***************************************************************************** * T A Y L O R O L O G Y * * A Continuing Exploration of the Life and Death of William Desmond Taylor * * * * Issue 74 -- February 1999 Editor: Bruce Long bruce@asu.edu * * TAYLOROLOGY may be freely distributed * ***************************************************************************** CONTENTS OF THIS ISSUE: Fragments of Taylor in Hollywood Fifteen Years after the Murder: Mary Miles Minter Speaks Gossip from "Capt. Billy's Whiz Bang" The Mishawum Manor Scandal Statement by Lowell Sherman Regarding the Arbuckle Party A Dictionary of Flapper Slang "The Jinx on Mabel" ***************************************************************************** What is TAYLOROLOGY? TAYLOROLOGY is a newsletter focusing on the life and death of William Desmond Taylor, a top Paramount film director in early Hollywood who was shot to death on February 1, 1922. His unsolved murder was one of Hollywood's major scandals. This newsletter will deal with: (a) The facts of Taylor's life; (b) The facts and rumors of Taylor's murder; (c) The impact of the Taylor murder on Hollywood and the nation; (d) Taylor's associates and the Hollywood silent film industry in which Taylor worked. Primary emphasis will be given toward reprinting, referencing and analyzing source material, and sifting it for accuracy. ***************************************************************************** ***************************************************************************** Fragments of Taylor in Hollywood The book WILLIAM DESMOND TAYLOR: A DOSSIER reprints nearly 400 contemporary press items tracing Taylor's Hollywood career from 1912-1922. Below are some additional items not included in that book. Thanks to Carolyn Becker for providing some of the items. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 30, 1914 MOVIE PICTORIAL William D. Taylor, the Vitagraph player, is the author of a dramatic sketch named "The Mills of the Gods." He put it on with Anne Schaefer for the Woman's Club at Santa Monica recently. The first performance of the playlet was given in New York City. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * June 27, 1914 MOVIE PICTORIAL William D. Taylor is investing in a motor boat so that he may make daily trips to and from Long Beach and Santa Monica where he lives. He is a deep water fiend. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * July 29, 1914 DRAMATIC MIRROR William D. Taylor is still producing special features at the Balboa studios and has completed "Betty" ["The Criminal Code"] in four reels and is now engaged in producing "Rose of the Alley", which features Jackie Saunders and himself. When asked for an outline of the story, Taylor said, "Oh, it runs from the slums to society and back again, and pays visits to every state and stage of calling in between." And all this in three reels. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * August 14, 1914 MOVING PICTURE STORIES One of the youngsters at Long Beach raised doubts as to whether William D. Taylor really rode the bucking horse in "Captain Alvarez." Taylor merely laughed at him, but when the insistent young actor brought a "bad" horse to the studio and said "Show us," then William's "Irish" rose, and he got on the broncho and "showed" them. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * August 22, 1914 MOTION PICTURE NEWS William H. Taylor [sic], who played the role of Capt. Alvarez in the Vitagraph six-reel production of that title, has completed his first subject for the Balboa Feature Films, at Long Beach studio, consisting of four reels. The picture has been projected at the studio and General Manager H. M. Horkheimer was so well pleased with Mr. Taylor's work that he wrote him a letter that night in which he stated the production was the best the company had so far produced, and closed with a statement concerning a material increase in salary for the director-actor. Mr. Taylor, in addition to directing the production, played the lead, and was very ably supported by Miss Neva Delorez Gerber, who played opposite. The first prints of the picture will be shipped to the Box Office Attractions, the Balboa Company's selling agent, within a few days. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * August 29, 1914 MOTION PICTURE NEWS A trip to Long Beach, which means the Balboa...William D. Taylor is as busy a director as there is, being engaged at present on a whopper of a five- reel story which is a feature production. He was measuring a deep set when spoken to and only had time to tell a few details of the play. Mr. Horkheimer is overjoyed at finding so good a director in "Cap" (Alvarez), and has highly commended the young producer by saying that his work is the best that has been turned out of the studio, and that's going some. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * September 5, 1914 MOVIE PICTORIAL William D. Taylor of the Balboa bears a striking resemblance to a certain wealthy Pasadena majordomo of great wealth--all except in the great wealth. At a dance the other night a lady mistook him for the other fellow and asked him, "Are you one of the Whatshisnames of Virginia?" "No," said the truthful Billy, "I am a Taylor." "Oh!" apologized the fair one. "I am so sorry, er--and so you are in trade? I hope business is good." