then wandered
down the long corridor, looking at the top list in her
hand.
Outside, she decided she needed to sit down a
minute before she did anything else. Spotting a
tearoom, she slipped inside, found a table,
absentmindedly ordered a cup of tea, and continued
to study the lists.

37

IV
Between the Acts

Two evening dresses, three bathing suits, and four

fashion coordinators later, Peggy sat on the
downtown bus on her way home to the Gramercy
Arms.
Her head was whirling with the extravagance of
the last few hours. She reminded herself that Mr.
Meredith had pointed out that clothes were an
investment for an actress. She reminded herself that
Meredith had had experience with Hollywoodand
she hadnt. Still, she could not help worrying. As
she nervously added up the amount she had spent,
she was a little frightened. Those evening dresses
were big items. And she was not even halfway
through the list.
With a toss of her chestnut curls, Peggy dismissed
the thought of her vanishing savings account. Its
all part of the business, she told herself, and,
besides, I never expected to have a lot of money if I
wanted to be an actress. As long as I have a job to
38

go to, I guess everythings all right!

Turning her attention from herself, Peggy looked
with renewed interest out the window of the bus,
slowly making its way down through the Lexington
Avenue traffic. Scanning the familiar scene, she
realized how much of a New Yorker she had
become in the short time since leaving Rockport.
She had arrived alone, a little awed by the towering
buildings and the hordes of people, and with no
friends and no knowledge of the city. And nownot
so very long since thenshe had friends, a place to
call home, knew every building shed pass on this
familiar bus ride.
Now she was to leave it, and to start once again in
a new place. But this time, she would not be as
nervous as she had been on her first trip away from
home. Many things had happened; she had been to
other new places, and she knew that she could adapt
to any surroundings. Still, she would miss the city.
After passing the heavy traffic and bustle of
Forty-second Street, the character of Lexington
Avenue changed. Suddenly, instead of stores and
crowds, the bus was passing large apartment
buildings, the soft brown fronts of old, well-kept
houses, their facades interrupted occasionally by a
small grocery store or a little local restaurant or
laundry. It was like a new city. And this was part of
the fun and excitement of New Yorkthat almost
39

every turn brought one to a different kind of town.

She watched the pleasant house fronts, the yellow
light coming from tall windows, the early evening
strollers with their dogs. Peggy was aware of taking
mental snapshots of the city, storing memories until
she could return.
Once again the scene changed, and Lexington
Avenue was a business street. Peggy was nearing
home. At Twenty-third Street, broad and busy, it
would have appeared to a stranger that there was no
residential area anywhere near. But Peggy knew
better. She knew that only a block south, the city
would once more offer a change of setting, even
more swiftly and more dramatically than before. She
got off the bus and walked the remaining short
distance to Gramercy.
Strolling down the nearly empty street, Peggy
saw before her the winter-bare trees of Gramercy
Park, surrounded by its high wrought-iron fence.
Most of the houses that looked out on the park were
old and mellow. The gleam of their brass doorknockers and balustrades matched the lights that
glowed from their tall drawing-room windows. Only
the automobiles parked in the street and the electric
lights that had long ago replaced the gas lamps told
the passer-by what century this was. An atmosphere
of peace and security filled the little square and the
protected park.
40

In spite of her bulky packages, Peggy walked

once around the park before following the side street
to the Gramercy Arms. Steps led to its wide front
door; it, too, had a polished brass nameplate and a
glinting knocker, and high windows that lighted the
street. But to Peggy it had a look entirely its own,
not like any other house in the street or the
neighborhood. It was her home.
She pushed away the sentimental mood and
prepared herself for the excitement to come. She
knew the high good spirits that always accompanied
the announcement of a job. She had celebrated often
for one or another of her housematesand now it
was once again her turn!
Before she let herself in, Peggy took a deep
breath. Then, entering the living room, she
announced to her friends, Its finally happened! Im
going to Hollywood!
Later that night, when the excitement had died
down, Peggy sat with her roommate, Amy, and May
Berriman. They were in the big basement kitchen
having a last cup of hot chocolate and cookies.
Well, Peggy, May said, do you think youre
calm enough now to get some sleep?
Im not exactly calm, Peggy answered with a
grin, but I think Im exhausted enough! This is one
of the most exciting days Ive had in a long, long
time. Ive done so much! And when I think of how
41

much I have left to do, I get even more tired in

advance!
What did Maggie say when you phoned to tell
her you were going to be working with her at the
repertory theater? Amy asked. Will she be able to
put you up with her, or will you have to find a place
of your own?
My luck seems to be holding all the way,
Peggy answered. Maggies roommate just moved
out to join a television film company on location,
and I can move right in.
Im relieved, May said suddenly.
Peggy, surprised, looked at her friend.
I was afraid National Artists would have you
check in at one of those glamor hotels, May said
dryly.
I cant afford that, Peggy protested.
Im happy you know it, May said, just as dryly.
She sipped her chocolate, seemingly absorbed in her
own thoughts.
May, Peggy said tentatively, you dont
approve of this trip, do you?
You have a job, May said quietly. I approve of
that.
But you dont like the glamor part, Peggy
prompted.
Youre an actress, May said, suddenly
vehement. You dont have to take the glamor
42

route.
May, Peggy said in a tiny voice, you dont
really think Im going to go Hollywood, do you?
Ive seen more than one promising actress
glamorized until you couldnt tell her from three
hundred other girls, then given nothing but little
fluff parts. I dont want that to happen to you. You
have too much to offer. The good ones, Peggythe
really good onesthey stay themselves. They create
their own styles. They dont have fashion
coordinators telling them what to wear. They dont
let anyone arrange their personal lives to advance
their careers. They dont have toand they know
it.
May, Peggy protested, genuinely hurt, Im not
going to go Hollywood. I thought youd have more
confidence in me. She was near tears.
Good, May said firmly. I only wanted to hear
you say it.
Amy, her face white, had tried not to look at
either of them as they talked. Maybe I should go to
bed, she mumbled.
You stay here and help me with these dishes,
suggested May. Let Peggy get some sleep. Shes
got more shopping to do tomorrow. Her voice was
tinged with sarcasm.
Good night, Peggy said bravely, still fighting
tears. She got up, blindly made her way to the hall,
43

stumbling for the stairs.

Good night, Amy called softly after her.
It was quiet in the kitchen as May and Amy did
the dishes, saving work for Aniko, the Japanese
housemaid.
You think I was pretty tough on her, dont you?
May said finally.
Oh, May, Amy wailed, given the opportunity,
shes been feeling so blue. And today, with this
break, she was so happy.
And you think I spoiled it for her, May said
sharply.
Well Amy found it difficult to say anything
even vaguely critical to May, whom she admired.
Its better to be a little tough on her now, rather
than stand back, not say anything, and watch her get
hurt, said May. I dont know, she continued,
shaking her head. Peggys in a strange mood, not
like Peggy at all. Ever since Winters End closed. I
guess shes got some growing to do. Everything
reallyhas been too easy for her up to now. Shes
pretty. Shes a good actress. Shes had all the
breaks. Shes got to learn to work with failure, too.
Failures a part of life. Its how you react that
counts. Hollywood wont hurt Peggyif she can
take it in stride. But thats a big if. So I reminded
her tonight that shes an actress. It was a long
speech for May. I didnt enjoy doing it, she added,
44

or I wouldnt be talking so much.

May, said Amy, a little frightened, do you
think Peggy should stay here? Not go at all, I
mean?
No, said May, shes committed to it now. Let
her see it through. And lets hope she grows enough
to manage it, not let it manage her.
I think shell do all right, Amy said loyally.
You know something, May said, smiling for the
first time, so do I.
Her new clothes are pretty, Amy said, relieved.
She cant afford them, May said, grim again.
All these clothes are the first really foolish thing
Ive seen Peggy do.
Well, Amy protested, unhappy again,
sometimes you have to do something foolish
oncejust to learn it is foolish.
Mays warm smile encompassed Amy. Peggys
got one true fan, she remarked.
May, Amy said hesitantly, wanting to confide.
What? replied May.
I dont know if Im such a good friend after all.
What are you talking about? May asked
sharply.
Well, Amy said miserably, somethings
happened between Peggy and me. I dont exactly
understand it. But ever since the night I got the part
in Amy broke off, ashamed.
45

You think Peggys jealous? suggested May.

No, Amy said fiercely. Peggys not petty.
Anything else happen that night? asked May.
No, Amy said thoughtfully. We just went to
the play and then to the party. Nothing else
happened. We didnt even really talk much to
anyone. We were too busy talking about One Last
Chance. Come to think of it, I dont remember
seeing Peggy
Who was talking about One Last Chance?
Randy and I, Amy said innocently. And
sometimes Mal.
Well? said May.
Well, what? asked Amy.
Theres your answer, isnt it? Randy and you.
May! Amy put down the cup she was drying,
shocked. Oh, May, you dont think Peggy thinks

Who knows? May said thoughtfully. It would

explain a lot of things.
Peggy knows I wouldnt
Peggy also knows people sometimes cant help
how they feel about other people.
But, May, I dont like Randynot that way,
protested Amy.
How about Randy? asked May.
Oh, no! exclaimed Amy. Oh, no, May.
Randys crazy about Peggy.
46

Well, said May, closing the cupboard door after

hanging the last cup on its hook, maybe itll clear
the air all around for Peggy to go to the Coast.
Upstairs, Peggy hurried with her bedtime ritual,
skipping a few steps including brushing her hair,
since she wanted to be in bed before Amy came in.
Hanging up her skirt, she glimpsed the new dresses,
draped carefully in plastic, on their hangers to the
side of the closet. They gave her no pleasure.
Maybe Hollywood is a mistake, she said aloud.
And suddenly, the tears came. You big crybaby,
she scolded herself. This is the second time
Abruptly, she remembered Doug Taylor. She
stopped crying. It was the first time shed thought of
Doug Taylor since shed learned she was going to
Hollywood. It was as if shed been saving the
thoughtuntil she needed something to cheer
herself up with.
You dont even know hes going to be in
Hollywood, she reminded herself. He may be
making a picture here in New York. Or not working.
Or on location. And even if he is in Hollywood, that
doesnt mean youll ever run into him again. Hes a
big star. And youyoure a girl looking for her first
big break. So dont be silly. Hes probably not even
there. But Peggy didnt believe it. Doug Taylor was
going to be in Hollywood, and she was going to
47

meet him. Officially. When she was happy, feeling

like herself. And looking her best in one of those
new dresses.

48

V
Good-bys . . . and Hellos

Peggys seat was on the far side of the plane, and

she could not see Amy, Randy, and Mal standing on
the observation deck. But she knew that they were
there. Just as theyand shehad stood there before
when a friend was off to some far part of the country
to play a small role that might, with luck, lead a step
closer to the bright goal of success.
She knew that they would stand there waving,
even though they could not see her, until the plane
trundled off down the runway to begin its rush into
the air. And by the time they had driven back into
the city, Peggy would be hundreds of miles away to
the west.
For the first time since Peggy had started flying,
she did not want to look out the window to see the
almost incredible sight of New York spread out
below her. She had said her good-bys, and did not
want to say them again. She tried to concentrate on a
magazine, but when the engines gave their final roar
49

and she felt the forward thrust of the plane, she

could not resist. The magazine slid to her lap as
Peggy looked out the window to see the ground drop
away.
As the great plane gained altitude, she could see
the towering spires of the city beginning to turn into
toy turrets. The water of Long Island Sound below
flashed green and gray and white in the crisp winter
air. The water reminded Peggy of her first flight
west from Idlewild Airport. Now, as then, the big
plane, its take-off pattern completed, headed inland,
still gaining speed and altitude for the five- and onehalf hour flight to the West Coast.
There was hardly any sense of motion as the giant
plane hurtled through the sky. The countryside
below seemed to drift by with tantalizing slowness.
Watching it, almost mesmerized, Peggy absently
accepted the cup of coffee offered by the stewardess.
It seemed only moments before the stewardess
returned, this time with Peggys luncheon tray. For
the next half hour, Peggy devoted her attention
exclusively to the hot white turkey, brown gravy,
dressing, mashed potatoes, peas, and cranberry
sauce, followed by pumpkin pie and more steaming
coffee.
Leaning back with a contented sigh, Peggy once
more gazed out the window. The weather seemed to
change as the plane encountered wisps of cloud,
50

then fat clouds, then a whole mountain of clouds.

Suddenly, the plane began climbing, blue sky
appeared, and the sun, bright as a summer day,
illuminated the clouds below. Glancing downward,
Peggy saw a rolling expanse of fluffy white that
looked quite solid enough to walk on. It reminded
her of lambs wool and feather down and soft white
sheets. . . . Slowly, her head began to nod, her eyes
closed, and almost immediately, Peggy was fast
asleep.
She awoke abruptly, sleepily rescuing the
magazine which had slipped from her lap to the
floor of the plane. She sat a minute, dazed with
sleep, then glanced at her watch and was surprised
to discover that she was more than halfway to the
Coast. Should she set her watch back now, or wait
until she actually was in California? Lazily, she
turned the tiny stem. Then her mind raced ahead, in
advance of the speeding plane, to the wonders of
California, the mysterious process of movie-making,
the excitement that certainly was waiting for her
only a few hours away.
Outside, the clouds were gone. Far below, the
level fields too were gone. Clear in the sunlight,
thousands of feet under her, the rugged peaks of the
Rockies lay tumbled and white, their precipitous
slopes hidden under a blanket of snow. At that very
51

moment, as if in response to her unspoken question,

the loudspeaker crackled, and the captains voice
announced that they were crossing the Continental
Divide.
Peggy looked down at the landscape, then smiled,
realizing she was looking for the broken line
familiar from her geography booksas if it were
going to be neatly printed across the mountains.
More mountains, more snow, occasional patches
of puffy cloud, then at last, the tawny expanse of the
Mojave, the great American desert, its colors
varying from a yellow that was almost white to deep
orange ,and a strange near-purple.
Peggy daydreamed a little, anticipating seeing
Californiaand Maggieand Doug Taylor. Then,
at last, Los Angeles came into view, not like the
giant city it was, but like an endless sprawling
suburb of broad avenues, small houses, trees, coiling
superhighways, and hillsides white with closepacked roofs. The plane slowly circled and settled to
the field, and as soon as the lighted sign at the front
of the cabin told her it was all right to remove the
safety belt and leave the plane, Peggy was in the
aisle and on her way. Thanking the smiling hostess
at the plane door, Peggy stepped into the jetway and
deplaned directly into the passenger terminal.
Miss Lane? A strange voice hailed her.
Yes? Peggy said to the small, dark, plump man
52

53

who had called her. Yes?

Just hold it right there a minute! he instructed.
Right there. Can you wave to me?
Peggy doubtfully waved, and a brief flash from a
news camera momentarily blinded her.
One more, please! the photographer called.
And smile this time, please!
Peggy smiled and waved again, while the
photographer took not one, but two more. Peggy
was nervously aware that this procedure was
delaying the passengers behind her, and as soon as
she felt that the little man was satisfied, she fairly
ran from the jetway entrance. The photographer,
ignoring her, picked up an attach case and walked
away.
What was that all about? she asked, bewildered.
Im Max Gillian, the little round man said. Im
your agent here, and I wanted to get you started with
the right kind of welcome. If we have any luck,
youll see one of those in the papers tomorrow. Nice
to know you, he added as an afterthought.
Im glad to meet you, too, Mr. Gillian, Peggy
said. But why would a newspaper want to print a
picture of me arriving in Hollywood? Im not
news!
Nobodys news until they get into the papers,
Gillian answered. At least not out here. And the
reason the papers would want to print your picture is
54

that nothing else ever happens here. Only pretty girls

coming and going. If they get a good picture of a
new pretty girl, theyve got a news item. Unless
some big star happens to be coming or going today.
If its a big star, then its big news, and you dont
get your picture in the paper after all. Understand?
No. Peggy laughed. But Ill take your word
for it.
Youll have to take my word for a lot of things,
if were going to make you a success, Gillian said.
Just accept the fact that youre in a strange, new
land, and Im your guide. My job is to deal with the
natives and make the arrangements; your job is to
get into pictures. You let me do my job, Ill make
sure you get a chance to do yours. Got any
questions?
No. Well . . . yes. Lots of them, Peggy said
confusedly. But they can wait. Right now, I only
have one. Im looking for my friend, Maggie
Delahanty. She was supposed to meet me.
Shes probably around somewhere, Max
Gillian said, picking up Peggys travel case.
As Gillian moved away, Peggy caught sight of
Maggie, waving wildly from across the room, her
brown bangs wind-blown, her blue eyes sparkling
brightly. Peggy hurried to meet her, leaving Max
Gillian to follow with the bag.
After their first hugs and excited greetings were
55

over, Peggy introduced Max Gillian to Maggie. He

acknowledged the meeting soberly, then announced,
You two wait here while I take care of your
luggage. Then Ill drive you to the hotel.
Hotel? Peggy said, but Gillian was already
gone.
Hotel? Maggie asked, puzzled. But I thought
you were going to stay with me!
I am, Peggy said. Mr. Gillian just must have
assumed Id be staying at a hotel. Well tell him
when he comes back.
But when the little round man returned, he proved
not so easy to tell.
I know, I know, he said. Meredith told me that
you had made arrangements to stay with a friend,
but I think youll be a lot better off at the Hollywood
Hills, where youll be seen and where you can meet
some of the right people. This business of sharing a
little apartment with some other girl isnt going to
get you anywhere.
And staying in a hotel isnt going to get me
anywhere but broke, Peggy said firmly. Im sorry,
Mr. Gillian. I dont want to make your job hard for
you, but youre just going to have to accept the fact
that Im not a glamor girl. Im an actress. And not a
rich one.
A few minutes of argument convinced Gillian
that Peggy was not to be swayed, and, reluctantly,
56

he agreed to drive her to Maggies apartment. But,

he said, Ive got to comment on one thing. You
said that youre an actress, not a glamor girl. Thats
where youre wrong. Out here, the two are the same
thing, and you cant be an actress at all unless you
give off some glamor. Its all right with me if you
want to live in that apartment. But youre not going
to hang around there. I want you to get out where
the people are, Peggy, and make sure they see you
and know who you are. Youre just going to have to
trust me and believe that I know this town and that I
know my business!
Of course, Mr. Gillian, Peggy said. She broke
off as they walked outside. Here, on the ground, in
the middle of winter, the sun was shining! And
shining so brightly that it almost made Peggys eyes
hurt!
Im sorry, she said, resuming the conversation
as Gillian helped her into his long white convertible.
Im not going to be difficult. Honestly, Im not.
Only about the hotel. Because, really, I just cant
afford it. You understand, dont you?
For the first time since their meeting, Max Gillian
smiled, and when he did, it was a surprisingly warm
and childlike smile. Sure, Peggy, I understand. And
I dont mean to be hard on you. Its just the way I
talknot the way I feel. Ill understand you, and
you understand me. Okay?
57

Then, as he swung the big car into the airport

traffic and towards the city, Gillian abruptly
changed both his manner and the subject.
Now! he said, with an expansive wave of his
hand, let me point out some of the sights of the fair
and fairyland landscape of our great city! Welcome
to Hollywood, Miss Peggy Lane, starlet!

58

VI
Palms and Plaster Palaces

It was all very strange and very new.