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * September 19, 1914 NEW YORK CLIPPER Scenes in motion pictures, taken in fields, forests and other outdoor places at night by the light of a new invention of chemicals, have successfully been filmed by the experts of the Balboa Amusement Producing Company's studio in Long Beach, Cal. Many of the scenes were photographed to show campfire effects in a four reel feature production which was directed by William D. Taylor, of "Captain Alvarez" fame, the cameraman of Taylor's company being William J. Beckway. Percy De Gaston, inventor of the new chemical compound and apparatus which furnish enough actinic light to film scenes at night, is a camera man at the Balboa studios. When a scene is being photographed at night, the country is illuminated for several hundred feet distant, the violet-white flame burning steadily for two minutes. Director Taylor filmed seven camp-fire scenes by the new light, and is said to have obtained excellent results. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * November 27, 1914 MOVING PICTURE STORIES William D. Taylor is tasting the fruits of success and finds them very palatable. It is seldom that any director receives such unanimous praise from both critics and the public for a first picture as "Billy" Taylor has earned for "The Criminal Code." In addition, he is in receipt of most complimentary letters from New York officials upon his second and third productions, all of which have been made at the Balboa studios at Long Beach. ["The Judge's Wife" was the first film directed by Taylor, but "The Criminal Code" was released to the public first.] * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * December 12, 1914 MOVING PICTURE WORLD Carlyle Blackwell of the Favorite Players has his own way of preparing for his photoplays. There is virtually a committee of four to discuss productions. The scenario writer prepares the script and it is then discussed by Carlyle Blackwell, William D. Taylor, his assistant, Henry Kernan, and the writer of the photoplay. The script will probably be altered and another evening spent in licking it into shape, two if necessary. The costumes and sets are then discussed and decided upon and numerous drawings made. Finally, the company is picked, types being selected, and the photoplay is read to them, after which every member of the company is furnished with a copy of the script to study. Many rehearsals are then held before the play is started and in this way some degree of perfection is attained before the work is actually commenced. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * December 19, 1914 MOVING PICTURE WORLD Full credit is given by William D. Taylor, of the Favorite Players, to Homer Scott, the star cameraman of that company. Scott's excellent work in "The Key to Yesterday," and "The Man Who Could Not Lose," placed him in the first rank of motion picture photographers. Both of these pictures abound with beautiful effect and wonderful photography, and yet Scott is never satisfied with his own efforts. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 20, 1915 MOVING PICTURE WORLD The Favorite Players, with Director Taylor and Carlyle Blackwell, have gone north to the capital to film some settings within the capitol. They have a letter from the governor which says "It's yours, just ask for what you wish." The scenes are for "The High Hand," fast nearing completion. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * September 24, 1915 MOVING PICTURE STORIES William D. Taylor, of the American company, is one of the highest paid directors in the business. His handling of "The Diamond from the Sky" serial has enhanced his reputation for producing a serial and keeping up the interest is a problem with which few men can grapple. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * October 1915 Roy McCardell MOTION PICTURE ...With each bigger and more important moving picture play I wrote came a closer association with the director of it. When my manuscript of "The Diamond from the Sky" was selected as the winner of the great New York Globe- Chicago Tribune-American Film Company $10,000 scenario prize, I came out to Santa Barbara, where the picture was to be produced, and got in as close communication with the director, Mr. W. D. Taylor, as I could. I give Mr. Taylor as full and complete and finished a photoplay as I can. We go into the same minute detail of character and costume as we do of scene and situation. We even analyze the psychology of the characters--their actions and reactions on each other, and the motives that actuate all they say and do. With Mr. Taylor and myself there is a unity of purpose, and that purpose is, as I have said, the essence of naturalness in a photoplay-- sincerity. It must not be thought that I hold the opinion that the author shall in any way intrude or much less usurp the functions of the director. On the contrary, the author should write out fully and completely just what his ideas are to the minutest detail. He should correct and recorrect, and he should constantly consult with and have conferences with the director, but the author should keep off the "locations." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * June 17, 1916 MOVING PICTURE WORLD More than a dozen stage and film favorites gathered at a banquet given by Miss Marian Strauch in honor of Douglas Fairbanks prior to his departure for New York. The banquet was held in the beautiful supper club room at Hotel Alexandria. Those present were: Mr. and Mrs. Douglas Fairbanks, Mr. and Mrs. De Wolf Hopper, Mr. and Mrs. Dustin Farnum, Mr. and Mrs. William Farnum, Mrs. J. Lasky, Miss Marie Doro, Mr. Elliott Dexter, Mr. Robert Milton, Mr. W. D. Taylor, Mr. Benjamin Ziedman, Mrs. Lew Jefferey and the hostess, Miss Marian Strauch. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 1917 MOTION PICTURE William Desmond Taylor left the Fox organization at the completion of his feature starring Dustin Farnum, and signed up with the Morosco Company for one year, where he will produce Paramount features. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 11, 1917 MOVING PICTURE STORIES It is said of William D. Taylor, the Morosco director, that he could not tell a lie if he tried. While something of a martinet, his artists all respect and have affectionate regard for him, and no actor or actress tries being "temperamental" with him twice. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 26, 1917 EXHIBITOR'S TRADE REVIEW Kathlyn Williams and Wallace Reid have returned from Ft. Bragg, California, where they were filming lumber camp scenes under the direction of William H. Taylor, and are telling stories of the difficulties they encountered. For over a week they were only able to work two hours a day. The rest of the time was spent going to and from location. This location was in the heart of the mountains and in order to reach it they had to use practically every form of locomotion. The start from the hotel was made in an automobile, and then a brief ride in the stage, then a two mile trip across a lake in a motor boat and then a ride of a logging train to the end of the line and then a half mile ride on horseback. In addition to this it rained. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * June 1917 MOTION PICTURE William D. Taylor has taken up handball and has become quite a crack at the game. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * September 1917 MOTION PICTURE William D. Taylor, the Morosco director, has received many letters from both exhibitors and film fans, asking him to return to the screen, since Vitagraph reissued his "Captain Alvarez." Taylor insists that there is no chance of his returning to the screen as he is too wrapped up in his directing to tackle the acting end again. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 1918 MOTION PICTURE Jack Pickford is planning to spend his Xmas holidays in New York City. He hopes to be able to finish his present production for the Paramount in time to catch the Limited for the Gay White Way. William D. Taylor, Jack's director, will accompany him, as they intend to mix business with pleasure and grab a few scenes of Jack in and around New York for his next feature. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 18 1918 EXHIBITOR'S TRADE REVIEW "Spies and German Agents Should Be Shot," Declares Los Angeles Directors' Lodge in Letter to Congress The Los Angeles Lodge of the Motion Picture Directors' Association addressed a letter on May 2 to the members of the United States Senate and House of Representatives urging the enactment of a bill whereby spies and German agents will be shot; that legislation be enacted suppressing German language newspapers and the teaching of German in the schools, and asking for a law defining as "treason" the conduct of war "profiteers." The letter, one of the most remarkable documents called forth by the war, follows: "Los Angeles, Cal., May 2, 1918. "To the Members of the Senate and House of Representatives of the United States of America. "Gentlemen: "The Motion Picture Directors' Association desires to express their loyalty and devotion to the cause of freedom to which we have dedicated our efforts, our resources and our lives. "The association is composed of men who are responsible for making pictures which are viewed by millions of people every day in the year and in all parts of the world. The opportunity for molding public opinion is limitless. They have already accomplished much in counteracting German propaganda, and their efforts have already met with the approval and encouragement of our Government. "Not only the directors, but the great industry of motion pictures, in all its various branches, has contributed in men, money and maintenance of the Red Cross quite as much, if not more, than any single industry in America and we are most anxious to continue to do and to give whenever called upon. "We feel, however, that our efforts would be greatly stimulated if the United States Government would deal with greater severity those found guilty of treason and sedition. "The activity of spies in destroying our food supplies, our munition factories, our ships and property, is as directly responsible for the death of our soldiers as are German bullets. The indifferent American is worse than the pro-German; and the indifferent Senator, Congressman or private citizen who does not lend his every effort to the enactment of a bill demanding sentence of death for all spies, who now stalk defiantly in our midst, is guilty of murder and as culpable as the spy himself. Remember the German is not a soldier, but a murderer. German waiters in hotels and restaurants are quite as capable of feeding typhoid or other deadly germs to our soldiers as were the German mechanics who spliced with lead the vital parts of our American-made aeroplanes, resulting in the murder of our boys in the training camps. The leniency extended by our Government and the comparative