In fact, the newness of everything was what
impressed Peggy most as Max Gillians convertible
whirled her and Maggie through the fast-moving
traffic of Los Angeles. All of the buildings seemed
to be made of white papier-mch and clear plastic,
although Gillian assured Peggy they really were
stucco and glass. Lining every street in great tall
rows were graceful palm trees that looked as
artificial as the ones that stood in pots in the lobbies
of big hotels. Peggy half expected to see neatly
uniformed workers moving them a little to one side
or the other to line them up properly. Every so often,
in among the white box-buildings, were a few
structures of quite different design. Immense
Spanish houses, English stone castles, pink Italian
palazzos, gingerbread cottages . . . It was all very
confusing and confused, and nothing looked as if it
went with anything else. The only thing they all had
59

in common, including the most medieval structures,

was their obvious newness.
It all looks like a big movie set, Peggy
commented.
It is, Max Gillian agreed cheerfully. The only
reason this city is here is the movie business.
But certainly all the people in all these houses
arent working in the movies! Peggy said in
astonishment.
Certainly not, Gillian agreed. But if it hadnt
been for the movies, they never would have come
here to do whatever theyre doing. If it hadnt been
for the movies, I dont think there would have been
a city here at all.
That must be why everything looks so new,
Peggy said thoughtfully. It must have all been built
since the motion picture business startedand that
cant be more than forty years ago.
Thats about when it all started, Gillian said.
Of course, I wasnt here then, being just a little
baby at the time, but Ive been told by people who
were here at the beginning that Los Angeles was just
a small town when they came. Thats one reason the
movies moved their studios here from Long
Islandthere was so much space for shooting films.
And, of course, the other reason was the weather.
You mean they moved a whole industry because
they liked the climate? Maggie said.
60

Well, yes. But not the way you mean, Max

Gillian answered. It wasnt just because its nicer to
work in a sunny place. You see, most movies were
made outdoors in the early days because sunlight
was a lot better than the best studio lights they had.
And also because if you made a picture in a woods,
or in front of a house, or by the seashore, you had
the scenery for a background, and you didnt need to
spend all the money to build sets. Out here, they
found that they could count on more than twice as
many sunny days as they could in New York, and
that meant they could make twice as many pictures.
Or make one picture in half the time. And since time
is money when you have to pay a lot of people to
stay around till a picture is finished, that meant that
they could make movies a lot cheaper in California.
I guess that must still be true, Maggie said,
and thats why they stay here.
No, not any more, Gillian said. They only stay
here now because the studios are here, and
everybody in the business is used to it here. Its too
late to move, and besides, theres no place much
better to move to. But the reasons for coming here in
the first place dont apply any more. For one thing,
sunlight doesnt count any more. Most of the
pictures are shot indoors. And theres not much
space left, either, except for pictures youd want to
make in the desert, like Westerns. As for location
61

shooting other than Westerns, it takes place all over

the world. One of my actors is in Africa now.
Another one is in Spain. Two of my girls are in
Alaska, making a picture about the frontier living
there today. Another one is in Chicago, and one is in
New York. And I have to see an actor of mine off on
the plane to Vienna tonight.
Wow! commented Peggy, impressed. There
must be no end to places to make movies!
All the worlds a sound stage, Gillian said,
paraphrasing Shakespeare, and all the men and
women merely players. Or agents. Or directors or
producers or cameramen or set designers or writers
or cutters or grips.
Cutters? Grips? Maggie and Peggy asked in
chorus.
A cutter? Well, he can be something like a film
editor, he explained. And a grip is like a propman
or a stagehand.
I guess Ill have to learn a whole new language,
Peggy said, just the same as if I were in a foreign
land.
He turned the long white convertible from the
wide main street on which they had been traveling,
and drove down a quiet side street with small houses
and more of the inescapable palm trees. A few
blocks farther on, he turned again, and pulled up in
front of a long, featureless, white two-story building.
62

This the place? he asked Maggie.

Right, she said.
Looks like a factory, Gillian commented. Are
you sure youd rather not pick up your reservation at
the Hollywood Hills? You can any time, Peggy. And
Maggie could move in with you. It would cut the
cost in two, you know.
No, thanks, Peggy said. Wed need about four
other girls with us to cut the cost to what this will
be. And Im sure that its a fine place to live.
She eyed the building doubtfully, though. It did
look like a factory. Still, if it was good enough for
Maggie . . .
Thanking Gillian and refusing his offer to help
with Peggys luggage, the girls started to leave.
Just take it easy this afternoon and this evening,
Max Gillian told Peggy in parting. You have a busy
day tomorrow. Ill pick you two up in the morning
atwhat times your rehearsal start?
Ten, Maggie said.
At nine-thirty then. Ill drive you down, because
I want to be there when Peggy meets Henry Berger.
Well discuss further plans in the morning.
Thanks again, Mr. Gillian, Peggy said as she
stepped out of the car.
So long, Gillian said. And its nice to have
you here! he called out as the car swung away from
the curb.
63

Come on, Peggy, Maggie said impatiently. I

want to show you the factory!
I didnt say Peggy began.
I know you didnt. Mr. Gillian did. But Ill bet
that you secretly agreed with him. It does look like a
factorybut wait till you see the inside!
Peggy followed her friend up the short walk
alongside the building to a low, broad archway cut
into the white stucco. Maggie pushed open one of a
pair of heavy, carved oak doors and stood aside for
Peggy to see.
She could scarcely believe her eyes! The
building, apparently an enormous block, was in
reality a hollow square that surrounded an open
court filled with palms and floored with a bright
green lawn. In its center sparkled the bright blue
waters of a good-sized swimming pool.
Nice factory, huh? Maggie grinned. The
pools heated too. Come on in and take a look
around!
Once inside the court, Peggy thought she had
never seen a nicer place to live. A covered balcony
ran completely around the buildings at the secondfloor level, making a shaded porch for each
apartment. Access to the second floor was provided
by several outside stairways of rough-hewn redwood
that made a pleasing contrast with the white stucco.
Here and there, flowering vines climbed the stair
64

rails and ran along the porches, mounting in places

to the eaves of the orange tile roof.
Its beautiful! Peggy gasped.
It is, Maggie agreed, but its not unusual out
here. In fact, it would be considered quite beneath
them by most of the movie people. But I love it, and
its inexpensive and well run. There are about forty
little apartments for girls only. And most of the girls
are pretty nice. A few of the kids from the Playhouse
live here, which is how I found it. When one of them
needed a roommate, I moved in. And, as luck would
have it, she had to move out to take a job on location
just about the time that you told me youd be
coming. So we have a whole apartment to
ourselves.
As she was talking, Maggie was leading the way
across the court. Come on, well drop your things
and Ill show you your new surroundings.
On the far side of the patio, Maggie paused. We
live up there, she said. Its the choice spot, too.
We get the morning sun to wake us up. And our
back windows look out on a beautiful private garden
next door!
Peggy followed Maggie up the stairs and through
a shutter door, which Maggie kicked open casually.
I never lock up, she explained. It would take
two people to rob meone to bring me something
and another to take it away!
65

Peggy entered the apartment and looked around

delightedly. The main room, which they had
entered, did triple duty as a living room, dining
room, and kitchen, but the three areas were
separated by airy screens of rattan and bamboo
grillwork, making a pleasing effect. The furniture,
too, was mostly of rattan or bamboo, with bright
blue cushions and a few yellow pillows as accents.
And heres the bedroom, Maggie said, opening
a door and indicating a tiny room barely big enough
for the two beds and two chests that took up every
inch of space. Its just about big enough so theres
enough usable air for both of us to breathe, but itll
do!
I think its wonderful! Peggy exclaimed.
Her survey of the small apartment completed,
Peggy gratefully curled up in one of the chairs.
Maggie, with one of her swift, uncannily smooth
dancers movements, dropped to a cross-legged
position on the floor. As she looked up at Peggy, her
expression changed from the light, bantering one she
had been wearing.
Now lets talk, she said soberly. You havent
explained Mr. Gillian to me. Whats this about being
seen with the right people? I thought you were
here to work with the Playhouse.
Well, in a way I am, Peggy said, but in
another way, Im not. Mr. Meredith, my agent in
66

New York, decided that I ought to be in movies, and

he wanted me to come out here for a screen test. So
he arranged for me to be with the Playhouse while
Mr. Gillian set things up with some of the studios. I
guess the Playhouse is just awell, a convenience.
Something to pay my way until I can get a job in the
movies.
So thats it, Maggie said. Well, let me give
you some advice, Peggy. Dont ever tell Henry
Berger thats why youre hereand make sure he
doesnt hear it from anyone else either. Hes a
wonderful director, and the Playhouse is the most
important thing in the world to him. He takes it very
seriouslyand so do the rest of us. He hasnt got
much use for starlets or movie-struck kids. And if he
thinks that the Playhouse isnt the most important
thing to you, too, you wont last very long with
him.
But Maggie, I think Mr. Meredith explained it
all to him when he agreed to take me on, Peggy
said. At least, I hope so. Id hate to think I was
taking a job under false pretenses. Anyway, the
Playhouse will be the most important thing to me!
Im working for Mr. Berger, not for a movie studio.
At present, that is.
Maggie looked dubious. If you keep that
outlook, I think youll be all right. I dont think
Henry Berger could mind anyone keeping half an
67

eye on a movie career, as long as it doesnt interfere

with what hes trying to do at the Playhouse. But if
it gets in the waywatch out!
I just wont let it get in the way, Peggy said
with determination.
Oh, I trust you, Maggie said. But Im not so
sure that Max Gillian is going to see things that
way.
He seems reasonable, Peggy said. He
understood about my not wanting to live in a fancy
hotel, didnt he?
Yes, Maggie said. And Ill chalk one up for
you. But I have an idea that Mr. Gillian keeps score,
too, and for each point you win, I suspect hell want
a point or two for his side.
I dont know what you mean by sides, Maggie,
Peggy said half in anger. Mr. Gillian is my agent!
That means hes working for me. Were both after
the same thing, and I made up my mind before I
came that Id cooperate and take advice. This is a
new world for mebut one he knows. Youve got
to be a realist, Maggie.
I am, Maggie said gloomily. And thats why
Im afraid Mr. Gillian is going to cause trouble
before too long. I only hope Im wrong.
Im sure you are, Peggy said. But she wasnt
sure at all.
68

VII
The Playhouse Is the Thing

The morning sun that filled the cheerful little

apartment seemed to take all the shadows out of
Peggys and Maggies minds. The bacon and eggs
were good, and as they ate at the tiny table that
overlooked the flamboyant garden next door all
traces of the previous nights worries had
disappeared. In fact, all that Peggy could think of
was her good luck, and the excitement of meeting
the famous Henry Berger and starting at the
Playhouse in an hour.
What do you suppose Ill be doing, Maggie?
Peggy asked. She knew that Maggie was playing
Luciana in A Comedy of Errors and rehearsing a role
in Too Little, Too Late, a sophisticated mystery
which had been a Broadway hit two seasons back.
Were casting a new play thats due to go into
rehearsal this week, Maggie mumbled, hastily
swallowing a mouthful of bacon and eggs. She
paused to take a sip of coffee, and went on. I guess
69

youll be in that, because were getting pretty short

of actors right now. An evening of three short plays
by Montana Hempler is alternating with A Comedy
of Errors right now. But there arent any
replacements needed in those as far as Ive heard, so
you must be in for the new one. I dont know what it
is, but its an original play by a young English
writer, and I hear its very good.
It must be, or Mr. Berger wouldnt have picked
it, Peggy said. I know something about the
reputation of the group.
Hed be glad to hear you say that, Maggie said.
Before this brief near-reference to the previous
nights conversation had a chance to stimulate
another talk, Maggie suddenly interrupted herself.
Look at the time! Mr. Gillian will be here any
minute, and we have to be out front. He cant come
in, you know. Its one of the rules. No men except
between noon and ten. That way we dont have to
worry about being decent as people stroll along the
balcony outside the apartments. Come on! We only
have five minutes to do the dishes and get going!
They settled for scraping the dishes and soaking
them in soapy water, deciding that they would do
themselves that way and only need rinsing and
drying later on. Taking last quick looks at
themselves in the mirrorbarely time enough for
fresh lipstickthey hurried out to the balcony and
70

down the stairs.

Do I look all right? Peggy asked as they half
trotted across the courtyard.
Fine, Maggie assured her, except for that New
York pallor. But a few days in the California sun
will take care of that. All your freckles will come
out, and youll look like a native of the state!
I dont freckle, Peggy said. I peel.
Everything in good time. Maggie laughed.
First you peel, and then you freckle. Its the custom
here!
They passed through the gate and turned down
the side path just in time to see Max Gillians long
white convertible pull up to the curb. He waved
cheerfully.
Right on time! he called.
But were almost ten minutes late, Peggy
answered, opening the car door, and so are you.
Thats what I meant by right on time, Gillian
said. I guessed that you two would be the tenminutes-late type, so I arranged my arrival
accordingly. You didnt look like the half-hour-late
variety to me.
How about the just-on-time girls? Maggie
asked. Do you ever guess wrong and keep them
waiting for you?
There are no just-on-time girls, Gillian said
seriously. Ten minutes late is just on time in my
71

opinion.
Peggy settled back comfortably in the big car and
watched the palm trees go by. Everything had a
fresh, crisp, well-washed look in the morning
sunlight, and the breeze that ruffled her chestnut
curls felt like spring, not winter. After a few minutes
of riding, Gillian broke the silence.
Well, Peggy, I hope you got a good nights
sleep. You have a busy time ahead of you.
I slept like a log, she said. And Im looking
forward to my first day at the Playhouse. I know
what these things are, and Ill probably have to sleep
twice as much tonight!
No such luck, Im afraid, Gillian said.
Tonights all accounted for. And sos this afternoon
after rehearsals at the Playhouse.
What do you mean? Peggy asked. You dont
have a screen test set up already, do you?
Im not that fast. Max Gillian laughed. But
Im fast enough. No, tonight will be your first time
out in Hollywood. Just a chance to get a few pictures
for the papers, thats all. Part of the regular process.
And by the way, he added, I dont suppose youve
seen this mornings papers yet, have you? He
handed her a folded daily. Page twelve. Youre in
the news.
Peggy turned the pages with difficulty as the
wind fought with her, but finally she managed to
72

open to the right page. With surprise, she saw a

largeextremely large!picture of herself waving
from the jetway at the airport. She looked quite
pretty, a little bewildered, and very young.
A new face on the scene, she read aloud.
Miss Peggy Lane, in from New York, makes a
fetching picture as she arrives at the airport. Peggy,
a promising movie hopeful, is not on contract yet.
Smart producers, take note!
Pretty good, eh? Gillian said.
Whywhy, its wonderful! Peggy said.
I just hope Henry Berger doesnt see it! said
Maggie.
Why not? Max Gillian demanded. Doesnt he
want his new talent to get known? Makes better box
office for him, too.
I dont think he looks at it that way, Maggie
said. He wants his actorsespecially the new
onesto keep their minds on their stage work, and
not on the movies.
Well, hell just have to learn to accept the
situation, Gillian said flatly. We have a lot of
plans for Peggy, and getting this picture in so easily
shows me that we have something worth working on
here. Thats why were going to follow it up as fast
as we can.
How do you mean? Peggy asked a little
uncomfortably, feeling somewhat like the rope in a
73

tug-of-war.
Thats what I was starting to tell you about
before I interrupted myself, Gillian said. This
afternoon were going to get some more publicity
shots. Nothing special. Just some I can have in
reserve if an occasion comes up. Then, this evening,
youre going to make your debut. Ive got a swell
night planned for you!
Like what? Peggy asked, suddenly suspicious.
Just a date with one of Hollywoods most
sought-after leading men! Gillian announced
proudly. Doug Taylor. Im his agent. You probably
saw him as the flyer in High Command.
Butbut I dont even know him! protested
Peggy, her heart pounding. And he doesnt know
me! Why should he want to go out with me?
Its not a question of wanting to, Max Gillian
explained patiently, though Im sure hell be happy
about it the minute he meets you. Hes taking you
out because he owes me a favor. And youre going
out with him because hes well known, and you can
become known by being seen with him. Itll be a
good follow-up to todays arrival story if you can be
seen with Doug on your second night in town.
But it doesnt seem right! Peggy said. And I
dont want to be taken out as a favor to someone
else! Why dont you just have me meet him, and if
he likes me, hell think about asking me out
74

himselfif I like him.

You dont have to like him, Gillian said.
Thats not part of the deal. This isnt a date, its a
public appearance, like being on stage. Havent you
ever had to play opposite an actor that you wouldnt
particularly want to date? Are you going to refuse to
kiss a man in a movie scene if you dont like him?
This is the same thing. Save your dates for when you
meet boys you like. This kind of thing has nothing
to do with dates. Its a professional acting part,
thats all. Cant you see it that way?
Wellnow that you put it that way, Peggy said
doubtfully. But why is this sort of thing
important?
Its what we talked about yesterday. Its the part
of the glamor business that you do for other people.
This isnt for you. Its for the people who read
newspapersand theyre the same people who pay
money at the box office.
I suppose youre right, Peggy said. Does Doug
Taylor look at things the same way?
Of course he does, Gillian said. Hes a real
professional, and a real nice person. I know youll
like him. Hes a gentleman, and hes intelligent, and
hes a good talker. Youll have a fine evening. Ive
arranged for dinner and dancing at one of the best
spots in town, and therell be a photographer there to
get some good pictures. Just forget about the fact
75

that its a job, and have a good time.

Gillian turned the car off the main road and into a
graveled driveway, at the end of which stood a long,
white building with an arched roof. The marquee
that covered the entrance was lettered with the name
of the Players Playhouse.
Were here, he announced, braking the
convertible to a stop.
As they entered the little lobby, a man strode out
to meet them. He was extremely tall and gaunt, and
his white hair stood up in a thick shock. He marched
over to Peggy and planted himself firmly in front of
her.
Youre Peggy Lane, he said, looking down at
her. Welcome to the Playhouse. I recognized you
from your picture in the paper today.
Hearing his rich, strong voice, Peggy took a
second look at him and was surprised to see that he
was much younger than she had at first supposed.
Nice work, Gillian, Henry Berger went on.
You certainly got the publicity machine going in a
hurry. Turning back to Peggy, he said, How do
you like being in the news?
Why . . . why, its very exciting, I guess, she
stammered.
I guess it is, Berger said sarcastically. But
youd better put that sort of thing out of your mind.
Youll have to find your excitement right here, and
76

theres a lot of it. You have a busy day in store for

you today. Youll read for me this morning, and
well cast you right awayif youre as good as Ive
heard. Then we start first readings on the play this
afternoon.
Sorry, Berger, Max Gillian said, stepping
forward, but I didnt know you were scheduling
rehearsals this afternoon. Ive set up a shooting for
stills of Peggy at three-thirty. Youll have to let her
go in time for it.
Im afraid Ill have to say Im sorry, Berger
said, but Miss Lane is on the Playhouse payroll as
of now, and not on yours. In fact, I believe that
youre on her payroll, arent you? Youll just have
to cancel the shooting until a more convenient time.
Cant you start your rehearsals tomorrow instead
of
No, Henry Berger said shortly. But he said it
with such quiet force that Gillian stepped back a
pace.
All right. Im sorry. I didnt mean to interfere.
Well take the pictures some other time. Max
Gillian looked uncomfortably at Henry Bergers
stern face, then turned and patted Peggy on the arm.
Good luck, he said. Ill be in touch with you
later.
He left hurriedly.
As the white convertible roared away, Henry
77

Berger suddenly laughed.

Okay, Peggy, relax! Im not really an ogre.
Gillian thinks I am, but thats the only way I can
control him. Ive had several of his kids before, and
Ive learned how to handle the situation. You just
forget about him, and remember about the
Playhouse and your business as an actress, and
everything will be all right.
Berger led the way into the theater, saying,
Maggie, I want three run-throughs of the first act
and I want you people out of here by noon. So get
going. Peggy and I will be in the office for a while,
reading to each other.
Peggy followed him, feeling like an amateur on
opening night.