immunity from punishment is encouraging spies to greater crimes from which we shall eventually suffer. Abroad they poison wells, shoot nurses, rape defenseless women, outrage children, and have cruelly murdered our defenseless American citizens. They await but the opportunity of repeating these outrages in our midst. Germans and Germany must now and after the war be regarded as the outcast nation and people of the world. The time for vigorous action has come and leniency must not be shown. Every traitor must receive a traitor's treatment and punishment. "This association most respectfully urges: "1. The enactment of a bill whereby spies and German agents be shot and not interned. "2. That a bill be also enacted which will exclude from the mails and prohibit the publication of all papers, periodicals and magazines printed in the German language, and that laws be enacted which shall prevent the teaching of German in public schools in the United States. "3. We also urge the enactment of legislation which shall define as treasonable the exaction of exorbitant profits in connection with any contract made with the Government. "Assuring you of our continued support in all things to further our hallowed cause, we are, "Respectfully, "The Motion Picture Directors' Association." [Taylor is not mentioned in the above item, but the letter was written while he was serving as President of the Motion Picture Directors' Association, so he undoubtedly had some hand in the letter's formation and approval.] * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 25, 1918 EXHIBITOR'S TRADE REVIEW Mary Pickford, accompanied by her mother, Mrs. Charlotte Pickford, arrived in Los Angeles last week, following the completion of her tour in behalf of the Third Liberty Loan, and immediately commenced work in her next Artcraft production, "Captain Kidd, Jr.," under the direction of William D. Taylor. Mr. Taylor had commenced the filming of this picture before Miss Pickford arrived, and is now well along with the production. The set which was destroyed in the Lasky studio fire was quickly duplicated on another stage, and practically no time was lost on this account. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * June 15, 1918 EXHIBITOR'S TRADE REVIEW [from an article telling of the formation of the Motion Picture War Service Association, at a large meeting held on May 26, 1918]...The plans for the organization originated with the Motion Picture Directors' Association, and this body was in charge of the preliminary steps toward organization. The meeting, which was stage managed by S. E. V. Taylor, was opened with the singing of a Red Cross song and a selection by the San Pedro Marine Band, with Charlie Murray filling his usual position as master of ceremonies. Charlie Chaplin was introduced as temporary chairman, and announced the objects of the organization about to be formed. "The Motion Picture War Relief Association," he said, "will be an independent organization of the industry, the ministering mother of the motion picture people who are 'over there' and their dependents, and an energetic aid to the Government in its war activities." William D. Taylor, president of the Motion Picture Directors' Association, next told of the inception of the idea and of its growth, and of the final decision to make the organization a universal one, instead of attempting to confine so great a project to the Directors' Association. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * August 2, 1919 MOTION PICTURE NEWS "I wish the Realart Company would send Mary Miles Minter out here to California for her first few pictures," remarked William D. Taylor last week at the Morosco studio, where he was finishing the last scenes of "Huckleberry Finn," which completes for the present his work on the Paramount-Artcraft program. "But instead of that pleasant prospect, I have to leave this delightful clime for summer in New York. Thank of it! The only reward is the anticipation of meeting and directing Mary." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 3, 1920 MOVING PICTURE WORLD Through the quick work of Director William Taylor, Mary Minter, her mother and party were saved from what might have been a serious accident when their chauffeur, fatigued by a twenty-four hour grind, lost control of the steering wheel of Miss Minter's automobile. Miss Minter had spent four days away from Los Angeles making personal appearances in connection with the showing of "Anne of Green Gables," her first Realart production, at the Tivoli Theater in San Francisco and the Turner and Dahnken house at Oakland. Following a crowded program of luncheons, entertainments and Christmas benefit activities, Miss Minter, her mother, Mrs. Charlotte Shelby, her director and a publicity representative left San Francisco at 4 a.m., December 18, in order to be able to make Los Angeles in time for the opening of Miller's New Theatre where Miss Minter was scheduled to appear in conjunction with the photoplay. After a day of steady riding in a pouring rain, during which only brief stops were made for meals, the party discovered that in order to reach their destination on time they would have to spend the entire evening traveling. Near midnight, when the driver had lost his way and was proceeding along a narrow road above a precipice, the fatigue of the long, muddy journey told on him and he lost control of the wheel. Had not Mr. Taylor, who was in the next seat, seized the wheel the car would undoubtedly have crashed over the edge of the road. Miss Minter and company arrived in Los Angeles in the early morning after a day and night journey of 475 miles. The youthful star spent the remainder of the day sleeping in order to make the promised appearance at the Miller Theatre in the evening. Miss Minter had an enthusiastic reception. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * September 1920 MOTION PICTURE On one of our very hottest days, when most of the players had played hooky and deserted the studios, I discovered William D. Taylor on the Lasky stages. He was minutely inspecting the reproduction of the Hotel at Monte Carlo which was being erected for his production of "The Furnace" from a novel by "Pan." The set is simply tremendous, the stairs of the hotel, the reception salon, balcony and terrace being identically reproduced. Even green sod was being laid on the terrace, so it was difficult indeed to believe that this was not the real hotel. Just next door to the Monte Carlo set, workmen were erecting the interior of a big English cathedral, typical of the paradoxes of a studio. Heavy oaken pews, exact replicas of the originals, and the chancel were being arranged. This set is to be used for the wedding scene in "The Furnace". Mr. Taylor is a very charming man of great culture. He it was, you know, who directed "Huckleberry Finn." He told me that an amazing situation has developed in the studios and that is a dearth of capable players. The reason for this is the vast number of new companies being formed, all of which go after the best players. As a consequence, salaries have doubled and tripled. An ordinary character actor can now easily command seven hundred dollars a week. Mr. Taylor says the amount of overproduction in enormous-- and someone will have to pay the piper. In order to have Agnes Ayres for "The Furnace", Mr. Taylor had to pay her salary for three weeks before he could start production, otherwise someone else would have snapped her up. Not only is she receiving a splendid salary but a set of gorgeous costumes-- and even a hairdresser is provided by the company. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * August 6, 1921 MOTION PICTURE NEWS After air flight from London, William D. Taylor was forced to abandon his German trip at the last moment. After getting his passport vised, which "took some arranging," he writes from the Hotel Meurice in Paris, the motion picture director found that sleepers to Germany were booked three weeks ahead, while he already had passage engaged on the Olympic from Cherbourg in six days. "I might fly as far as Strassbourg," he wrote, "but they can't tell me when I can get on to Bellieu, so I am not going to take a chance." However, he had ample opportunity to study the film situation in England and in France, and he hints of much to divulge on his return. He saw Donald Crisp and John Robertson and other friends at the Famous Players-Lasky studio in London. "Personally I can't see where the British-made picture is going to pay for some time to come," comments Mr. Taylor. "They cost too much. "Saw the polo, last day of Ascot and three days of the Horse Show, and a lot of shows, but no pictures. Only a few old ones and 'Connecticut Yankee' running. "I am feeling wonderfully fit and having a most enjoyable time. Flew over from London yesterday. Sat in front with the pilot. Blowing like blazes, had a lot of fun. She sure stood on her ear. Took us nearly three and a half hours, instead of two and a quarter. "I am going to meet some French cinema people tomorrow." When William D. Taylor arrives in Los Angeles next week he will be welcomed by a delegation from the Motion Picture Directors' Association. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * October 29, 1921 DRAMATIC MIRROR "Toyland" ["The Top of New York"] has been temporarily transferred to the Realart stage for opening scenes of the new May McAvoy starring vehicle which William D. Taylor is producing. A reproduction of the toy section of a modern department store fills half of one of the huge stages. The story is by Sonya Levien; George Hopkins wrote the scenario. ***************************************************************************** ***************************************************************************** Fifteen Years after the Murder: Mary Miles Minter Speaks Mary Miles Minter gave no interviews or public statements discussing the Taylor murder between August 1923 [see TAYLOROLOGY 11] and February 1937. She broke her silence in the following published statements and interviews: * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 3, 1937 LOS ANGELES EXAMINER Astounding demands that she be prosecuted for the sensational murder fifteen years ago, "or be exonerated completely," were made yesterday by Mary Miles Minter, one-time film star... "Shadows have been cast upon by reputation," Miss Minter declared through her attorney, Eugene H. Marcus, "in reports of the reopening of the case. My career was blasted and my private life ruined. "Now I demand that I either be prosecuted or exonerated. "If the District Attorney has any evidence, he should prosecute. If not, then I should be exonerated." She also demanded that police explain published reports that they possessed a nightgown bearing the initials "M. M. M.," assertedly found in the apartment of Taylor... With reference to the asserted finding of the nightgown