78

VIII
The Life of a Starlet

Peggy moistened the second cotton pad with lotion,

gratefully sank back on the bed, and covered her
eyes with the saturated white squares. She knew that
she had about thirty minutes to rest and collect
herself before dressing for her date with Doug
Taylor. The eye cure, as Maggie called it, had
been Maggies suggestion, after she had seen how
tired Peggy was from her first day on the new job. It
had been a trying day. In fact, things were not
working out at all right.
For one thing, Max Gillian had phoned her three
times at the Playhouse, making an awkward
interruption each time. He was busily making
arrangements for the nights date with Taylor.
Each time he had been interrupted, Henry Berger
became more nervous and angry until, at the last
call, he had spoken to Gillian himself. Peggy didnt
know what he had said, but Max Gillian hadnt
called back again.
79

Then, to make matters worse, Peggy found that

some of the Playhouse groupthose not performing
in A Comedy of Errorshad planned a cookout
party at the beach for the evening, to act as a
surprise welcome to her. They had tried to be
understanding when she told them that she had a
previous date and that she couldnt get out of it, but
she could see that they were disappointed.
What was more, several of the actors jokingly
mentioned her picture in the newspaper a few times,
and in a way that did not give Peggy any pleasure.
She felt that, although it was in no way her fault, she
had gotten off on the wrong foot with the Playhouse
members.
Of course, there had been good moments in the
day, too.
Henry Berger had proved to be a sympathetic and
a good director. When Peggy went with him for her
trial readings, he had made her comfortable and sat
and talked for quite a while before he would even let
her read. He recognized her tension, resulting from
the brush he had had with her agent, and made sure
that she was calm before starting work. Furthermore,
he tried her on a wide variety of readings, many of
which she was familiar with. When he brought out
an unfamiliar one, he first skillfully sketched in the
character she was reading, the other characters in the
play, and the situation preceding the section.
80

She had done very well. In fact, she felt that she
had never read better, and Berger was obviously
pleased.
Theres hardly a female part of any age or type
in the play that I couldnt cast you for, he said at
last. Im going to cast the others first, for what they
do best, and what is left over is yours, because Im
convinced that whatever it is, youll do it well. Im
really pleased to have you here.
Remembering that, Peggy felt a good deal better.
The casting had gone swiftly. Berger already had
worked with most of his cast, and had his old
members placed in roles. The leftover part that
Peggy was awarded proved to be a rich character
role, extremely important to the success of the play,
and even her first readings of it felt good.
Rehearsals had continued until well past five
oclock, and Peggy began to worry for fear she
would be late for her date with Doug Taylor, but
fortunately, one of the actors who had a car had
driven her home, and she made up for the time that
would have been lost on the bus.
Right now was really the first time during the
entire busy, confused day that shed had even a
moment to think about the date. Would Doug Taylor
recognize her? No, she was convinced he hadnt
seen her face that evening in New York. Her voice?
Peggy didnt think so. Speech and diction classes at
81

the academy had removed any trace of her

Midwestern accent. Did she want him to recognize
her? Peggy didnt know. Maybe it would be better to
start fresh.
Somewhere in the back of her mind, Peggy was
aware that she was giving what, after all, had been a
very small incident too much importance. Too much
importance? She hadnt mentioned Dougor the
incidentto Amy. It would have involved too many
explanations about why she had been crying that
night. But it bothered her a little that she hadnt felt
free to discuss it with Amy. Not that she had to tell
her everything. Still . . . She hadnt told Maggie
either. In fact, no one. It was as if she had forgotten
it. Only, she hadnt forgotten itand not talking
about it was making it too important.
All right, if Doug Taylor did recognize her, shed
thank him, then dismiss the whole thing. Should she
mention it herself? Wellshe didnt have to decide
one way or the other now. She could wait, see how
the evening went, thenif it seemed suitableshe
could. If it didnt seem suitable, she wouldnt. Not
making a decision meant that she could act
spontaneously. That was best.
Glancing at her wrist watch, Peggy saw that she
had better shower and get dressed. Doug Taylor was
due to arrive in half an hour.
As she was drying herself, Maggie called in from
82

the living room, Hows the starlet coming? You

havent left yourself much time if youre going to do
a real glamor job on yourself I
Forget that starlet stuff, Maggie, Peggy
answered. Im still just me, and Im not going to do
any real glamor job on myself. Mr. Taylor and the
photographers had better like me just the way I am.
Just the way you are? Maggie laughed.
Wrapped in a towel? That would really make the
papers!
Oh, Maggie, I dont care about the papers one
little bit! Peggy said. This publicity craze of Mr.
Gillians has given me a pretty bad day already, and
I just wish tonight was
Business before pleasure, Maggie said.
Peggy was grateful that Maggie was treating the
matter as a joke, but she could see that even her
friend was more than a little annoyed by the turn of
events. Perhaps, she should tell Maggie . . . about
New York?
Peggy decided against it. For one thing, there just
wasnt time, not if she was going to be dressed by
seven. For another . . . well, what was another
reason? All right. Peggy admitted it to herself. She
felt annoyed at all the criticism. First May. Then
Amy. Now Maggie. To say nothing to Henry Berger
and the cast at the Playhouse. It really was no crime
if she wanted to advance her career. If that had been
83

the only reason she was going out with Doug

Taylor, it still would have been no crime. Her
friends, anyway, should have a little more
confidence in her.
Almost defiantly, she selected one of her new
dresses, a flowered chiffon, cocktail-length, that one
of the fashion coordinators in New York had told
her was just perfect for a California evening.
Looking at herself in the mirror, she didnt like it at
all. Its cut was too little-girl formal and its print was
too informal. It just wasnt Peggy. She almost had
made up her mind to take it off, when she
remembered that the fashion coordinator had
suggested a hairdo to wear with it. Gamine, she
had said. Peggy dutifully combed out her curls. It
took lacquer to make the ends stay straight. Her
bangs were the worst problem. They just would not
behave. Finally, she back-combed the hair. There,
now they were straight.
Peggy moved back, to look at herself again. The
effect was startling. It was . . . gamine! The fashion
coordinator had been right. And she didnt look like
a carbon copy of a glamor girl either. She looked
individualistic. Still, Peggy studied the mirror
doubtfully. She might look individualistic, but she
didnt look like Peggy. She had her own brand of
individualismand this wasnt it.
But it was too late now. Doug would be here any
84

minute, and, even if she kept him waiting, shed

never get her hair to comb decently after all that
lacquer. Better leave things as they were. Hastily,
she completed her makeup and presented herself to
Maggie for inspection.
Its perfect, said Maggie, for a bright new
starlet. This years look. Everybody is being an
individualall just alike.
Peggy grimaced, started to answer, and changed
her mind.
Id better be going, she said. I told Mr. Gillian
that Id meet Doug Taylor downstairs.
So long, Maggie said. Have a good time. Or at
least a successful one.
Peggy waved miserably and left the apartment.

85

IX
A Night on the Town

Doug Taylor was waiting for Peggy in the small

lobby downstairs. He looked just as she remembered
himeven to the black tie slightly askew. Peggy
smiled. He rose from a chair at her approach and
went to open the entrance door for her.
Good evening, he said, gravely and formally.
Im pleased to meet you.
They stepped out into the first dusk and walked
down the path to a very old, very immaculate little
foreign sport car. He helped Peggy in and got in
beside her silently. He started the car with a muffled
roar and accelerated rapidly. He drove skillfully but
at no time turned to look at Peggy. He devoted his
entire time to handling the car.
I like your car, Peggy said, trying to start
conversation.
Thanks, was all the reply she got.
Its a pre-war Riley, isnt it? You dont see
many of them around any more.
86

Whyyes, he said, obviously taken aback by

her knowledge of sport cars, but unwilling to be
brought into a conversation.
Was it in this good shape when you got it, or did
you restore it yourself? she asked, phrasing a
question that could not be answered with a simple
yes or no.
I do my own work on it, he answered.
With no conversational encouragement, Peggy
could not think of another thing to say, so she too
lapsed into silence. Taylor had not been rude, had
answered all of her questions with courtesy, but had
volunteered nothing, and had used the fewest words
he could. This wasnt the Doug Taylor that she
remembered from New York. This didnt seem like
the same person at all. He looked like that Doug
Taylor, but he didnt act like him. Peggy was afraid
it was going to be a very uncomfortable evening.
Obviously, Doug Taylor did consider this just
another acting assignmentas Gillian had said. And
one for which he had no enthusiasm. Peggy was so
disappointed that she really wanted just to go home.
Maybe, after she got out of this ridiculous dress, she
could still join the kids from the Playhouse at the
beach party. But immediately, she knew she
couldnt do it. She would only be making a
complete fool of herself. Taylorshe no longer
thought of him as Dougdidnt know anything
87

about her private reason for consenting to this date.

As far as he knew, she was just another one of
Gillians clients. HeGillianeveryone would
have every reason to be furious with her if she
backed out now. It was too late.
And thank heavens Taylor didnt know she had
wanted to meet him. That would have been too
embarrassing. Just another acting assignment! Well,
she was an actress too. On that basis, perhaps the
evening could be salvaged.
Taking hold of her courage, she said, Im sorry
you have to take me out. It wasnt my idea, either.
But as long as we are out together, why dont we at
least try to get to know each other, and maybe well
have a nice time?
Still looking straight ahead, Taylor replied,
Having a nice time isnt particularly important to
me, and it shouldnt be to you. If youre going to
select your dates for the fun you have with them,
youll never get anywhere. But Im sure Gillian told
youif you didnt already know it. So lets just
have dinner and dance until the photographers have
finished, and then well forget it.
You dont have to make matters worse, you
know! Peggy said angrily. Im prepared to like
youor at least I was. Why wont you give me the
same chance?
Im sorry if I seem rude, Taylor said
88

expressionlessly, but I dont like dinners out at the

right spots. And I dont like night clubs. And I dont
like dancing. And I dont like being used to further
someones career in front of the cameraseither
movie cameras or newspaper cameras. I believe that
if you want to get ahead, you do it on the strength of
your ability to actnot your ability to get into the
papers. I didnt mean to say all that, but you pushed
me. Now lets forget it, and have our dinner.
Unable to answer, Peggy sunk into a gloomy
silence that lasted until they reached the restaurant.
With the same distant courtesy he had first shown,
Taylor helped her out of the car, took her arm, and
led her into the large, glittering room.
Ah, Mr. Taylor. We have a table, the headwaiter murmured, bowing.
They threaded their way through the tables.
Oh! Peggy started, frightened by the explosion
of a flash bulb that left her momentarily blind.
Taylor kept his grip on her arm and steadied her.
Youll have to get used to that if youre going to
make a career of this sort of thing, he told her.
Peggy saw there was no use in protesting further.
Doug Taylor wasnt going to believe that she didnt
want this any more than he did. Peggy resigned
herself to a difficult evening.
But, oddly enough, it was not as difficult as she
had expected. Once they were seated, Taylor
89

became an attentive and pleasant companion. He

ordered well, discussed the food knowingly, pointed
out celebrities at other tables. Peggy managed to
open him up on the subject of sport cars, which he
spoke about with considerable knowledge and
pleasure. He was equally good on the subject of the
theater, on books, and plays.
The only thing that bothered her was his air of
impersonality. He spoke to her as if she were a
classroom full of students, or an audience of strange
faces. At no time did she feel that he was dealing
with her as a single human being. And not in the
least as if she were a girl.
Once, when they were leaving the dance floor as
the orchestra began a break, Peggy got a good look
around the room. She was dismayed butafter
Maggies warningnot surprised to see that fully
half the girls in the room were gamine. It was this
years look.
On their way back to the table, a well-known
columnist, whom Peggy recognized from his
photographs, approached them. Taylor courteously
presented him to Peggy. The columnist murmured a
greeting, eyed Peggy knowingly, then questioned
Taylor.
What goes with this one? he asked.
Were just friends, Taylor replied quietly, his
voice a little weary.
90

Sure. Sure, replied the columnist. But for the

record, I have to ask.
Taylor nodded. The columnist chatted briefly
about Taylors new film, then departed.
Back at the table, Taylor glanced around the
room. Gillians photographers seemed to be
satisfied. There had been no flash bulbs for some
thirty minutes. Taylor called for the check.
I think they have all they want, he said. So if
you dont mind, I think its time we left.
Once outside and behind the wheel of the Riley,
he lapsed again into his earlier silence. They rode
back without a word.
Thank you, Peggy said as she stepped out of
the car in front of the factory. Youve been very
nice, and I know it wasnt an easy evening for you.
Its all part of the business, he said. And
besides, we had to look as if we were enjoying
ourselves. Not only for the cameras, you know, but
for the people at the other tables.
Then it was just an act? Peggy asked.
Wellnot a difficult one, he said. Youre a
nice girl, or you would be under other
circumstances. Its just too bad that youve decided
to make a career out of publicity. Anyway, I hope
Ive been of some help. Good night.
Before Peggy could think of what to answer, he
was gone.
91

Frustrated and miserable, she walked across the

courtyard, mounted the steps and let herself into the
quiet apartment. A Comedy of Errors was playing

92

tonight and Maggie was not yet home. It was only

ten-thirty. She hurriedly changed into pajamas, put
away the dress which, by now, she had come to hate,

washed her hair, and settled down with a glass of

milk and the script of the play she was rehearsing.
The glamorous life of an actress in Hollywood!
she said to herself scornfully. If people only
knew!
Suddenly, Peggy rememberedRandys play
opened tonight!
She looked at her watch. It was after eleven.
Dismally, she continued staring at it. Back in New
York, it would be after two. The opening
performance of One Last Chance would be long
over; the stage of the Penthouse would be dark. And
93

Randy?
Randy, she thought gloomily, would be at a party,
the center of attention of a whole circle of aspiring
actresses. Randywith his personal charm, his
frank good looks, his seemingly casual approach to
life which concealed a true dedication to his
profession, to the art of playwritinghad never
lacked feminine admirers. But Randolph Clark
Brewster, successful playwright, was something else
again. Every aspiring actress in New York would be
chasing him. Including Amy? Peggy felt terrible
even thinking such a thing. But . . . No, she thought
fiercely. No. But . . .
It never occurred to Peggy that Randys play
would be anything but a success.

94

X
A Different Kind of Beach Party

He sounds just awful! Maggie said, when Peggy

had finished telling her about the evening with Doug
Taylor. She poured out the coffee and brought it to
the breakfast table with the sympathetic manner of a
nurse with a pet patient.
Oh, no, Maggie, Peggy protested. I think hes
really very nice. Hes intelligent, and hes a
gentleman, and I think that if wed met in any other
way we would have been friends. I dont really
blame him for resenting me, Peggy added, feeling
guilty because, although she had given an absolutely
factual account of her previous evening, she had said
nothing of Doug Taylors kindness to her in New
York.
Well, Maggie said, if hes all that great, he
should have sense enough to see that youre no
publicity hound. And the good taste to see that
youre a nice, pretty girl. Most of the men I know
would consider themselves darn lucky to have a date
95

with a girl like you!

This is Hollywood, Maggie, Peggy said with
something like distaste. Im sure that a pretty girl is
no more unusual or impressive to Mr. Taylor than
another palm tree.
Still Maggie began.
Look, Peggy interrupted with finality, lets not
talk about it any more. Lets get dressed and go to
the Playhouse and talk about the work were doing.
Ill be much happier that way.
But when they reached the bus stop and bought
morning newspapers, it was impossible for them not
to resume their discussion.
Look, Maggie said, pointing to a story and a
big picture on page three, youve made it again!
They have a picture of you and Doug Taylor at the
table. My, hes attractive! And you look just lovely!
And you both look as if youre having a wonderful
time! I dont see how the evening could have been
as bad as you said, judging from the expressions on
both your faces.
Peggy looked at the photograph. The smiling
faces that beamed from the newspaper seemed to
have little relationship to either herself or Doug
Taylor. They sat, leaning a little toward each other,
with animated features, handsome, young, and
obviously enjoying themselves and each other.
The caption below the picture read: Taylors
96

New Heart-Throb? Actress Peggy Lane, who arrived

only Monday, seems to have lost no time in making
her pretty presence felt. Here she is at the Molucca
Club with Doug Taylor, one of the most eligible
men in town.
Oh dear! Peggy said. Theyve made it seem all
wrong! They want it to look like a romance!
What did you think the papers would want to
make it look like? Maggie said. A simple business
arrangement?
But I just hate to think what Doug Taylor will
say when he sees this! As if he didnt dislike the
whole idea enough!
Dont worry about Taylor, Maggie counseled
her friend as they boarded the bus. Worry about
Henry Berger. You know how he feels about this
movie-type publicity.
Maggies cautions about Henry Bergers attitude
were as correct as Peggy knew they would be. He
was cool and distant when she arrived, and answered
her good morning greeting with a wave of the
newspaper.
As long as youre going to do this sort of thing,
he said, you might try to get in a word about the
Playhouse. Wed enjoy sharing in the benefits of
your new-found fame.
Peggy knew that it would be best not to answer.
The members of the cast were no more
97

enthusiastic than Berger. Peggy felt an undercurrent

of strain in her relationship with them, and was sure
that it would carry over into the performance and
spoil things. But the other actors were as
professional toward the theater as Peggy was, and
the readings went very well indeed. They worked
intently through the morning, and when Henry
Berger told them it was time to break for lunch, he
congratulated them on the way they were getting
into the roles so quickly.
But over sandwiches and milk on the lawn behind
the Playhouse, Peggy once again was aware of the
way the cast members were treating her.
Turning to Betty Miller, a tall blond actress who
was sitting near her, Peggy said, Was the beach
party fun last night?
Oh, yes, Betty answered calmly, even though
we didnt have any photographers. But youd be
amazed how much fun you can have without them.
And did you enjoy your date?
It wasnt a Peggy began, but quickly stopped
herself. It was no use trying to explain. Yes,
thanks, she concluded lamely. It was very nice.
Whos it going to be tonight, Peggy? one of the
boys chimed in. Gregory Peck? Marlon Brando?
Stop it, Jerry! Maggie said. And you too,
Betty. I think youre all being very cruel to Peggy,
and you have no reason to be. If you ask me, its just
98

99

plain jealousy! Besides, she doesnt care for this sort

of thing any more than you do. Shes just doing as
her agent tells her, and I guess he knows more about
how she should act than we do.
There was a moment of awkward silence. Then
Betty Miller spoke up. Sorry, Peggy, she said.
Maybe we are just jealous, though I dont think so.
Its just that we all think that the Playhouse is the
most important thing in the world, and we havent
got much use for movies or movie actors. But even
so, Maggies right. We shouldnt put ourselves in
the position of being judges.
Bettys right, Jerry Wilkes said, a little
shamefaced. Why dont we forget itif youre
willing, Peggyand start all over again?
Peggy felt a wave of relief. Oh, thank you, she
said. I hope so much that well be friends! And the
Playhouse is really important to me, too. But I dont
know what to do about Mr. Gillian! I hate to go
ahead with this publicity business, but if I stop, he
may tell the agency in New York to exercise its right
to cancel my contract. And my contract with them
means a lot to me. If it wasnt for the agency, I
wouldnt be here at the Playhouse at all! Id still be
in New York walking from one producers office to
another.
You have a point there, Betty said. I suppose
the only thing you can do is go along with Gillian.
100

But I want to warn you not to let it get in the way of

your work here, or Henry Berger wont let things go
on. The Playhouse is his whole life, and he expects
it to be the same for his actors as long as theyre
working here.
Henry Berger was not present to observe the
change in Peggy during the afternoons readings. He
was working with a group from the cast of the
Hempler plays, and Peggys group was left to fend
for itself. They worked in increasingly close
harmony, and Peggy felt that it was the first really
happy time she had known since her arrival in
California. When at three oclock Berger dismissed
her group, she had determined to have a talk with
Max Gillian to see if she could persuade him to find
some other way to further her career.
Maggie too was ready to leave the Playhouse.
Berger, Maggie said, was displeased with the timing
of the second of the Hempler plays and wanted a
run-through, even though it interfered with the
intricately worked out rehearsal schedules of the
other plays by pulling actors out of both Peggys
play and Too Little, Too Late.
The girls decided it was time for Peggy to see the
Los Angeles shopping area and were waiting for a
bus when Max Gillians white convertible pulled up
in front of the Playhouse.
Peggy was surprised, but not displeased. The
101

sooner she had her talk with him, the better.

Hi! he called. Hop in. Im just in time. I
telephoned, and someone said youd be through
early today. So I took a chance and made some plans
for you.
Hello, Mr. Gillian, Peggy said, climbing into
the big white convertible. This is a real surprise.
Dont you have more important clients than me?
Lots of them, Gillian said cheerfully, without
changing his habitual expression of apparent gloom.
But theyre all on their way and dont need me
around all the time to help. You still need the Gillian
touch.
As a matter of fact, Peggy began, I wanted to
talk to you about that. Im glad youre here,
because
Dont bother to thank me, Gillian interrupted
expansively. Last night was nothing compared to
whats coming!
I wasnt going to thank you, Peggy said firmly.
I was going to ask you if we couldnt forget about
the make-believe dating and the photographers and
all that. I dont want to seem ungrateful, but
Peggy, I thought wed handled this problem the
other day, Max Gillian cut in. Im not doing all
this for my own good. Its for yours. And if you
knew the results this sort of thing produces, youd
know its really a working plan.
102

If you mean the newspaper pictures, Peggy

said, I can do without them very well.
I dont mean the newspaper pictures, Gillian
said. Those are just a means to an end. And if
youll stop fighting me, and just listen for a minute,
youll get an idea of what I mean. Those pictures
have already gotten you known and seen. So much
so, in fact, that I think the result will be a screen test
in a few days!
Honestly? Already? But how can you be sure it
was the newspaper pictures?
Easy. I called Alden Price, whos the producer
of Doug Taylors new movie, and I suggested that
you might be right for a part opposite Doug. Hed
seen your pictures, and he said he thought it might
be a good idea, particularly since people are starting
to associate you with Doug. Its my guess that a few
more dates will do the trick. Price says hell set up a
test soon, and I think he will, too, if he sees stories
of you and Taylor together some more. Thats why
Im picking you up now. I want you to hurry home
and get dressed. Youre meeting Doug in an hour!
But
Theres that but again! Gillian said
despairingly. Just relax. This isnt the same as last
night. This will be just a fast photo session. Were in
a hurry because I want to get the shots while its still
light. Were setting up to take pictures of you and
103

Doug at the beach, having a picnic, and a few more

with that crazy sport car of his. Thats enough to
hold us for a few days worth of news releases, and
by that time, the test will be all set up.
Dont object, Peggy, Maggie counseled. It
wont take too long. And we can have a swim. The
waters cold, but you should try it once anyway.
That is, if I can come along, too?
Sure, come along, Gillian answered. But no
swimming. I dont want to spoil Peggys hairdo.
Well just take dry shots near the water.
This was almost too much for Peggy. I dont
mind pretending Im on a gay date, if I have to, but I
draw the line at being one of those girls who gets
into a bathing suit just to be seen instead of to
swim! she declared. You can take the pictures you
want first, but when youre finished, Maggie and I
are going to get as wet as we wantwith or without
photographers!
Okay, okay! Gillian agreed. You dont have to
bite my head off! Have a nice swim!
Gillian waited in the car while Maggie and Peggy
hurried to the apartment to change to fresh sport
clothes and pick up their swimming suits. In a few
minutes they were back beside him and on their way
to the Pacific shore.
As they drove through the seemingly endless
suburbs of Los Angeles, Peggy asked Gillian where
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they were going for their swim and photo session.

Santa Monica, he answered. Its a beautiful
beachin the places where its privateand weve
gotten permission to use a place that belongs to a
friend of mine. Hes got a house on the cliff and a
beach shack below it. Quite a spot, and a perfect
setting forpardon me for mentioning itpictures
to be taken.
Peggy laughed. Its a wonder that you werent a
photographer instead of an agent, she said.
Peggy had heard about the beaches of the Pacific,
but even so, she was unprepared for the beauty of
the setting. The cliffs at Santa Monica were sheer
and abrupt, dropping straight down to the broad,
sandy stretch below. The height was not actually a
great one, but the empty blue vastness of the Pacific
that lay below and beyond the cliffs made it seem
higher even than when she had been in the jet that
brought her to Los Angeles. The drive along the
cliffs was marked by handsome houses, large and
small, all sharing the broad sky and the endless
miles of sea as a dramatic background. It was at one
of these houses, a low, tile-roofed Spanish stucco
surrounded by a fenced-in garden of tropical plants,
that Gillian turned in.
Doug ought to be out in back with his car, he
said. Lets go see.
Behind the house stretched a well-kept lawn that
105

ended suddenly at a low wall marking the cliffs

edge. As Peggy, Maggie, and Gillian rounded the
corner of the house, they saw Doug Taylors old
Riley parked near the wall, gleaming in the sunlight.
A photographer and his assistant were trying camera
angles and testing the light with meters. Taylor was
polishing the car. He stopped polishing when he saw
them and came forward politely.
Hello, Peggy, he said. He acknowledged the
introduction to Maggie, and then suggested to
Gillian that they hurry with the shooting before the
light changed.
Maggie watched as Peggy and Doug Taylor
posed in a variety of positions near and in the car,
pretending to be just arriving, getting out, getting in,
unpacking picnic supplies, and every other action
that Gillian could think of. Finally it was time for
the beach photos and the stars of the shooting
went into the house to change. Maggie accompanied
Peggy.
Your friend Doug Taylor seems nice, she
commented as soon as they were in the privacy of a
bedroom, but I can see what you mean about him.
Hes so formal that I would have assumed he had
met you only casually, instead of having taken you
out for an evening of dinner and dancing!
I really prefer it that way, Peggy said. I dont
mind being teamed up with him. Its just like being
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assigned a part with an actor that you have to

pretend to love on the stage. Its easy, as long as
theres nothing but professional respect between
you.
I know what you mean, Maggie said, but I
must admit that if it were me, Id wish it were
something more! Hes certainly an attractive man!
Dont try to distract me from my work! Peggy
said firmly. With a grin, she led the way out of the
house down the steep steps to the beach.
The shooting was accomplished quickly. Gillian
had had the foresight to arrange beforehand all of
the picnic gear they would need, so that all Peggy
and Doug had to do was sit for pictures by the
handsome checkered cloth that was laid out on the
sand. Other shots followed: Peggy and Doug playing
with a beach ball, wading in the waters edge,
hunting for sea shells, lying in the sand, running into
the gentle surf. Finally, Gillian was satisfied.
All done, he said. Thanks. Now you can have
a swim if you want to. Doug, if you want to swim
with the girls, perhaps youll be nice enough to take
Peggy and Maggie home. Otherwise Ill wait around
and take them myself.
Better wait around, Doug said. I dont think I
feel like swimming now. Ill just change and go, if
you dont mind.
With his customary grave courtesy, he said good107

by and mounted the steep steps.

Somehow, his refusal to join the girls in anything
but a purely business relationship took the pleasure
out of the idea of a swim in mid-winter. Not wanting
to keep Gillian overlong, they took the briefest of
dips and, feeling both chilly and depressed, climbed
back to the house level. Taylor had already left.
They changed rapidly and rode back to the
factory in moody silence. Like it or not, Peggy
thought, she was letting Doug Taylors attitude
toward her affect her disposition.

108

XI
Time to Make a Choice

The next few days were filled with work at the

Playhouse. Peggy and her group diligently went
over their readings while Maggies group rehearsed
and re-rehearsed. Everyone seemed friendly now,
but still greeted with little enthusiasm the frequent
appearance of pictures of Peggy and Doug Taylor.
Henry Berger made his usual sardonic remarks at
these news stories, and was a little harder with
Peggy than she thought was necessary, but she had
hopes of overcoming his objections by doing good
work. However, each time she made some small slip
in her lines (which she did no oftener than the other
cast members) he would ask her if her outside
activities were taking too much time from studying
her lines. He seemed unwilling to believe that her
evenings were spent at home working on the script.
Still, aside from this, Peggy was happy. She was
glad to be once more involved with a play, and was
eagerly looking forward to the time when rehearsals
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would actively begin.

Over the weekend, she had a letter from Amy, a
letter which reassured her about their friendship, and
Peggy felt like a heel for ever having doubted it.
Randys play had been received enthusiastically, and
Amy had received good personal noticesher first!
We tried to call you, Amy wrote, just as soon
as we left the theater. When you werent home, Mal
and I went on to the party. Randy skipped it and
went directly out to his parents place on Long
Islandbut you probably know that. Mal and I
didnt call back later because we knew Randy would
want to tell you about the opening himself.
But there was no letter from Randy.
Peggy, however, was too busy to feel hurt about
it. On Monday, Berger announced that he was
satisfied with everything and would now begin to
block in the action and turn the reading society
into a group of actors. The working schedule was
shifted, and Peggys group was to work in the
afternoons. The repertory group ran on a timetable
as tightly scheduled as a railroads.
Go home and get a good nights sleep, Berger
counseled. Tomorrow well meet at one and put
this thing on stage. See you all then.
As Peggy left the Playhouse, she was surprised to
see Max Gillian waiting for her in the big
convertible.
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He must have run out of pictures, Peggy thought.

Now what?
Gillian greeted her with one of his rare smiles.
Well, Peggy, Ive missed you! Hop in! I have
some good news for you!
Another picnic? Peggy asked.
I wouldnt exactly call it a picnic, Gillian said,
but I think youll like it. As a matter of fact, I have
a screen test scheduled for you. And its not just
routine. Alden Price is really interested in you, and
he wants to see what you can do on camera opposite
Doug Taylor. Hes considering you for a part in
Taylors new film!
Oh, Mr. Gillian! Thats wonderful! Peggy
exclaimed. When is it? What do I have to do?
Its tomorrow, Gillian said, and you dont
have to worry about what to do. When you get there,
the director will sketch out some action and give you
a few lines, and then hell take a couple of minutes
of shooting. Thats all.
Just a couple of minutes? What can they tell
from that?
A couple of minutes is quite a lot, as youll find
out, Gillian said. In production, most film
companies only average a couple of minutes of
finished film in a full days work. Of course, in a
test, they dont figure on getting finished film. All
they want to find out is how you photograph and
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how your voice sounds and how you take direction.

Without any preparation? Peggy said.
Oh, youll be prepared, Gillian told her. Well
have to be at the studio hours before the test
shooting. Theyll put you through makeup and give
you some lines to read and tell you whats expected
of you. Therell be time enough.
Buttomorrow! Peggy exclaimed. I cant go
tomorrow! We start rehearsals at one oclock, and
its very important that I be there! Its the first
rehearsal, and I know that Mr. Berger would be very
upset if I missed it!
One oclock? Dont worry, Gillian said. Ill
have you there in time. The test is scheduled for tenthirty, and were due to be at the makeup department
at eight. You ought to be done by twelve, and as
soon as they clean the paint off you, Ill drive you to
the Playhouse.
Are you sure we can make it in time? Peggy
asked nervously. It doesnt sound like a schedule
with very much leeway for error. Cant we do the
test on the weekend when Im not rehearsing? Id
feel much more relaxed about it then.
Sorry, Peggy, Gillian said, but youll have to
take the test when the studio is ready, not when its
most convenient for you. And they dont want to
lose any time. Theyre due to start shooting the
picture almost immediately, and they havent even
112

got it all cast yet. Theyll have to make up their

minds about you in a hurry.
Oh . . . I hardly know what to say or think,
Peggy said unhappily. Its not just the rehearsal
tomorrow . . . its the play! If I get a part in the
picture, I wont be able to be in the play, and Mr.
Berger will have to get somebody to replace me. As
if he werent upset about me enough already!
If you get a part in this picture, Max Gillian
said rather sharply, you wont have to worry about
what Berger thinks of you. And youll be a lot better
off. The Playhouse is a good training ground, and a
pretty fair showcase, but moviesthats where you
belong!
Peggy nodded gloomily. She was torn between
the two things in a way that was unusual and
uncomfortable for her. She had always been the kind
of girl who knew her own mind, who was sure of
what she wanted and what was best for her. Now,
she had no idea of what was bestor even what to
hope for.
Should she hope that the screen test would be
successful? If it was, then she would have to leave
the Playhouse and let down Henry Berger and the
cast. Should she hope that the screen test would be a
failure? That seemed foolish indeed! She had come
to Los Angeles with the hope of getting a job in the
motion picture industry.
113

Still . . . there was something to be said on both

sides.
And there was the deeper question that Peggy felt
she must now consider. Did she really want to be a
success in the movies? She was happy working at
the Playhouse; almost as happy as she had been at
the Penthouse Theater in New York. And she had
not known a moments happiness in California
among the two movie people she had met so far:
Max Gillian and Doug Taylor.
She had to make up her mind . . . and she had to
make it up by tomorrow morning!
Tomorrow morning, Max Gillian said, as if
reading her thoughts. See you at about a quarter
after seven. He pulled up to the curb and let her
out.
Once in the apartment, Peggy made an effort to
pull herself together and find a way out of her
confusion. Maggie, who was playing Saturday
nights and consequently had Mondays offwhen
Berger could manage itcame in from a grocery
shopping expedition shortly. Quietly, Peggy told her
Gillians news.
For a girl whos due for a screen test tomorrow,
Maggie said to her, you sure dont seem happy.
To tell you the truth, Maggie, Peggy confessed,
Im absolutely miserable. Maybe if we sit and talk
about it, Ill know what I ought to do. Do you mind
114

listening to my troubles?
Ive been told that thats what friends are for,
Maggie said. Let me fix some coffee and well
settle down and really talk.
It did not take Peggy long to outline her situation
to her friend, for what Maggie did not already know,
she had been able to half guess. When Peggy had
finished going over her dilemma, Maggie stood up,
poured more coffee, and once more settled
comfortably on the floor.
Im not going to comment on your personal
reasons for leaving New York, said Maggie.
Thats between you and Randy. But you had a
sound professional reason for coming here, dont
forget that. You had a jobat the Playhouse. And
you had a chance for another jobin the movies.
That situation hasnt changed. The problem
The problem, said Peggy, is that I dont know
which job I want. Back in New York, being in the
movies seemed so unreal. I didnt really believe it. I
came out here because I had a job. But now, being in
the movies is real. Ive got to decide if I want it.
Peggy, nothings as neat and orderly as your
problem seems. I would guess that youre leaving
something outor that theres something we dont
know. Otherwise, the choice wouldnt appear to be
so clear cut.
What do you mean? Peggy asked, a little
115

nervously. What could I be leaving outor what

could I not know? She still didnt want to tell
Maggie about meeting Doug Taylor in New York,
and it had nothing to donowwith any decision
she would make about a job.
Well, the heart of your problem seems to be the
idea that you dont like the Hollywood way of doing
thingsall this business about photographers and
make-believe dates with actors and all that. Has it
occurred to you that this may not be the Hollywood
way, but just Max Gillians way?
Relieved, Peggy considered Maggies suggestion.
To tell you the truth, she said, I hadnt given it a
thought.
It might be a good idea to think about it now,
and to find out, Maggie said. After all, if he is
handling you wrong, then hes taking a chance of
hurting your professional life. And if hes handling
you rightand thats the way things are done out
hereyoull know what kind of a life youll have to
lead to be a success here. Once you know, one way
or the other, you can make up your mind
intelligently.
But Maggie, Peggy protested, its not a
question of knowing anythingI mean like a fact.
Its a question of opinion as to whether Mr. Gillian
is handling me properly or not. How can I find out
about a thing like that?
116

Id suggest, Maggie replied, that you talk to

someone whose opinion you respectsomeone who
knows the movie business as well as Max Gillian.
Or better than he does.
But who? Peggy asked.
Oh, Peggy! Use your head! Paula Andrews
father! Dean Andrews is a big producer, isnt he? I
know Paulas on location, but you should have
called the Andrewses anyway. They cant help
knowing youre hereif they read the newspapers.
Why havent you called?
Peggy sipped her coffee in silence for a moment
before answering. I guess I havent called, she
said at last, for the same reason that I hesitate to
call now. I suppose I want to make my way without
asking anyone for anything.
That sounds like a familiar refrain to me,
Maggie commented wryly. Wasnt that the very
attitude that got Paula Andrews in such a jam in
New York? And werent you the girl who told her
that nobody would ever live to grow up if there
werent people to help? It might be a good idea, she
said, if you were to take some of your own advice.
I guess youre right, Peggy said confusedly.
Do you think I ought to call Mr. Andrews now? Or
should I wait?
Waiting wont help, Maggie said. Why not go
to the phone this minute and ask Mr. Andrews when
117

you can see him? Its just about dinnertime, so its

probably a pretty good time to reach him. Go
ahead.
Peggy stood up, feeling relieved already. When
she came away from the telephone, she looked calm
and happy.
He said he wondered how long it was going to
take before Id remember my old friends! He said he
tried to call mebut short of asking Doug Taylor
for my phone number, he didnt know where to
reach me, Peggy said, laughing. More soberly, she
added, I told him a little of my problem, and he
said it was too complicated to talk about over the
phone, so Im going there to dinner the day after
tomorrow. And youre invited too.
Fine, Maggie said. Thats Wednesday. I can
go. But what are you supposed to do until then? I
mean, about the screen test?
Peggy grinned. Everybody here seems to have
the same single piece of advice. Mr. Andrews said
what Henry Berger and Max Gillian saidI should
get a good nights sleep. Tomorrow is going to be a
busy day!

118

XII
Under the Bright Lights

The good nights sleep had helped, Peggy reflected,

as she stood on the curb in the early morning light
waiting for Max Gillian to take her to the studios for
her screen test. And even her short talk with Dean
Andrews had helped. Peggy realized now that until
she could make up her mind about her future, her
only course was to do her best work on the job of
the moment.
The cool early morning breeze and the fresh
sunlight made the quiet street look newly created,
fresh as paint, as if it had been built just before
sunrise especially for today. It seemed to reflect
Peggys new mood of starting all over again.
Looking forward to the exciting day, she gazed
expectantly down the street, impatient for Max
Gillians arrival.
In a few minutes, his long white convertible
appeared and slid smoothly up to the curb.
Good morning, Peggy, he called. All ready for
119

the big day? Rested? Calm?

Good morning, she said, slipping in beside him.
Im as ready as Ill ever be, I guess, and I did get
the good nights sleep you recommended. But I
dont know how calm I am. As a matter of fact, I
feel as if Id swallowed a pound of Mexican
jumping beans!
Itll get worse before it gets better, Gillian said
philosophically, so you may as well get used to it.
The usually crowded boulevards of Los Angeles
were almost empty, and they drove easily and
swiftly through the fresh morning. It was not long
before the big car slowed down on a street flanked
on either side by high white walls, and pulled to a
stop before a broad archway with elaborate wroughtiron gates.
Over the top of the arch, in shiny gold letters, was
the legend: Continental Pictures, Inc.
Gillian beeped his horn, and a smartly uniformed
policeman, wearing the Continental Pictures
emblem on his cap, emerged from a kind of guardbox alongside the gate and approached the car.
When Gillian had shown his studio pass, the guard
nodded politely, opened the gates, and let them drive
through. Peggy looked back to see him swing the
iron grilles back in place behind them.
Youd think this was a secret government base,
the way they guard the entrance, she commented.
120

Worse, Max Gillian agreed. There arent

nearly as many people trying to get into secret
government bases as there are autograph hounds and
tourists trying to get into the movie lots!
Gillian drove slowly between huge white
buildings that looked like airplane hangars, with
their rounded roofs and enormous sliding doors.
Sound stages, he said. Thats where most of
the pictures used to be shot. Today, most of them are
used for television, although there are a couple of
pictures on the lot now.
Why dont they use them much for movies any
more? Peggy asked. Where do they make the
movies now?
Most movies are made on location these days,
Gillian replied. There are companies all over the
world. Its cheaper in the long run to shoot out of the
country. Overhead, for one thing, is a lot less in
foreign countries. And you also can shoot in natural
backgrounds that are just as interesting or more
interesting than a movie set; and you dont have to
build them. On top of that, there are psychological
advantages for the actors. They absorb mood from
the locale. It makes for better pictures. Ever since
television, Americans dont have to go out to see a
Western or a detective movie. They get them for
free at home. So the movies are better. It takes a
pretty good film to get people out of their homes to
121

pay money.
Peggy considered this in silence, as her agent
turned the car around a corner and slid it into a
parking space in the visitors parking lot.
But didnt you say the picture theyre testing me
for is a Western? she asked.
There are Westerns and Westerns, Gillian
answered. I mean that nobody can hope to make a
real profit any more on the old-fashioned shoot-emupsexcept in TV. The picture I hope to get you in
does have a Western setting, but its a good story
about the settling of the West and about the hard
lives of plain, honest farmers who had to make a
living in a new land. I dont think theres an Indian
fight or a barroom brawl or a stagecoach robbery in
it.
Turning the corner of the big sound stage along
which they had been walking, Max Gillian and
Peggy emerged into the Main Street of the
Continental lotand the change was as sudden as if
they had stepped into the center of downtown
Fairyland. Peggy stopped short and gasped.
A crowd of savage-looking African natives with
spears and feathered costumes sat on the steps of a
building, smoking cigarettes and talking. Nearby, a
party of people dressed for a safari were reading
scripts.
A few feet away, two overalled workmen were
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polishing an antique automobile. The gleam of its

bright lacquer reflected a group of seventeenth
century gentlemen who stood by watching.
Actors in modern dress, actors in Pilgrim
costumes, busy carpenters and electricians, two men
leading a trained bear, a half-dozen school children
from the age of Dickens, all busily went in and out
of sound stages. Turning another corner, Peggy and
Gillian were confronted by three camels quietly
gazing at them.
Good heavens! she exclaimed. Is it always
like this?
Only first thing in the morning when theyre all
getting set for the day, he answered. In a few
minutes, theyll all be indoors and out of sight, and
the scene calms down a little. Not much, but a little.
Come on. Lets get around these beasts. Were due
at makeup right now.
Sidling past the camels, who took no further
notice of them, they strolled down the narrow alley,
at the end of which a short flight of three steps led
up to a door marked Makeup.
Inside, behind a businesslike desk at the end of a
small, plain waiting room, was an attractive, middleaged woman. She looked up and smiled inquiringly.
This is Peggy Lane, Gillian explained. Im her
agent, Max Gillian. I believe we were
Of course, Mr. Gillian. We were expecting Miss
123

Lane. Hello. She looked Peggy over carefully, with

a professional eye. Well! she said brightly, I
dont think theyll have much to do for you! Youre
very pretty, just the way you are.
Peggy murmured her thanks.
Im Audrey Phipps, the woman went on. Im
not the reception committee at allour usual pretty
girl is late again. Im in charge of this madhouse,
and for the next hour or so, Im in charge of you,
Peggy. Mr. Gillian, why dont you plan to meet us
here at about ten?
Gillian nodded agreement. This is no place for a
man, anyhow, he said. So long.
Peggy turned to Audrey Phipps. What do we do
now? she asked. Ive learned how to do stage
makeup, but I dont even know where to begin for a
screen test.
Were going to do that for you, said Miss
Phipps. She led Peggy into a small room that looked
like a very elaborately equipped beauty parlor,
except for the barrage of lights aimed at the chair in
the center of the room.
Heres the torture chamber, Miss Phipps said.
What will you make me look like? Peggy asked
hesitantly. I mean . . . will you change me too
much? I know Im not the most beautiful girl in the
world, butwellIve gotten kind of used to my
face andand I think it goes with the way I act.
124

Dont worry. Audrey Phipps laughed. I think

all were going to do for you is make you look just
the way you do.
Then why the makeup? Peggy asked, puzzled.
Simple. If we just turned you loose in front of
the camera the way you are, youd look like
somebody elseand not a very pretty somebody
else, either. You know from your stage work that
strong lights have a way of washing out most of
your features, and making others stand up like
mountains. And the camera has its own peculiar way
of seeing things. Sit down in the chair and Ill show
you what I mean.
Peggy sat down, and Miss Phipps switched on the
rights. The sudden glare made Peggy blink.
Now, suppose we were to try a side lighting,
such as you might have in an early-morning shot,
Audrey Phipps said. She flicked a few switches, and
the quality of the light changed. It was far stronger
from the right side, but still bright full in Peggys
face and on the left.
Now, lets get some reflected light up from
below, as if this were a desert shot. Youre making a
Western, arent you?
If I get the job, Peggy answered.
Fine. Now, thats pretty much like a desert
lighting. Want to take a look at yourself? She held
out a mirror for Peggys inspection.
125

Oh! I look awful! Peggy exclaimed. Will the

lights on the set do that to me?
Not if I have anything to do with it, said Miss
Phipps.
Peggy looked with fascination at her image in the
mirror. Her eyebrows had faded almost from sight,
and her eyes looked flat and colorless. Her chin
seemed to recede. Her straight, fine little nose
seemed thick and short. A small surface irregularity
on her right cheek, which she herself had never
noticed, looked like a large mole. Her lipstick
appeared to have been put on with a toothbrush by a
four-year-old with a shaky hand.
Ive seen enough, thanks, Peggy said.
Me too, Audrey Phipps agreed with a smile.
Now just keep looking in the mirror while I fade
back to normal lighting.
Peggy gazed at the strange image while Miss
Phipps slowly worked a dimmer switch. The lights
faded a little at a time, and as they did, Peggy
watched in amazement as her own face gradually
reappeared.
Now you get the idea of what we have to do,
said the makeup adviser. And after weve given
you your own face, we still have the hairdo to take
care of. Yours looks fine, but we have to fix it up as
it might have been in the 1850s. I think we can do
it, if we go right to work.
126

She went to the door. Joanna! she called.

Come in and meet your first customer today!
A slight redheaded girl came in, dressed in a
white smock.
Hi, she said. Im your operator. Lets put the
lights on and see what we have to do. She went to
the switch, and Peggy determinedly handed the
mirror back to Miss Phipps.
While Joanna studied the effect of the lights and
referred to a chart, Miss Phipps spoke to Peggy.
Joanna is reading directors notes on you. They
tell her the lighting plan for your test shooting, and
what kind of costuming youll be given. That way,
she knows exactly what to do for you. While shes
working, when you get a chance, you can take a
look at the script for your shooting. I have it here
somewhere. It wont take too much studying, and
youll have plenty of time to read it while were
doing your hair. Now you just turn yourself over to
Joanna, and Ill look in from time to time to see how
youre doing. She rummaged about on a table and
came up with a few sheets of paper. Heres the
script, she said. See you later.
While Joanna was still adjusting the lights, Peggy
looked the script over. It was not at all what she had
expected. There were a few stage directions, and
only a couple of lines of dialogue to learn. The sum
of the action was simple. Doug Taylor was to walk
127

up to a door, hesitate for a moment, look up and

down the street, and knock. After a short wait,
Peggy was to come to the door, open it part way,
recognize Taylor, step out on the porch, and look
angrily at him. Finally, she was to say, Well?
Taylor had a short line in which he apologized for
something that the script didnt explain. Peggy then
had what amounted to a long speech of six
sentences, in which she told him that she didnt care
to hear any explanations or apologies. The words
were angry, bitter words, and Peggy was surprised
to see that the stage direction near the end of them
indicated that she was to start crying, at which point
Taylor was to hold her in his arms while Peggy was
finishing off her angry words.
After another silent bit of acting, in which Peggy
was to control her sobs, but not leave Taylors arms,
he had two brief lines to speak. Peggy was to
disengage herself then, answer him briefly, and lead
him to a porch chair. She then had wordlessly to
offer him a seat, look at him despairingly, and
leave the porch.
It was all very mysterious. No motivation was
given for the actions of the girl she was to play. No
story line telling what brought the two characters to
this piece of action was provided. No hint was
supplied as to what kind of a girl she was playing,
what kind of man Taylor was supposed to be, whose
128

house this was, or why he had come to visit her

there. Peggy thought that without some really good
direction, the job would be impossible.
Are the scripts always as cryptic as this one?
Peggy asked Joanna, extending the paper to her.
Joanna glanced at the script. Thats about
normal, she said. People here on screen tests and
first readings are usually upset by them, but I guess
thats how movies are made. I dont know much
about it.
I know a lot less, Peggy said, and this script
hasnt told me much more than I knew before I saw
it! Im afraid Ill never be able to do this!
Joanna smiled soothingly. Dont worry about it,
she advised. They must know what theyre doing.
And the best thing I can suggest for you is to see to
it that you know what youre doing, too. At least as
much as they want you to know, which is in this
script. Id just study the words, if I were you, and
learn them pat. Dont worry about what they mean.
That way, when the director tells you, you can
concentrate on the action and the meaning, and not
have to worry about the lines.
And you say you dont know anything about it!
Peggy grinned.
Knowing that Joannas suggestion was the only
sound one, Peggy turned her full attention to
learning the few lines in the scene. She had gone
129

through them three times, and was starting on her

fourth reading, when Joanna took the script away
from her.
Time to start the face work, she said cheerfully.
Youll have to put your head up and forget about
that for a while. Youll have plenty of time later
when Im working on your hair. Right now, you can
close your eyes, while I put on the base. When you
next see yourself, youll be a new girl.

130

XIII
A Short Delay

Joanna didnt show Peggy a mirror throughout the

whole treatment, so even after her face was done,
and her hair was being set, Peggy had no idea of
how she looked. Although she was sure, from
Joannas competent manner, that the job would be a
good one, she became increasingly curious about the
final result.
Still, she forced her attention to the meager script,
reading and rereading the few lines until she knew
them all as well as she had ever known anything.
Twice, Audrey Phipps had come in to study
Joannas progress and Peggys face. Both times she
had made small suggestions, and had asked Peggy to
turn her head in various directions while she
readjusted the lights.
At last, Joanna announced that the job looked as
complete as it ever would be, and went to the door
to ask Miss Phipps to return. The two makeup artists
studied Peggy professionally for quite a long time in
silence. Finally, Audrey Phipps nodded decisively.
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Good, she said. Just fine. Now lets show

Peggy the magic of makeup! Wheres that mirror?
Joanna brought it and held it up for Peggy to see.
The effect was perfect. Even though the lights
were as bright and harsh as they had been before,
Peggys face looked just as it always did. She had
been afraid that all those layers of makeup would
leave her with a hard, artificial appearance, but she
looked as fresh and natural as always, with even a
freckle or two still remaining on the bridge of her
nose and on her cheeks.
Her hair was pulled back softly over her ears and
gathered in a cluster of curls at the back of her head.
It looked old-fashioned and sweet and pretty,
without interfering with Peggys face in any way.
All in all, she was pleasedeven amazedat the
work that Joanna had done.
Now, Audrey Phipps said, lets dim those
fights again while Peggy keeps on looking in the
mirror. This time youll get a chance to see just how
much weve really done.
The lights dimmed slowly again, returning the
room to normal illumination, and Peggy watched the
face in the mirror change like magic. It was
incredible! She saw now that every inch of her face
was covered with bright makeup that had a kind of
orange glow to it. The freckles, right where her own
actually were, were dots of near-red, skillfully
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applied. Her nose was darkened on the sides and

below the tip, her eyelids, lashes, and brows were
almost black.
I look like a clown! she said. I wouldnt
believe that this could work if I hadnt seen it
myself!
Thats why we let you see it first under the
lights, Audrey Phipps said. If we hadnt, you
might never get over the first shock!
I hope the lights on the set give the same effect
as these do! Peggy said thoughtfully. Id hate to
have all this makeup show up on the camera.
Dont worry about it, Miss Phipps said.
Everythings here is run on a controlled system.
Especially the lighting. After all, one scene in a
picture may take days and days to shoot, and its
absolutely necessary to get the same lighting each
time they shoot. Thats one thing we have experts
at.
Pausing to look at her watch, she continued, We
timed this just fine. Mr. Gillian ought to be arriving
right now, and you have time for costuming.
Peggy said good-by and thanked Joanna, who
answered that she hoped the test was a success and
that she could be Peggys regular operator through a
long movie career. Feeling somewhat self-conscious
about appearing outside in her garish makeup,
Peggy followed Miss Phipps back to the reception
133

room, where Max Gillian sat reading a magazine.

Taking only a casual look at her, he stood up.
All done? Good. Lets get you over to wardrobe,
and then well have a bite to eat in the commissary.
But will we have time? Peggy asked. Were
scheduled to be on the set at ten-thirty, arent we?
We were, Gillian explained, as they walked
toward another building, but theres been a little
delay. Doug phoned in about an hour ago to say that
hed had some trouble with that crazy old car of his,
and he was stuck. He was only having a little
trouble, but he wanted to fix it rather than leave the
car. The director said it was okay, and shooting has
been put off until eleven-thirty.
Eleven-thirty! Peggy said. But well never get
done in time for me to be back at the Playhouse!
Henry Berger will just bust if Im not there! Ill lose
my job! I cant
Whoa! Max Gillian ordered. Its not all that
bad! I checked with Owen Farr, the director, and he
said hed have you out by half-past twelve. Its only
a forty-five minute ride to the Playhouse, even in
bad traffic. With luck, its a lot shorter than that. Ill
still be able to get you there on time. So just relax.
Dont be nervous about the time, or itll show
through your acting.
Peggy agreed that his plan sounded all right, but
she had her misgivings. She had been around the
134

theater long enough to know that things rarely

worked out as they were supposed to, except in the
on-stage timing. Still, there was nothing she could
do about it, so she determinedly put it out of her
headas much as she could.
The costuming took surprisingly little time.
Gillian had supplied the studio with Peggys
measurements from the agency files, and the dress
she was to wear had been altered and was waiting
for her. No adjustments were needed; and it was a
simple costume to put on, being a plain, though
pretty version of a daytime gown of the period.
Peggy whirled in front of the full-length mirror,
enjoying the sight of herself as a small-town belle of
the Old West. The effect was only slightly marred
by her bright makeup, which made her appear as if
she had a bad sunburn and a dirty nose.
Emerging from the wardrobe room, Peggy saw
that the main street of the lot was almost deserted.
The sound stages showed red lights on their doors,
indicating that shooting was in progress and that no
one could enter until it was completed. A few actors
in costume strolled about, between takes, Gillian
explained, and a life-size model of a part of a yacht
was being hauled down the street by a small tractor.
Aside from this, all was quiet.
Peggy followed Gillian. At the open door of one
sound stage, she paused to look in. May I see in
135

there? she asked.

Sure, Max Gillian agreed. Theres nothing
going on just now, and I dont think anyone will
mind if I show you around.
He led her into the huge building. Inside, Peggy
saw that the sound stage was actually a collection of
small stages, each with a different setting. Nearby,
an old Southern mansion front sat surrounded by
bushes and trees. Rounding the corner of it, Peggy
saw that its back resembled a cliff. The same
shrubbery served as tropical foliage here, ending at a
small stretch of sand beach. By its side was a
comfortable living room, flanked in turn by a back
porch. It was the most confusing place that she had
ever seen.
Underfoot everywhere were cables, leading to the
many lights and cameras that surrounded each set.
Most of the cameras, Gillian explained, were for
television. Overhead, in the dimly lighted heights of
the sound stage, was a network of catwalks and
more and more lights.
Coming into a more open place, she saw a huge
piece of machinery that looked like a cross between
an oil-drilling rig and a prehistoric monster.
Whats that? she asked.
Thats a camera crane, Gillian told her. A
camera is mounted on the end of it, and right there
behind it is a seat for the cameraman. The crane lets
136

him move the camera around to any angle, from way

up high to low, for close shots. Its all
counterbalanced so that it moves easily, and of
course it has to be completely free of even the
slightest squeaks. Youll get a chance one of these
days to watch a movie being shot, and you can see
how the cameraman rides the crane. Its quite an art
to control one of those things.
It looks terribly complicated, Peggy
commented, studying the intricate system of weights
and balances.
Gillian continued the tour of the sound stage,
showing her the star dressing rooms, which
reminded her of small house trailers. Some were
furnished as elaborately as small homes. Farther on,
he showed her the complex switchboards and
lighting controls, and then a complete town square
set for an 1890s period movie.
For things like this, you cant go on location, he
explained, because there just isnt any place that
still looks like this. Even the towns that pride
themselves on keeping their old-fashioned
appearance cant really do the job. There are always
neon signs somewhere, and the streets are all paved,
and the lampposts and fire hydrants and telephone
poles spoil the picture. So they build the old-time
towns here. This one is so complete because its a
permanent set. Its been used for dozens of pictures
137

already.
Peggy looked around. In the middle of a pretty
green park dotted with lovely treesall imitation
was a white bandstand. Across the way stood a
block of store fronts, each with merchandise in the
windows and old-fashioned lettering over the door.
A horse-car waited on its tracks on a cobbled street.
Gaslights stood every few feet along the sidewalk. It
all looked so nice and comfortable and homey that
Peggy wished she could stay for a while, at least
until the band concert started.
She shook herself back to reality. This was a set,
and only for making movies. And she was there for
the same purpose, looking just as real as the small
town, until you got close.
Lets go to the commissary, she said suddenly.
Im hungry.
The big cafeteria was almost empty. Gillian
advised against much food before her screen test, so
Peggy ate only an egg salad sandwich and drank a
glass of milk. Finishing in silence, she tried to clear
her mind, which was full of the confusing, unreal
world of the sound stageand the equally
confusing, but very real script that kept repeating
itself over and over in her head like a broken record.
She hoped that the script would be explained before
the actual shooting. She didnt want to appear a
complete fool in front of Doug Taylor.
138

XIV
A Very Busy Day

When Doug Taylor finally arrived, it was a quarter

to twelve, and Peggy was even more fidgety about
the time. Taylor greeted her with a silent nod, went
to Owen Farr and spoke a few words to him that
Peggy was unable to hear. Taylor in makeup and
frontier farmers costume looked unfamiliar to her,
but completely at home on the sound stage.
In a few minutes, Farr called Peggy to join them.
He briefly sketched the characters they were
playing, and the meaning of the action. He didnt
explain much more than Peggy had been able to
figure out from the script. She was about to ask for
more details when Farr suddenly said, O.K. Places.
Cameras? Ready? O.K. Lets run through the whole
thing.
Peggy, stationed behind the door of the set, felt a
desperate need for direction. She was sure that she
would never be able to please Mr. Farr unless she
knew more about what she was supposed to be
139

playing. Peering through a window near the door,

she watched Taylor approach the house, pause,
look both ways, and slowly step up to the door to
knock.
She waited, counting to twenty, as Owen Farr had
told her to do, before she opened the door a little.
Then, it was all she could do to keep herself from
starting in surprise at the barrage of lights that struck
her in the face, and the big, solemn eye of the movie
camera that peered at her from only a few feet away.
She made an effort to keep from looking at the
camera and focused her attention on Taylors face.
Bit by bit, the scene played out. She had no sense
that she knew what she was doing. The timing of the
action appeared to Peggy to be intolerably slow, but
she took her cue about the pace from Doug Taylor,
who obviously knew what he was doing. Despite the
sense of sleepwalking, the scene was over at last.
Good! Farr said. Nice work, Peggy. Fine,
Doug. You both seem to have the feel of the
characters and the situation. But when we do it
again, I want you to make the pace more deliberate.
No need to hurry.
Hurry! Peggy said, astonished. It seemed to
me as if we were playing under water!
Thats because youre used to stage pacing,
Farr explained. On stage, its important to have
some action happening every minute, because you
140

141

count on your body to convey the message. Subtle

expressions cant do anything for you in the theater
beyond the first row or two. But in the movies, you
have the camera full on your face, and the slightest
flicker of an eyebrow registers even in the back of
the house. We can take all the time we need to put
an emotion across. And, of course, the final timing
and pacing are done in the cutting room. Now, lets
do it again.
This time, Peggy kept Farrs advice in mind, and
although they were playing even slower, it didnt
seem so slow. She was aware of her face now, in a
way that had never been necessary, or possible,
when she had played on the stage. And because each
little move of a feature, each look, frown, motion of
an eye was acting, Peggy did not feel that minutes
were floating by without anything happening.
When it was over, Farr corrected only a few
things, suggested changes in direction of walk, turn
of body, inflection of a line, then called Places!
again.
This time well print what we get, and call it a
test, he said. I think weve done enough on this
bit, and I dont want to run it till you get stiff and
awkward. Cameras! O.K.! Roll!
The third run-down found Peggy a lot more at
ease. She was able to concentrate less on herself and
her own reactions, and more on Taylor. She was
142

playing to him, and not to the camera. In fact, she

wasnt really aware of the lenses and the lights at all.
In what seemed to be no time, Farr called, Cut!
and the scene was over.
All right, kids, you can go now, he said.
Peggy, Ill have a rush print of this made up today,
and Ill be able to see it either tonight or in the
morning. Ill get in touch with you tomorrow
sometime. Thanks for coming.
He turned briskly and left.
Taylor said his good-bys to Peggy and Gillian,
formal as always. As he started away, he paused and
added, You did that very well. I was surprised.
Peggy was furious. Overwrought and nervous,
she was close to tears as Gillian led her back to the
wardrobe to turn in her costume.
It was not until some time later, when she
emerged from the makeup department, that she
thought to look at her watch. It was one-thirty. She
was already half an hour late at the Playhouse, and
wouldnt be able to get there at all until after two
oclock! She practically ran to Max Gillians car.
Im sorry, he said, but what could I do? I was
sure I could get you back there on time, but I didnt
know that Taylor would be late, or that Farr would
want to give you such a slow-playing scene. Cmon.
Ill get you there as soon as I can.
I dont even know if theres any use in hurrying
143

now, Peggy said gloomily. You know how Henry

Berger feels about promptnessand about movies.
It wont be any excuse at all to tell him that I was
delayed with a screen test.
Dont give it a second thought, Gillian said
breezily. I dont think youre going to need that
Playhouse job at all. If Im any judge, you did darn
well in your test, and youre going to be working in
the movies in a few days. Whats the Playhouse
compared to that?
The Playhouse is a job in the hand, Peggy said.
And the movies are two in the bush. Thats what
the Playhouse is!
Gillian drove as swiftly as he was able, but that
wasnt much in the Los Angeles midday traffic. It
was almost two-thirty when the big white
convertible pulled up in front of the Playhouse.
Peggy ran in to the theater, Gillian at her heels. The
cast was already on the stage, and the first rehearsal
was well in progress. The first thing that Peggy saw
was that another girl was reading her lines. The
second thing she saw was Henry Berger, rising from
his seat and walking purposefully toward them, his
expression set.
Im sorry, he said, but we dont allow visitors
at our rehearsals.
All right, Gillian said. Ill go. I was just
bringing Peggy, and I wanted to explain what held
144

us up.
I dont really care what held you up, Berger
said. And when I said visitors, I meant Peggy, too.
Peggy, Ive reassigned your part.
Butbut, really, I
Berger cut her off. I am sorry, he said,
sounding as if he meant it. Youre a good actress,
Peggy, and I hate to lose you, but Im afraid that I
cant have you working with us. You cant be
counted on. Your mind isnt on this place or this
play. And I have no idea when you might be leaving
us to work for the cameras. If I did let you stay on,
what guarantee would I have that youd be with us
on opening night? Or the week after? No. Ive made
my decision, and it wasnt an easy one to make. Its
been nice knowing you, and if you ever want to
work with uswholeheartedly, I meanIll be
happy to see you again. Now, if youll excuse me, I
have to get back to work.
Through her tears, Peggy was aware for the first
time that the action on stage had stopped as soon as
Berger had walked back to talk to her. The actors
were all standing at the apron of the stage, watching.
Not knowing what to say, Peggy said nothing.
She turned silently, and left, an equally silent Max
Gillian beside her.

145

XV
Two Telephone Calls

The next day Peggy lay late in bed wondering,

waiting for the phone call that would tell her she had
a role in the movie. Surely, this visit to the West
Coast could not turn out to be a total failure. She had
had so much luck in the past. She was used to luck.
But in the back of Peggys mind, there was the
nagging thought that the odds had caught up with
her, and that it was at last her turn for the stroke of
bad luck that comes to every performer.
The phone did not ring through her solitary
breakfast. It did not ring when Peggy did the
washing up. It did not ring during the long, slow,
careful house-cleaning that she undertook in order to
pass the time.
Peggy asked the girl in the next apartment to keep
her ear cocked for a call while she went for a walk.
She walked. She read a book. She walked again.
And still the call from the studio did not come.
When, at four oclock, the phone did ring, it was
146

not a call from the studio at all. It was Max Gillian,

and he did not sound quite right.
Peggy? This is Max Gillian. I have some news.
Peggy knew, as soon as she heard his voice,
hollow in the instrument and robbed of its usual selfconfidence, that the news would certainly not be
good.
Im afraid that Farr doesnt want you for this
picture.
I see, Peggy said slowly.
No. I dont think you do, Gillian replied. He
liked your test. Everybody at the studio liked your
test. They all think that youre a fine actress. And
you photograph perfectly. They definitely want to
use you laterbut not for this picture. Farr says that
he doesnt think youre right for it. Its too
unglamorous, too tough a picture. He wants to save
you for a more slick rolea bright, big city comedy,
maybe. He says hes got something coming up in a
couple of months that hes sure you can work on,
but
But he doesnt want me now. And neither does
Henry Berger. And what am I going to do for the
next couple of months? Sit around and
Now, now, Peggy. Farr isnt the only director on
the lot. And Continental isnt the only lot. This was
just the first try, thats all. Look, Gillian said,
well just pick up where we left off before this test.
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A little more publicity and a few more contacts, and

well have you lined up for something else again
real soon.
Peggy answered quickly, No. No more publicity.
No more of those dates with Doug Taylor. If I cant
get an acting job without all that, Im going to pack
up and go back to New York. Im sorry, Mr. Gillian,
but I just wont do it any more.
Peggy, I understand, Gillian said soothingly.
Youre just disappointed and overwrought. Lets
talk about it tomorrow. Im sorry I even mentioned
it. Just get
I know, Peggy said wearily. Just get a good
nights sleep, and everything will be all right.
Right! Gillian said. How did you know I was
going to say that?
Its the password, Peggy said. Good-by, Mr.
Gillian. Ill talk to you tomorrow.
She replaced the phone feeling empty and weak
and tired and sick of the whole movie business, but
also strangely elated. She was almost sick of acting.
Maybe she should have finished college as her
parents had wished, Peggy thought. Maybe she
should have stayed home in Rockport, Wisconsin.
She could have become a drama teacher like her
friend Jean Wilson. Or she could have bred horses,
which was a strong childhood ambition. Or she
could have just settled down to a plain ordinary
148

lifea life that didnt include handsome, distant

young movie actors, publicity-seeking agents, angry
directors. . . .
But of course, she thought, thats not right at all.
Ive had a wonderful life in the theater so far, and I
will again. Just because things havent been good
here and now, doesnt mean that they wont be good
again. And once more, she was conscious of that
strange sensation of elationonly stronger this time.
Whats the matter with you, Peggy? she asked
herself in wonder. Youve just been fired from one
job. The first time in your life youve really goofed
up something you cared about. Youve been fired!
And that hurts. And now, youve just been told you
cant play a serious role. And here you are, feeling
happy. Whats the matter with you?
It was true. Under the gloom, deep inside, Peggy
was happy. Happy as she hadnt been since the
closing notice had been posted on the set of Winters
Endweeks ago, ages ago, back in New York.
Suddenly, Peggy knew the answer. Shed been
fired at the Playhouse because shed been late for
rehearsal. It was simple, clear. She had goofed. And
she hadnt gotten the movie part because Max
Gillianwith her cooperationhad created a public
image of her as a glamor girl, not an actress. She
knew where shed gone wrong. That was why she
was happy. It wasnt like when Winters End closed.
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Then, she hadnt known what shed done wrong.

Suddenly, Peggy knew she hadnt done anything
wrong. Her friends, she herself had said that before,
but Peggy hadnt felt it. Now she knew. Winters
End was a beautiful play; she had played well, so
had everyone else. It had closed because the
audience wasnt ready for it. That was all.
Knowing this, knowing where she had made
mistakes and where she hadnt, she could make
decisions againlike no more publicity dates. It
was the not knowing that had made her so wishywashysuch an easy victim of Max Gillians
assurances that he knew best. Well, Max Gillian,
and Mr. Meredith and yes, even in a strange way,
Alison Lordhad been running her life for too long.
Peggy was happy because she was in charge again!
When Maggie came home to find Peggy singing
and starting to prepare dinner, she thought that good
news had come from the studio. When Peggy told
her what actually had happened, she was amazed at
the cheerful behavior of her friend.
Its no use being gloomy, Peggy said, or
looking at the hard facts of life. Ive been a lucky
girl in the past, and Im sure that Ill be lucky again,
so why should I let this one setback put me in a bad
mood?
That makes sense, Maggie agreed, but does
this attitude also entail a loss of memory? I see
150

youre washing vegetables. Do you plan to take

them to the Andrewses or do you just like to wash
vegetables?
Oh! Id completely forgotten! Peggy said,
dropping a head of lettuce in the sink. Maybe I just
didnt want to face them and tell them that Ive lost
two jobs in two days. Oh dear! What time is it? Will
we be late?
Dont worry about it, Maggie said. Just get
dressed. We have almost two hours to get there, and
I can borrow a car tonight, so we wont have to
suffer one of those endless bus rides. Lets go!
When the girls reached Eagletop, the
Andrewses home, Mr. Andrews received them
alone. I cant tell you how glad I am to see you, he
welcomed them. It gets a little lonely, playing
bachelor, when youre used to a family around.
Paulas mothers gone to join her on location, and
Im deserted. Theyre due home in two weeks
though, and theyll be eager to see you.
Peggy had met Mrs. AndrewsStacy Blair, the
Stacy Blairwhen Paula had worked at the
Penthouse Theater in New York. Now, she inquired
if mother and daughter were working in the same
film.
No, said Dean Andrews, smiling. Paula still
isnt entirely sure that her mothers very presence on
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the set isnt using influenceand you know how

she feels about that. But since this pictures so
nearly finished, she did okay her mothers visiting
her.
He led them into a wide entry hall, through a
living room that seemed to be built almost entirely
of glass and sky, and out onto a broad terrace that
overhung the valley. Below themfar belowthe
lights of Los Angeles made bright patterns in the
blue dusk. Far off in the distance where the sunset
reddened the sky, a streak of Pacific water gleamed.
Lets sit here, Mr. Andrews said. Dinner will
be ready in a few minutes. Now, Peggy, tell me just
whats troubling you.
No longer feeling sad about it, Peggy told him
matter-of-factly what had happened since her arrival
in Hollywood, starting with the first meeting with
Max Gillian and not stopping until she had
described the phone call of a few hours ago and
Owen Farrs decision not to use her in his current
film.
I cant quite understand it, Mr. Andrews said.
Gillian seems to be handling you as if you werent
an actress at all. What hes doing is the sort of thing
one does for a pretty girl with no talent who wants to
get into movies on her face alone. Its not right
and its not necessaryfor you. I think Farr must
have gotten the idea from Gillian that you werent
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much good, and hes waiting for a glamor role to fit

you.
Thats about how I had it figured, Peggy said
quietly. But what about the screen test? Wouldnt
that show what I can do?
Not really, Dean Andrews said. The test is
designed mostly to show how you look on film
and how you take direction. You didnt get a chance
to study a whole script, did you? If all you got was a
bit, then you cant have done much real acting.
Youre quite right, Peggy said. I just did what
Mr. Farr told me to do, and I really didnt
understand why I was doing it. So I had no chance
to act.
Mr. Andrews sunk into a thoughtful silence,
leaning on the terrace wall and watching the last of
the sunset being swallowed up in the spreading dark.
Suddenly he stood upright. Excuse me, he said.
Ill be back in a few minutes.
You see, Peggy said, when he had left, Max
Gillian wasnt handling me right! But what bothers
me is that it may be too late now to correct the
impression weve given of me. I just hope that Mr.
Andrews has some definite ideas about how to do
it.
From what Ive seen of him, Maggie replied,
hes the kind of man who has definite ideas about
everythingand Ill bet that theyre usually good
153

ones. Lets see what he says when he comes back.

The wait was not a long one, but by the time
Dean Andrews returned to the terrace, it was fully
night. The last traces of sunset had left the western
sky as the sun dropped suddenly into the red Pacific.
Peggy, Andrews said as he sauntered out onto
the terrace, Ive just talked to Owen Farr.
You know him? Peggy said.
For a long time. And he trusts my judgment. I
was right about why he didnt take you on. He
thought that he could do well with you in an
undemanding part, but he didnt think that you
would be good for a real character study. Not on the
basis of the tests. He said they were good. He was
judging by the publicity, and by Doug Taylors
attitude toward you.
But what can I do about it now? Peggy asked.
Do the best acting job of your life in this
movie, said Dean Andrews, grinning.
What! exclaimed Peggy.
Farr is willing to take my word for it that youre
an actress, said Dean Andrews, but he doesnt
want you to play opposite Taylor. He feels that
theres some kind of strain between you, and hes
afraid that it would come across in the film. They
picked some other unknown today for the role. Im
sorry, Peggy, he said softly. However, Farr does
have a partnot a big onebut it will give you
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camera experience. He said this girl is the frontier

version of Cinderella, but without the fairy
godmother to help her along. So I gather its a
character roleand maybe not too pleasant a
character. I think he thinks hes going to use it to
knock the glamor ideas out of your head.
But I dont have any
I know, Peggy. But Farr doesnt. Dont argue
with him about it. Just show him.
What kind of part is it? Peggy asked.
Well, I dont know the story, Mr. Andrews
said, so I cant tell you too much more. Farr
emphasized that its just the opposite of glamor. But
let him tell you. Youll find out soon enough.
I dont feel quite right about this, said Peggy. I
feel as if Id used influenceyour influence.
You young girls are all alike, said Dean
Andrews, shaking his head. Paula went through the
same thing. But surely, you dont doubt your
ability? he asked Peggy. Everything youve done,
youve done on your own. There hasnt been any
influence. Is that why you didnt call uswhen
you first got to California? I thought as much. It
isnt too easy to be someone who has influence
either, you know. But Peggy, you surely dont think
Id recommend you for this part if I didnt believe
you could do it. And you dont think Owen Farr
would give it to you if he didnt at least think he
155

could work you into being an actress. Let him have

his fun, said Dean Andrews, grinning at the
prospect, and dont worry about influence.
Nobody can influence you into a good
performance, only you can do that. Now just report
to the studio tomorrow for a full copy of the script
and study it. Shooting starts on Monday.
Monday! Peggy said. But thats only five days
off! How can anyone learn lines in that short a
time?
Maybe Maggie can tell you, Dean Andrews
said. Shes been out here for a while now.
Maggie nodded. The kids at the Playhouse say
movie techniques are a lot different from stage,
Peggy. You never have to run through the whole
thing. They do one little shooting at a time, and what
they call a scene, we wouldnt even call a bit on
stage.
Im sure youll get used to it, Mr. Andrews
said. And I hope that you have a lot of chances to
get used to itin film after film! Now, lets go in
and have a victory dinner. I think we have
something to celebrate!

156

XVI
Roll Em!

Everything seemed in chaos on the set of

Homestead. Peggy wandered about in confusion,
waiting for someone to tell her what to do, while
everyone else apparently knew exactly what was
expected of him.
Grips moved purposefully with hammers, lengths
of board, tables, chairs, pictures in frames, lamps,
buckets of paint, rolls of wallpaper.
Electricians eyed the dazzling array on the pinrails and catwalks with appraising glances, then
hurried off to make changes in switchboards, wires,
connections, spots, floods, and reflectors.
Cameramen shouted mysterious instructions to
other cameramen who bent behind dolly cameras or
rode on the giant crane cameras.
In the middle of it all, Owen Farr stood with a
group of three other men who, Peggy later learned,
were the two writers, and Alden Price, the producer
of Homestead. He seemed to see everything, while
157

at the same time he was carrying on an animated

discussion with his associates. Regularly, he would
excuse himself to shout instructions to a cameraman
or an electrician or one of the grips, then would
rejoin the conversation.
Peggy tried hard to keep out of everyones way
not an easy task on a crowded sound stage. She
looked at the various sets that stood at peculiar
angles to one another, but was unable to figure out
how they were to be used and why they were so
scattered about.
What puzzled her even more was the fact that, on
this first days shooting, there was no set that even
remotely resembled the start of the action.
Homestead began, according to her script, on a
street in Kansas City, where the family, of which she
was a member, was packing its belongings into a
covered wagon, getting ready to start across the
plains to find new land. There was no sign of a set
looking like a street in Kansas City, nor was a
covered wagon anywhere in sight. How could they
start the picture, she wondered, if sets werent
ready?
A girl dressed rather like Peggy herself, in plain,
old-fashioned clothes, with her hair pulled back in a
severe knot, came over to her.
Im Marion Firth, she said. Im an extra. You
too?
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No, Peggy said. I have a speaking part. Im

Peggy Lane.
The girls eyebrows went up. A speaking part?
Wonderful! This is my sixth picture, and I havent
had a chance to say a word yet! How many have you
done?
None, Peggy said. This is my first time on a
sound stage, except for an empty one I saw last
week. But Ive acted on stage before.
Oh. Then that explains it. I havent. I came right
out here to get into movies. Maybe I should have
tried the stage, too, but I havent really got any
talent. She paused. The reason I thought you were
an extra is because youre dressed the same as me
andand you looked so confused.
Peggy laughed. I am confused, she said. For
instance, where are the sets for the first scenes? How
can we get the picture started today, if they dont
have them ready yet?
Marion smiled. Most directors dont do a movie
like a play, you know. I mean, they dont start at the
beginning and finish at the end. Some of them do,
but Owen Farr isnt one of them. It isnt economical.
Hes going to shoot all the indoor scenes here in the
studio, and then well go on location to shoot all the
outdoor scenes. If the picture starts outdoors and
ends indoors, hell shoot the end and the middle first,
and then finally get around to the beginning.
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Butbut Peggy almost sputtered, how does

he expect the actors to get the pacethe flowof
the action that way? How can we build a mood
when nothing leads into anything else? How can I
develop a character when I have to start with her
already developed, and then work backwards?
Oh, thats the directors job, not yours! her new
friend said. You just do as he tells you, and youll
be amazed at how it comes out when its all put
together.
No wonder so many actors who really cant act
have made successes in the movies, Peggy said
wonderingly.
Thats just it, Marion Firth agreed. In fact, I
often wonder if knowing how to act doesnt get in
your way more than it helps you. At least I hope so,
cause I dont have the least idea of how to actbut
I can do what the director tells me!
At that moment, Peggy heard a loudspeaker
crackle, then Owen Farrs voice. Extras! Places,
please!
What places? Marion said. He does have to
tell me what to do before I know how to do it!
Square dance set! Farrs voice rang out.
Thats it! Marion said cheerfully. See you
later. And she was off in a flurry of long skirts and
petticoats.
Principals and supporting cast over to me,
160

please, the loudspeaker squawked. And Peggy, too,

was on her way.
Farr, the chief cameraman, several assistant
cameramen, Joanna from the makeup department, a
script girl, an assistant director, a writer, and a few
unidentified people were grouped about the square
dance set. As Peggy approached, she saw Doug
Taylor, Alison Lord, and two or three other people
join them. Alison Lord was playing the role opposite
Doug, the one for which Peggy originally had
hoped. Peggy had learned about it the day she
picked up her copy of the script.
This morning, Alison greeted her pleasantly.
Alison, being Alison, didnt waste energy on
unpleasantness to no purpose. Peggy had learned
last summer at Lake Kenabeek that when Alison had
what she wanted, she behaved quite like other
people. Today, she had what she wantedthe role
opposite Doug Taylor.
When the cast had all assembled, Farr welcomed
them and gave them a few hints on how he would
like the scene to be played.
Not broad, he said. This isnt a Western, even
though its set in the West. Im trying to get inside
these people, not just trying to make pretty or
exciting pictures out of them. I want you to keep
your gestures to a minimum. Work with facial
expressions and vocal intonations. Be a little stiff.
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Remember, youre not broad, Western-movie

characters. Most of you are New Englanders, and a
few are Southerners, who just happen to find
themselves on the Western plains. Youre out here
trying to turn raw land into farms. That means
youre farmers. Not cowboys. So dont let those
costumes fool you.
Then Farr seemed for a minute to be talking to
Peggy alone.
This isnt a glamorous setting. These arent
glamorous people. Theyre hard-working, poor
farmers. They five most of their lives with dirt and
animals and drudgery. And even the town belle
here he turned his attention to Alisoneven the
town belle is a girl who makes her own clothes and
bakes bread every day and chums butter and feeds
the chickens. In short, youre a tough, small-town lot
of people, trying your best to build your farms and
your town. Understand?
Everyone nodded or murmured a few words of
agreement.
Farr then went on to outline the square dance
scene, during which Peggy had a few lines and a
minute with the camera. She paid close attention as
he told her how to act as a wallflower.
Youre not to look as if you wanted to dance,
and as if nobody was willing to dance with you.
Youre to look as if you wouldnt dance, even if the
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handsomest man in the place were to ask you. But at

the same time, I want the audience to know that
youre lonely, and that you would really love to be
asked. Is that clear?
Although Peggy thought it was probably the most
confusing stage direction she had ever heard, she
nodded that it was clear. Then the shooting began.
They worked over the same material for most of
the day, shooting and re-shooting until Farr was sure
that he had gotten what he was after. Then he began
work on another scenea scene in which Peggy had
no part. But she did not leave. She wanted to watch
everything. It was important to learn just how Owen
Farr worked with his cast and how things were done.
There was nothing that she let go by unobserved.
The scene she was watching was a conversation
between Doug Taylor, playing the son of a large
landholder, and an actor named Tom Warden, who
was playing the part of a homesteader whose
property adjoined Taylors. They were arguing
about the use of fences. Both men played their parts
with considerable force, especially in the early takes,
and Peggy thought that their acting was quite
effective. She was surprised, therefore, when Owen
Farr asked them to play it again with more restraint.
They cut back on the action, and did it again with
less show of emotion and hostility. Peggy thought it
rather flat, but Farr seemed more pleased. He kept
163

them at it, each time making the exchange more

reserved and less exciting, all the while altering his
camera angles and asking for more close-ups.
When he finally had a take that he approved,
Peggy was sure that he had made a mistakeor that
his judgment was not as good as his reputation. The
final playing of the scene seemed to her to be almost
muttering, and the tension and conflict between the
two men had disappeared entirely.
Peggy was conscious of Marion Firth standing
beside her. She must have been there for some time,
watching the shooting.
Wonderful, isnt he? she said in admiration.
Who? Peggy asked.
Mr. Farr, of course! He has such restraintand
such taste! That ought to look great on the screen!
Peggy was astounded. Butbut you should have
seen it at first! she protested. It was so alive! You
could feel the electricitythe tensionbetween
Taylor and Warden. But by the time he got finished,
it was as dull as white bread and milk!
Wait till you see the screening. Marion smiled.
Youll think differently then. I did see the first
takes, and they were just awful! The men were
waving their arms and shouting and making faces
all the things you do on the stage. This last take was
pure motion picture acting. And youll feel all the
more tension because by the time he had Taylor and
164

Warden do it for the tenth time, they were both so

keyed up that they were ready to scream. With that
kind of nervousness, and the necessity of speaking
quietly and without gestures, the audience will feel
as if its been put through a wringer!
I think I see what you mean, Peggy said slowly.
Then she laughed. And you say you dont know
anything about acting!
I dont, her new friend assured her. But I do
know something about movies by now, or I
wouldnt be worth much, would I? I just said I was
untalentednot stupid!
I feel like the stupid one, Peggy admitted, but
I think Ive learned a lot today. Thanks to you.
Oh, this is only the beginning. Marion smiled.
Youve got a long way to go before you really
understand what it takes to make a movie.
At that moment, Peggy heard Owen Farrs voice
once more on the loudspeaker. Thats it for today!
he called. But before you go, I want to tell
everyone what a fine start I think weve made.
Actors, extras, grips, electricians . . . everybody. I
think were going to be a real team, and turn out a
really fine picture. And if we keep going at this
pace, were likely to do it in record time. According
to my guess, weve shot about three minutes
todayand as you all know, thats a lot! Especially
for a first day. Thanks again. See you all tomorrow
165

at seven-thirty. And get . . .

And get a good nights sleep, Peggy finished with
him.

166

XVII
Between Takes

If Peggy ever had harbored any glamorous ideas

about the life of a movie actress, they would have
been gone by now. The past two weeks had been the
busiest, hardest-working time of her life, full of
concentrated work, followed by exhausted sleep.
The studio day began at seven-thirty in the
makeup department. Joanna and the other girls knew
exactly, by formula, what each girl was to get, and
went at their work like factory hands at an assembly
line. By eight-thirty, Peggy was finished and
costumed and on the set.
Shooting began immediately, and continued until
lunch, a short break of from thirty minutes to an
hour. After lunch, shooting continued until the days
schedule was completed. Farr, for budget purposes,
was trying to stick to a six and one-half hour
shooting schedule each daywhich meant that
rehearsals could continue far into the evening while
Farr prepared his cast for the next days shooting.
167

Peggy was rarely home until after eight oclock.

On two or three occasions when Farr was not
satisfied, the cast was kept working until after
midnight.
There was no time for social life. There was
hardly time to talk to Maggie. Often, in the middle
of a conversation with her friend, Peggy would drift
off to sleep.
Only on the weekends did Peggy get the rest she
needed. This one, the second weekends respite she
had had from the busy world of Homestead, she
slept until noon. When she lazily opened her eyes
and saw the clock, she jumped out of bed with a
guilty start, thinking it was one more working day.
Then, with a flood of relief, she remembered it was
Saturday, stretched luxuriously, and thought happily
about a shower.
Do you want breakfast or lunch? Maggie
grinned, as Peggy emerged from the bedroom.
Both. Peggy yawned. In fact, I think I can eat
everything we have in the refrigerator, including the
ice trays!
You take a shower while I fix us a nice mess of
fried eggs and ice trays. With ketchup, Maggie
said.
The shower made everything come alive, and to
help it, Peggy could smell the lovely scent of frying
bacon and percolating coffee. She dressed hurriedly
168

and reached the table just in time to take the toast

out of the toaster. Maggie put down the loaded
plates and went back for the coffee.
Youre having breakfast with me? Peggy said.
I would have thought youd have eaten hours ago.
No. Im almost as bad as you, Maggie said. I
only got up a half hour before you did. On top of
doing my shows, Ive rehearsed every single day
this week. Im dead.
Wow! Is Henry Berger making a movie out of
the play?
Maggie laughed. No, its just that time goes
faster than you think. Were getting ready to open,
and you know the kind of rush that always brings
on. Besides, hes still got four groups going at once,
which makes it a whole lot harder. I often wonder
how he does it all.
Hes like Farr, Peggy commented. I guess its
something that all good directors have in common
this driving energy. They need it, and a lot of it,
because they give so much away to their actors
every day. Ive never seen anyone work like Owen
Farr before, and if I hadnt seen it, I wouldnt have
thought it possible.
He cant be working any harder than you,
Maggie said.
He sure can, Peggy replied, and he does it
every minute of the day. At least I have time to do
169

nothing but stand around and watch when Im not on

camera, but Farr has to have his eyes on everything
all the time.
For a moment they ate in silence. Then Maggie
looked up from her plate quizzically and asked, Are
you getting along any better with him?
I think so, Peggy said thoughtfully. I think he
still has the wrong idea about the kind of person I
am, but at least Ive shown him that I can act.
Yesterday he gave me my first real compliment,
after a particularly hard scene. It was a kind of
grudging compliment, but he meant it all the same.
And how about your boyfriend, Doug Taylor?
Peggy looked stern. Maggie, Im not going to let
you tease me into a spat by calling him my
boyfriend! You know very well how Doug Taylor
feels about me.
Oh, no, Maggie protested, I can only guess
how he feels about you from what youve told me.
And from what I saw that day on the beach. But I
have a slightly better idea of how you feel about
him. Even if you wont admit it.
No comment, Peggy said.
Admit it, Maggie pursued. If he were to show
some interest in you, dont tell me that youd chase
him away!
Maggie, I dont think about Doug Taylor at all,
Peggy said quietly. He seems to be a nice person.
170

Hes intelligent and hes a gentleman and hes very

handsome, but our relationship was never anything
more than a business one. And thats the way it is
now. We say hello very politely when we see each
other on the set, and thats as far as it goes.
But as she was saying this, Peggy was thinking
that it was not entirely true. She was interested in
Doug Taylor, she knew, and it was not easy to
consider the fact that he was so coldly polite to her.
In fact, the only time that she had ever seen him
exhibit any enthusiasm or warmth with her was the
day when she told him that the dates would stop.
But really, it was a pleasure, he insisted.
But Peggy could see that he was relieved, and
that his new cordiality came from the sense of relief.
This had so wounded her pride that, she
considered, it might even be her own fault now that
their relationship continued as it had. Still, there was
nothing to be done about it. Taylor and Owen Farr
still obviously thought of her as they had on their
first impression, and that was that. The only way to
show them that they were wrong was to stay out of
their way as much as possible, and at the same time
do the best acting job she was capable of doing.
Sensing that she should not have teased her friend
on the subject of Doug Taylor, Maggie was trying to
change the conversation.
Theres a beach party tomorrow night, she was
171

saying, as a sort of farewell to A Comedy of Errors.

In case youve forgotten, tonight is my last
performance as Luciana! Next week, its Too Little,
Too Late. Anyway, youre invited to the party. Its
Sundayso for once, the whole Playhouse can
come.
Id like to, Peggy said, but Id be
uncomfortable, and I think Id make the others
uncomfortable too.
Nonsense, said Maggie. Henry Berger asked
me specifically to ask you to come.
Henry Berger invited me? said Peggy,
beginning to be tempted.
Maggie nodded encouragingly.
I dont know, said Peggy. Im afraid Id make
it awkward for the others. I just havent done very
well at making friends here.
Nonsense! said Maggie. You make friends
wherever you go.
Not here, Peggy said gloomily. I seem to have
gotten off on the wrong foot, and no matter how
hard I try, I cant get back in step.
How about the rest of the cast at the studio?
Maggie asked quickly.
Theyre okay, Peggy said without much
enthusiasm. Ive made one friend. Marion Firth.
But we dont get to see each other much. Alison
Lord isnt rude, but she doesnt really like to have
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me around. I think shes stuck on Doug, and she

probably saw some of those pictures in the papers.
She knows we dont go out together any more, but I
know she still thinks of me as some kind of a rival.
What with her attitude and Doug Taylors and Owen
Farrs, I havent been able to make much headway
with the people who have speaking parts. Its only
with the extras that Ive made any friends at all.
And whats the matter with extras? Maggie
demanded.
Oh, Maggie! You dont think that Ive gotten
any of the class system ideas into my head, do you?
Theres nothing the matter at all, except that their
work usually keeps them away from where Im
working, or in the background. We dont have much
time together, thats all. But Im so busy most of the
time, I dont get a chance to feel lonely. Just on
weekends. Like now.
Well, Maggie said firmly, I think its a whole
lot better to feel lonely with people around than
when youre alone. So youre going to come to that
beach party tomorrow, and youre going to march
right to that telephone and call Paula Andrews. I
talked to her Tuesday and said youd call her right
back, and here it is Saturday.
But, Maggie
No buts! I think everybody at the Playhouse
understands what happened, and nobody holds it
173

against you. Theyre really a nice gang. And you

certainly have no excuse for not calling Paula.
Peggy started to protest again but stopped herself.
She really had no reason not to call Paula, and, even
if Maggie was wrong about the Playhouse members,
it was time she, Peggy, faced up to herselfand
everybody else. There was no sense in hiding from
people.
All right, she said. Ill call Paula and hope
shes free sometime this weekend. And Id love to
come to the party. Even if everybody is perfectly
horrible to me, I can still have fun walking along the
beach.
Paula was free, and she invited Peggy and
Maggie to brunch the next day. The girls arrived to
find that Sunday brunch at Eagletop was a local
institution, with what seemed like half the celebrities
in Hollywood wandering in and out. The friends
enjoyed a happy reunion and excused themselves
from the company long enough for an hour of girl
talk in Paulas room.
When it was time to gothey had to change to
less formal clothes for the beach partyPeggy and
Maggie left with Dean Andrews and Stacy Blairs
parting words to come any time and dont wait
for an invitation and everybody we know just
drops in on Sundays ringing in their ears.
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And at the beach party, nobody was perfectly

horrible. In fact, they all seemed happy to see Peggy
and welcomed her as if she had been an old alumna
of the Playhouse. Nobody even referred to the
circumstances of their last meeting except Henry
Berger.
Hows the film coming? he asked, genuinely
interested.
Okay, I guess, Peggy replied, a little shyly.
I envy Owen Farr, said Berger, smiling. Hes
going to get the credit for developing you into an
actress, and Id have liked the privilege.
He studied Peggys astonished face.
Oh, yes, he said, still smiling, directors
compete over discovering and developing new
talent.
Maybe, Peggy began hesitantly, when this
film is finished, I could
Good, interrupted Henry Berger. Our alumni
frequently come back to take special roleswhen
they have time to concentrate on their acting. There
was a twinkle in his eye as he spoke. Maybe I
taught you something after all, he finished.
Peggy nodded gratefully. That neither Inor
anybody elsecan give everything I have to two
things at once.

175

XVIII
A Lively Ghost Town

Things were a lot better. Peggy had been right in

thinking that the beach party would be a turning
point for her. Perhaps it was only her own changed
attitude that made the difference, but whatever it
was, the effects were immediately noticeable.
In the last week of studio shooting, Farr had been
much kinder with Peggy than ever before. He still
used an odd, sardonic tone of voice with her, but
what he said was good. He obviously realized that
he had hired a better actress than he had thought,
and he was pleased both with Peggy and with
himself. He spent more time with her, discussing the
motivations of the characters and the reasons he had
for telling her to do a thing one way instead of
another. And with each such discussion came new
understandingwhich in turn led to better acting.
Doug Taylor was still somewhat distant, but
Peggy could see that in her scenes with him, they
were working better together. He treated her with
176

more professional respect now, and Peggy secretly

hoped that this would extend to a better relationship
off camera as well.
In short, she was happier now with her work, and
the results of the happiness showed. Now she was
not so tired as she had been, even after a late nights
work. She would come home full of enthusiasm for
the picture, admiration for Farrs direction, little
amusing stories of things that had happened during
the day and, in general, an air of new selfconfidence.
But her enthusiasm was never greater than tonight
as she dashed up the stairs and into the apartment.
Maggie! Guess what! Were through with the
sound stage part of the work! Were going on
location tomorrow!
Tomorrow? But I thought you werent due to go
for at least another week!
Thats what Owen Farr thought, too, but hes
gotten some rewriting done. He feels that the picture
will get out of balance if we spend any more footage
on indoor shots. Its time to get out into the great
open spaces! Some of the scenes that were supposed
to be indoors have been dropped, and others have
been relocated to barnyards, porches, streets, and
other places. I can hardly wait to go!
Where is location? Maggie asked.
Its a little piece of noplace in Nevada. Theres
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no town there at all, really, except a kind of ghost

town that the studio owns. Theyve fixed it up for
shooting, and they say its the most authentic
Western set ever built. None of the modern
conveniences!
Thatll be nice, Maggie said sarcastically. And
will you sleep in covered wagons, too?
Oh, it wont be that bad! No, theyve got trailers
fixed up as dormitories, and well live in those. Im
sharing one with three other girls, which is very
luxurious. The men are sleeping eight to a trailer!
But maybe Ill buy a sleeping bag, too, just in case I
want to sleep under the stars, Peggy said jokingly.
Theres that healthy Midwest girlhood of yours
coming out again, her friend said. I wouldnt sleep
under the stars for anything, even though it does
sound romantic. I tried it once, and all I slept under
was a hundred mosquitoes and about a foot of rain
water. But go ahead. And I hope you enjoy it.
Im bound to! Peggy said. And the best part is,
were bringing loads of horses with usfor the
picture, of course. But Ive talked to their trainer and
told him I ride, and he said it would be all right for
me to take one out once in a while! I know that
doesnt sound like much to you, but it means an
awful lot to me. I can hardly wait!
Maggie looked at the clock. You wont have any
time to wait. Look at the hour! Its almost eleven,
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and you have to get all packed and set to go before

morning. Youd better get started now.
Thats another good thing, Peggy said. I
hardly have to pack at all. Im going to take maybe
one good dress and not much else. The rest is all
costumes, and the studio takes care of those.
Does the studio take care of toothbrushes and
personal makeup and bathrobes and nightgowns and
slippers? Or sweaters for the cold evenings? Or
Okay! Youve convinced me, Peggy said
laughing. Im afraid I did make it sound a lot
simpler than it really is. Come on, lend me a hand,
and maybe we can get done in a hour.
The two friends worked with a will, singing and
laughing and chattering all the while as they selected
and rejected, folded and packed. By the time they
were through, the simple handful of things that
Peggy had at first envisioned had become the
contents of two well-stuffed suitcases. And it was
one-fifteen in the morning.
Here goes another sleepy day, Peggy sighed.
The bus leaves the studio at nine tomorrow, so that
means I have to be up by seven. She yawned
expansively. Lets go to bed. I have a lot to dream
about!
The next day found Peggy still dreaming, though
apparently wide awake. She sat up in the
comfortable reclining seat of the big air-conditioned
179

bus in order to get the best possible view from the

broad window next to her. There did not seem to be
much to see, unless you happened to be looking
through Peggys imaginative eyes.
They had left the last orange groves of California
far behind, and were speeding down the wide,
straight ribbon of highway that cut through the
desert on either hand. As far as the eye could see
was a great, flat expanse of sand, dotted with dumpy
cacti and long-armed yucca trees, tufted with
sketchy sagebrush and mesquite plants. Only an
occasional low hill or dune broke the level line of
the horizon. The sun, standing directly overhead,
hardly cast a shadow except for the little pools of
blackness about the base of each plant.
But Peggy saw more than this bleak scene. In her
minds eye she saw the lines of Conestoga wagons
that had fought their hard way across this desert not
so very many years ago. She saw the stagecoaches,
the lone riders, the Indians pulling their loads behind
them on lashed traverse poles. All streamed by her
in her imagination, heading West to the sea, hoping
to find the fertile valleys of their dreams in which to
set up little ranches under broad shade trees, perhaps
by the edge of a clear, cool stream.
How terrible and desolate all this must have
looked to them! They had come from settled green
farms of New England, Virginia, the Midwest. They
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had packed up all they had owned, not in an airconditioned bus that toured a smooth highway, but
in a rough wagon that jounced over unbroken
prairie, struggled up rocky, scarred mountains,
mired down in mud, froze fast in the winter wheeltracks of wagons that had gone before. They had
lived, whole families of them, in these wagons for a
year or more, struggling westward to find a better
home. And, nearly to the sea, they had come at last
on this blazing desert that could scarcely support life
in a few dried and twisted plants.
These were the people whose lives Peggy and the
rest of the cast would be portraying in Homestead.
In the cool, smooth quiet of the bus, it was hard to
believe that they had ever existed. Harder yet to
realize that they had actually carved homes and
farms out of this hostile landor land not much
better, where the orange groves now bloomed. They
had irrigated the land and made it rich and fertile.
They had grown the crops, and the trees, and had
made the clear streams where none existed. These
people had been tough, Peggy reflected, but not
bitter. Even in the face of the worst disappointments
and hardship, they had kept their eyes on their
dreams, and had worked with all the will they
possessed to make those dreams come true.
The film she was working on suddenly had more
meaning for Peggy than anything she had done
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before. To give a true portrait of these people was a

challenge that sent shivers down her spine! She
gazed again out the window, and conjured up from
the desert the ghosts of those pioneers, almost seeing
their seamed faces, their work-weathered hands,
leathery and cracked as their family Bibles, hard as
their rifle stocks.
The bus slowed down with a diminishing roar,
swung to the side of the road, and jounced onto a
rutted dirt path. The sudden jolt and the new
straining sound of the engine brought Peggy out of
her near-hypnotic state. She turned to her neighbor,
a bit player named Arlene Teller.
Where are we? she asked. Are we here?
Not yet, her companion answered, laughing.
We have a long, rough road ahead of us!
Youve been here before, havent you?
Twice, Arlene said. My first picture was shot
here. It was a low-budget Western, and I was an allpurpose extra. I played an Indian girl, and a dancehall hostess, and a housewife-type. I didnt have a
word to say, but I was on camera a lot. The only
trouble was the makeup. It was so good that my
mother wrote that she had seen the picture three
times, but she hadnt been able to spot me. It wasnt
a picture to get discovered in!
Peggy laughed appreciatively. But how about
the second time? Was that any different?
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A little, Arlene said. I had done extra work in

about five pictures, and Owen Farr noticed me. He
gave me a small speaking role in a sort of society
comedy, and that was enough to get me discovered.
I was picked up for a television series, and got to do
six parts out of thirteen segments. Thats a pretty
good record. One of them was shot up here. I played
a mean, scheming lady ranch-owner. You know the
sort of part.
And now youre back with Owen Farr again,
Peggy said. He must think a lot of you.
Arlene grinned. If you judge by the size of the
role I have, he barely tolerates me. But I guess if you
judge by the number of times hes hired me, he must
like me a lot!
Peggy excused herself to look out the window
again. The bus was toiling up a long slope to the top
of what had looked from the highway like a low
dune.
Its a lot hillier here than I had thought, she
commented.
You havent seen anything yet, Arlene said.
This is just the beginning. Behind this hill theres a
long valley, and in back of it is a steep cliff that
marks the beginnings of the Rockies. Thats why
they shoot around heretheres such a variety of
scenery. They have deserts and mountains and
farmed land and rocky badlands all within close call.
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Its quite a place. And of course, they have the

whole ghost town.
Is it very ghostly? Peggy asked.
Wait till you see! Her companion laughed. As
soon as we clear the top of this dune, youll be able
to see it in the distance across the valley.
The bus lurched and jolted. The motor strained
and roared. More than once it seemed that they
would surely get stuck in the loose sand, and Peggy
had unpleasant visions of the busload of girls all
trying to push the monster out of a rut. But still the
bus kept going. Finally it passed through two walls
of rock where the road cut through the top of the
hill.
In just a minute, Arlene said, youll be able to
see it. Down there, to your right.
Peggy gasped. Far below her, much farther down
than she had thought possible, was an immense
valley, floored in gray-green grass interspersed with
patches of yellow and orange sand. It seemed to
stretch on endlessly to the right, but far ahead and to
the left it came to an abrupt end at sheer rock walls,
behind which were the towering mountains. Here
and there about the valley were dark patches of
woods. Far off, beyond one of these patches, was a
cluster of buildings, tiny as dolls toys, grouped
along two narrow streets that made a cross.
Theres your ghost town, Arlene Teller said.
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Right in the middle of a valley full of ghosts!

Peggy added. All it needs is a wagon train and a
herd of cows!
Oh, they have those, too, Arlene said. They
have all the modern conveniences!

185

XIX
A Quiet Ride

In the next few days, the ghosts disappeared for

Peggy in the busy atmosphere of the studios
location town. There was little of the past to be seen.
The main street of the town was filled with camera
equipment, microphone booms, the inevitable wires
and cables strung everywhere, mobile sound trucks,
power-plant trucks, portable dressing roomsa
collection of equipment such as she had never seen
before.
Even the buildings had been converted for movie
use. Many had open backs or sides to allow cameras
to poke their curious eyes inside. Others had
reinforced roofs with places for more cameras. Most
of them had been fully wired to allow for the kind of
lighting necessary for movie-making.
The town street itself was composed of a kind of
mash of sawdust, oakum, and sand, freshly spread
before each shooting to cover the modern tire tracks
that the equipment left.
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But in other ways, the place was real enough. The

deserts were real. The fields and little patches of
cottonwood trees were real. And the horses were
real.
After the first days shooting, Peggy went for a
ride to explore some of the valley, and it was a sheer
delight. Unlike the riding she had grown up with in
Wisconsin, where she had gone down country roads
or through woods, this was open and free. There was
no need to keep to the roads, and she could let the
horse canter or gallop as much as she pleased, only
being careful to keep an eye out for chuck holes or
rough spots.
And out riding like this, she was able to
recapture, any time she pleased, the first vivid dream
she had had of the pioneers who first crossed these
plains. Things were so artificial in the town that she
too easily lost touch with these ghosts, and she
found it more and more necessary to keep that
contact, to help her play in the film.
Peggy rode alone. None of the girls cared to ride,
and the only other cast member who seemed to be
interested in taking the horses out after a hard days
work was Doug Taylor. Peggy would have liked his
company in these fast runs across the plains, but he
didnt suggest it, and she certainly wasnt going to
invite him. He treated her with a new respect since
they had worked together, but he still kept his
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distance. And Peggy did not want to make the first

move.
Owen Farr, too, seemed to be treating Peggy with
a higher regardthough he seemed to do it
grudgingly, as if he feared a compliment might go to
her head.
A week had gone by on location. Peggy was no
longer surprised to see such incongruous sights as a
hard-running team pulling a stagecoach over rough
ground while a camera truck paced alongside on a
smooth road. An overhead network of wires,
microphones, and lighting equipment now seemed to
her to be the normal accouterments for a stable or a
general store.
But as familiar as these surroundings had
become, she still found it necessary to leave them
behind, at least once a day, for a long ride across the
valley. Today, the days shooting done, she quickly
went to the trailer to change to riding clothes and
hurried off to the corral.
As she strolled up to the gate of the big enclosure,
a lean man in tight, pale-blue jeans dropped lightly
from the top rail of the fence where he had been
sitting. He waved a casual hand as he opened the
gate for her.
Hi, Peggy.
Hi, Joe, she answered with a grin. Got a good
horse for me that hasnt been run out today?
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Joe considered gravely, stroking his chin. Well,

he said at length, Ginger had a scene this morning,
but it didnt take no runnin so I guess she could use
a little exercise.
How about Lofty? Peggy asked, looking about
for the big chestnut she had ridden several times
before. Was he used too hard today?
Sorry, Joe answered, but youre too late. Mr.
Taylor took him out just ten minutes ago. Besides, I
didnt have anything else to give him except Ginger,
and hes a little too heavy for her. But youll like
her. Shes a good horse.
A little disappointed, for she had formed a sort of
attachment to the chestnut horse, Peggy nevertheless
nodded to show that she understood. She lifted a
blanket and a saddle from the rail, took a bridle from
a nearby peg, and went to where Ginger stood at the
edge of the herd. She dropped her load and went to
the horses head to stroke it for a moment, then
gently removed the rope halter, picked up the bridle
and slipped it in place. The horse took the bit so
easily that Peggy was afraid there was no spark in
her, and looked forward to a dull ride.
Still, she reflected, as she expertly flipped the
saddle blanket in place and followed it with the
saddle, any ride, no matter how tame, was better
than none at all. She tightened the girth and cinched
it down tight, then carefully led the horse to the gate
189

before mounting.
Its a pleasure to watch a girl who knows how to
handle her tack, Joe said in earnest admiration.
Its not so unusual to find gals that can ride, but
darn few of em know how to sling a saddle.
Thanks, Joe, Peggy said, but I grew up with a
horse, and if I didnt saddle her myself I wouldnt
have been allowed to ride. So I learned.
You sure did, Joe said as he swung the gate
open. Well, have a good ride. And in case youre
interested, he added with a sly grin, Mr. Taylor
went that-a-way. He pointed toward the hills at the
near end of the valley.
Not interested, Peggy said with a grin, and she
rode off, taking the path through the ghost town. She
urged Ginger forward, deliberately riding in the
opposite direction from Doug Taylor. But when she
was out of sight of the corral, she began to be angry
with herself. She had planned to ride in the direction
of the hills that evening, as part of what was
becoming a systematic exploration of the valley.
And now, just because Joe had told her Doug Taylor
had gone that way, she had swung off into a familiar
trail, and one that she had no real desire to ride
again.
If only Joe hadnt said that, she said to herself.
Or if he had said it without that expression on his
face . . .
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She reined in her horse and sat for a moment,

irresolute.
Im being silly, she said aloud. If I want to
ride to the hills, nobodys going to keep me from it
just by a look!
She swung Gingers head around and gave her a
little kick and was surprised and delighted by the
horses instant response. The mare may be easy to
handle, she thought, but she sure isnt out of steam!
Another light touch with the foot took the horse
from the smooth canter to a fast and even gallop.
Peggy dug her feet into the stirrups, sat erect, and
felt a wave of happiness as the cool breeze blew her
hair back. This was really living!
The trail she had found and followed ran
alongside one of the smooth camera truck roads for
a while. Then, with a turn through a grove of
cottonwood trees, it cut off into the open sagebrush.
The afternoon sun was low over the hills, and the
shadows on the ground were elongated and
exaggerated. It was a good time of day to ride over
rough and strange land, because the shadows
accented every irregularity of the surface.
Ahead, a dark band in the sand sent its warning to
Peggy and she pulled Ginger in to a walk. The black
shadow proved to be a dry stream bed, and Peggy
carefully walked the little mare down one bank,
across, and up the other. Then she once more let the
191

horse have her head.

The trail now wound around low hummocks of
rocks and grass and curved its way toward another
grove of cottonwoods. Peggy once more slowed
down as she approached the grove. Not because of
possible danger this time, but because she wanted to
enjoy the shade and the scent of the trees, and to
look around her.
She was halfway through the grove when she
spotted Doug Taylor. He was lying alongside the
trail, and the big chestnut horse was nowhere in
sight.
Whats the matter? Peggy asked as she reined
in next to him.
Taylor looked up with an embarrassed grin. I
guessno, I dont guess. I know Ive been thrown.
Thrown? Peggy said, astonished. Butbut
how? Are you hurt? Can I help? She quickly
dismounted and tied Gingers reins around the
branch of a nearby tree.
Im hurt just a little, Taylor assured her. Its
my ankle. I dont think its even sprained, but its
badly twisted. I was just resting up till the pain goes
away before I started the long hike home.
Well, thank goodness, you wont have to walk,
Peggy said, now that Ive been lucky enough to
find you.
Doug Taylor smiled ruefully. I dont know what
192

good its going to do for a while, he said. Gingers

too fight to take us both. Im afraid youll have to
ride back and get me another horse. And Ill just
have to hope you can find me again in the dark.
He tried to stand up to test his ankle, but a
grimace of pain crossed his face, and he sank back
to the ground.
Bad? Peggy asked.
Doug Taylor nodded. Im afraid so. I might be
wrong about that sprain. He held his ankle tightly
in his hands to try to ease the pain. With a poor
attempt at a smile, he said, I can see this is going to
be a bad night!
It could have been worse, Peggy said. Suppose
I hadnt come this way? And I nearly didnt,
because She abruptly stopped with a bright
blush, remembering why she had almost changed
her mind.
Doug Taylor noticed, but was too tactful to ask
her to finish her sentence.
Briskly changing the subject, she said, Lets get
at that ankle first. Then Ill see if I can find your
horse. Take off your shirt. I want to make a
bandage.
Taylor did as she asked, and Peggy ripped one
sleeve from the shirt. Then she carefully tore it into
long strips, which she wrapped tightly about his
ankle. She finished the job off with a neat knot.
193

There, she said, that ought to ease the pain.

But I wouldnt try to walk on it for a while, unless
you really have to. Now Id better try to get your
horse back. Which way did he go?
But you cant possibly
Which way? Peggy interrupted. We havent
got too much time before it gets dark!
Taylor pointed through the trees to the setting
sun, now just touching the top of the ridge of hills.
Over there, he said, but even if you find him,
how are you going to get him to come back with
you?
First things first, Peggy said as she mounted her
mare. Wait hereIll be back!
The sun was still casting strong direct shadows,
and Peggy was able to follow the hoof marks with
no trouble. But she knew that in only another ten
minutes the light would be diffused, and it would be
hard to make out the trail. Fortunately the horses
tracks seemed to lead in a straight direction, and
Peggy hoped that by following their line she would
be able to find the big chestnut even after his tracks
were lost from view.
But luck was with her. Beyond another clump of
trees, she suddenly saw the horse walking slowly.
She reined in Ginger to a cautious walk, not wanting
to startle the chestnut into another run.
Walking the mare, she approached the big horse.
194

She was no more than twenty yards from him when

he lifted his head, sidestepped nervously, and began
to walk away from her. She moved Ginger on to a
trot. Big Lofty began to trot, too.
She stopped Ginger. Lofty stopped and stared.
She walked Ginger forward; Lofty walked too.
Peggy reined in once more. She would have to
think, to try some strategy. Then an idea came to
her! She had seen the horses working and had
noticed that in the mass movement shots, they had
all stayed close together and run in a herd, even
when the riders seemed to be giving no attention to
guiding them. Had they been specially trained as
following horses? Perhaps that was why Lofty kept
mimicking Gingers movements!
Its worth a try, she said under her breath. With
a swift, determined movement, Peggy swung
Gingers head around and began to walk the mare
back in the direction from which she had come. It
was some minutes before she even dared to look
back to see if the big horse was following. When she
did, she breathed a sigh of relief to see him
maintaining his distance.
She spurred Ginger into a canter, and Lofty
followed. As the pace shifted into a gallop, Peggy,
riding with her head turned back to watch the
chestnut, saw the gap between the horses narrowing.
Lofty was running well, head up and mane
195

streaming, while Peggy was holding Ginger back.

The gap continued to close. Soon the two horses
were running neck and neck. Slowly, Peggy reined
in Ginger. Lofty slowed too, continuing to run apace
with Ginger. Peggy slowed her horse to a walk. The
big chestnut slowed too, walking beside Ginger.
Did she dare stop and dismount? What would the
big horse do? Break and run again? Peggy was
afraid to risk it. She eyed the distance between
herself and Lofty. It was only a few feetbut too far
for her to reach his bridle or the saddle.
Well, nothing to do but see what happened when
she stopped and dismounted. Pretending to pay no
attention to Lofty, Peggy stopped Ginger and slid to
the ground. Her back to Lofty, she fiddled a moment
with Gingers saddle.
Both horses stood still. Glancing over her
shoulder, Peggy saw Lofty edging closer to Ginger.
One step. Two steps. And Peggys hands were on
the trailing reins!
The sun had dropped behind the hills and a sort of
golden dusk filled the cottonwood grove as Peggy
rode in, leading Doug Taylors horse behind her.
Well, he said, shaking his head, Ive got to
hand it to you. Youre a wonder. He stood up and
hobbled toward the horse. Now if I can just stay
on, he said, grinning, well head back to find the
kind of riding I guess Im best at.
196

Whats that? Peggy asked.

The Riley, Taylor said. It never threw me yet.
And if youre interested in taking a ride with me, I
know a swell restaurant about an hour and a half
from here. I figure I owe you a good dinner.
Thats really not necessary, Peggy began.
And you owe me, he continued, a chance to
treat you like a human beingwhich you areand
like a real girl. Instead of a Hollywood starlet
which you arent. Okay?
Peggy hesitated only as long as she thought
proper. Okay, she said, laughing. And I hope it
wont be as bad a night as you predicted a little
while back!

197

XX
Premire Plans

The waiter poured second cups of coffee for them

and discreetly disappeared. Sipping the rich brew,
Peggy looked around. If she wasnt here, she
wouldnt have believed that Doug Taylor could find
such a restaurant within a short drive of the ghost
town.
Unlike everything else in the West, it wasnt new.
It belonged to the same period as the ghost town.
Only, if any part of it had ever been abandoned, it
didnt show now. The old mahogany tables and
chairs had the fine patina that comes only with
constant care. The crystal chandeliers, ornate and
sparkling, cast a soft glow on the wainscoted walls
and the rich carpeting.
Noticing her glance, Doug Taylor grinned. Isnt
it something? he said. We usually think of the Old
West as strictly frontier. But, you know, some of
those old boys made plenty of moneymostly from
gold. And they liked fine thingsso they imported
198

them from all over the world. Most of these

furnishings came from an old opera house
somewhere in the state. It had a restaurant to end all
restaurantsas you can see. I guess silver bought
these things, he corrected himself. Or both.
Nevada has both.
It seems unbelievablelike everything else out
here, said Peggy.
Do you miss New York? asked Doug Taylor.
And acting before an audience?
A little, said Peggy. But what were doing in
Homestead is worth while. When we started, I had
the idea that it really didnt take any talentthe
director did everything. One of the extras even told
me that. But Ive learned that acting in front of a
camera is demanding acting toothe technique is
just different.
Taylor smiled, a slow, soft, satisfied smilea
smile familiar to millions of movie-goers, but one
that came spontaneously now and was very
personal.
Im glad youve learned that, he said.
Hollywood has made a lot of bad moviesbut its
made a lot of good ones too, movies that called for
real acting. And the snobbery of actors who work
only for the stagethe legitimate stage, he said,
mocking the words, can become a little hard to
take.
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Peggy glanced away. Guilty, she said, but Ive

learned better now.
Taylor smiled again. I have a confession to
make, he said. You have every reason to be angry
with me. After that first week of shootingand it
was obvious you were so goodwell, I asked a
couple of people from New York about you. They
told me youd done a really beautiful job in Montana
Hemplers Winters End. Then I remembered Id
heard the same thing, last time I was in New York.
Thank you, said Peggy, but why
Im getting to that, said Taylor, glancing away
now in his turn. It just made me madder, he said,
that youa real actresswould come out here and
think that a lot of phony glamor and fake dates
Then you decided I was being condescending!
said Peggy in swift comprehension.
Werent you? said Taylor.
I guess it could look that way, Peggy said
slowly. But that never entered my mind. I just
didnt know what to do, so I did what my agent told
me. I learnedthe hard waythat we were wrong.
There was a little silence.
Finally, Doug spokehesitantly. Im not
supposed to tell you, he said, but I think its all
right.
Peggy looked up.
Doug smiled again, the same soft smile. Farr
200

prides himself on being a judge of people, he said.

But you had him fooledall the wrong ways. The
price of Gillians bad advice, I guess. Anyway, you
know all that rewriting he had done on the script
and coming out on location earlywell, what hes
done is strengthen your part to a feature role
What! said Peggy.
Taylor nodded, grinning. Youre really doing a
beautiful job. The rushes are so good that Farr
knows hed be missing a sure thing not to give you
more to do. But he doesnt plan to tell you. Hes
counting on your not knowing enough about movie
making to figure out just how much screen time
youll have when the cutting is done. The point is
that he thinks your performance is all due to his
superb directing, and hes afraid if he tells you
youre good that youll go prima donna or
something.
Peggy began to laugh, rich happy laughter
composed of relief, and a little justified self-pride,
and a lot of amusement at Owen Farr.
Dont let on, Doug cautioned, sharing her
laughter. He plans to spring it on you when we
finish shootingand he has a contract handy for
you to sign.
Oh! said Peggy, a little dazed.
There was silence again, comfortable silence, the
silence friends enjoy when they communicate
201

without words.
Finally, Doug spoke. How old are you, Peggy?
he asked. Seventeen? Eighteen? Nineteen? I forget
that, sometimes.
Whats that got to do with it? asked Peggy,
honestly puzzled.
If you were a little older, had a little more
experience, it would occur to you to ask me where I
come in taking such a holier-than-thou attitude about
your going on dates for publicity pictures. I was
there too, you know. I was just as much involved as
you were. You have every reason to think Im a real
heel criticizing you for something Im doing
myself.
I knew better, Peggy said softly, knowing that
now was the time to straighten out everything.
Wed met beforein New Yorkthe last time you
were there, she said shyly. There was a party at
Mr. Portermans. I was the girl crying on the terrace.
You were so kindshe glanced at him, swiftly
lowered her eyelashesand I want to thank you.
But after that, you see, I knew you couldnt be
Taylor watched her, his eyes betraying that he
was putting pieces together, fitting all the events into
their proper place. Peggy, he said at last, how old
are you?
She didnt answer him. Finally, she asked,
Why?
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Because, he said, Im not going to turn a good

deed into a bad one. Thats why. You liked me
because you thought I maybe helped you that night
in New York. But I think I wouldnt be behaving
like a decent human being if I encouraged you to
keep on liking me. Or if thats being too conceited,
if I encouraged you to learn to like me in a special
way. It would be easy, he said, on me. Youre a
very special girl. But it isnt fair to you.
Peggy, not knowing what to say, wisely said
nothing.
You didnt ask me, said Doug, his tone
hardening, why I was going on those publicity
dates.
Max Gillian told me, Peggy said. He said you
owed him a favor.
Did Gillian tell you what the favor was? asked
Doug.
Peggy shook her head.
Ill tell you, he said. Ive been married, Peggy.
I think thats not too generally known. You didnt
know it?
She shook her head.
It was an early marriage, he said. We were
both just too young. Im not proud of it, but Im not
ashamed either. But the favor, he said, bringing the
conversation back to its starting point. I have a
little daughter. Shes eight years old now. I dont
203

want her growing up in the bright glare of publicity.

When I was just beginning to make a name, Gillian
taught me the ropeshow to avoid having her in the
spotlight. It isnt easy, he said, and it makes it
difficult for me to see her as much as Id like. But
its the best thing for her. Shes with her mother, he
added.
And youd do anything for her, Peggy said
softly, including squiring young starlets to night
spotseven when you hate it.
Something like that, said Taylor. But it isnt
such bad dutywhen the starlet turns out to be
Peggy Lane. More coffee? he asked, beckoning the
waiter.
He waited until the waiter had poured and
departed before he spoke again.
Im not going to ask you what your reaction is to
all this, Doug said. But Im going to remember
even if Id rather notthat youre just a kid, a
beautiful, talented kid. And you need to finish
growing. Dont be insulted, he said. I just dont
want you making the same mistakes I did
marrying too young, and the wrong person, and all
that bit.
Im not thinking about protested Peggy.
No, said Taylor, youre not. But people who
have more experience than you can see where
something is going to lead. Peggyhis voice
204

changedwhat you need to do is get around a

littletravel, work in different places. It was good
experience for you to come to Hollywood. Youre
going to be offered a contract. But dont take it. At
least not one that ties you down here. Do it one
picture at a time. So you can select your roles.
Youre good enough that you can manage that. And
youre not greedy. In the meanwhile, learn
everything you can. Do more legitimate stage
workhe grinned wrylyand look around the
world a little.
You are a truly wonderful human being, said
Peggy, realizing that Doug Taylor was gently, very
gently, and for her own good, freeing her of any
romantic notions she might have about him.
You make it sound like good-by, he protested.
I guess it is, he added truthfully, but only to
We can still be friends, actually friends.
Not like for the columnist. Peggy giggled.
Taylor laughed. Tell you what, he said, well
make another dateabout six months from now
the New York premire of Homestead. How about
it?
Oh! said Peggy. The premire! She was
silent a moment, thinking. Alison Lord will be
furious, she ventured. Shell think . . .
everybodyll think . . .
Who cares? said Doug.
205

I have a boyfriend in New York, said Peggy,

free now to confide. A redheaded playwright
Randolph Clark Brewster, said Taylor. I know
about him too. If its going to cause trouble
Yes, Peggy said happily. Itll cause trouble.
Ill tell him were only friends. But he wont entirely
believe me.
I dont want to interfere, said Doug.
Peggy grinned at him. Randy is taking me
entirely too much for granted. Ive only had three
letters
Oh! said Doug, catching on. That wont do at
all, he said, his voice suitably grave, but laughter
exploding in his eyes. That wont do at all. Is it a
date?
Its a date, Peggy promised gaily.

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