in Taylor's apartment, Miss Minter declared: "No such garment was found, nor was any mention made of the assertion that one had been found until 1930--nearly ten years after the murder. "I deeply resent any such intimations, not only because they are damaging to me, but because they reflect upon Mr. Taylor's character. He was a fine and noble character--the only great love of my life." Weeping quietly, the once glamorous beauty visited the police property room with Capt. Bert Wallis of the homicide squad to inspect clothing found in the slain director's apartment. The nightgown the police assertedly found at the time of the murder was not discovered yesterday... "It was probably confused with a silk handkerchief bearing my initials, which I gave Mr. Taylor," Miss Minter said... Pent up for fifteen years, the words that Mary Miles Minter has been aching to say in defense of William Desmond Taylor and herself finally came pouring from her in a torrent yesterday. "I would give everything I possess to solve the mystery of Mr. Taylor's murder," she declared fervently. But her least concern, she said, was the possibility that she could ever be suspected of complicity in the murder. That was too ridiculous a possibility ever to have caused her any worry, she said. What has hurt her the most was the innuendo that has surrounded discussion of the murder these many years. The former actress made this plain as she discussed at the office of her attorney, Eugene H. Marcus, the motives which impelled her to go to the offices of the District Attorney and the chief of police yesterday. "I couldn't bear any longer the foul aspersions that have been cast on the character of Mr. Taylor," she began. "Mr. Taylor was a gentleman of the highest character. He was my fiance. He was the soul of honor, courtesy, consideration and good breeding. He treated me with the respect of a gentleman. He would never have permitted me to do anything indiscreet. "And yet, for years, a mess of filthy innuendo concerning Mr. Taylor and myself has gone unchallenged. "This very morning, so many years after the murder, I read that a nightgown with my initials on it had been found in Mr. Taylor's home. I knew that couldn't be true. The only articles of mine that could have been in that house were two small handkerchiefs I gave him. Yet there was that impossible falsehood being repeated after fifteen years. "How much longer, I thought, must I have to bear this! "I determined to put an end to it once and for all. Without consulting anyone, I made up my mind to go to the office of District Attorney Fitts. "As I was on my way, I confided in a friend, who advised me that I should take my attorney with me. I called up Mr. Marcus, half fearful that he would counsel against my going, but, whatever he said, I was determined to go. And I was gratified when he agreed that I was doing a sensible thing." Miss Minter revealed that it was on the advice of her previous attorneys that she has allowed the many rumors to go unchallenged. "They told me it would be undignified to answer; they said it would seem as if I were desperately anxious for publicity if I were to bring up the Taylor case for discussion. There were matters of legal ethics involved. "I suppose they were sincere. What they didn't seem to realize was that, while I was keeping my silence, the dreadful things that I so wanted to answer and refute once and for all kept cropping up periodically, and, I suppo "There was one article in a magazine in 1930 that was an especially foul distortion of truth. [See TAYLOROLOGY 50.] It hurt me terribly, and I almost spoke then, but I was finally prevailed upon to let it go unchallenged. "But all things must finally reach a saturation point, and that's what happened today, with me. "I can't bear this burden of continual innuendo any longer. I can only hope now that my demand for a showdown has killed these falsehoods forever. "I hope now it will be realized that, in spite of all innuendo, nothing has ever actually been brought to light which shows Mr. Taylor to have been anything but the gallant gentleman that he was or that casts the faintest hint of impropriety on my relation to him, that of a girl who was honorably engaged to marry him." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 4, 1937 LOS ANGELES EXAMINER ..."I know Sands did not kill Mr. Taylor," Miss Minter declared, referring to Edward R. Sands, for whom a warrant charging murder [sic] is still on file. "Maybe I can prove it. "This time I cam going to fight. I am going to put a stop to the vicious and malicious gossip, the insinuations and misstatements. I am going to clear up certain other 'facts' and, especially, hope to be able to prove that Sands is innocent."... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 5, 1937 LOS ANGELES EXAMINER ...Miss Minter pointed out yesterday that she sought nothing for herself, but that she would fight to the last against any slurs on Taylor's good name. "I am happy in retirement; I have my own friends, business interests and do not seek the limelight," she declared, "but I am tired of revivals of stories that insinuate that Mr. Taylor, to whom I became engaged on September 6, 1919, eighteen months before his death, was anything but an honorable, sincere friend.".... ***************************************************************************** ***************************************************************************** Gossip from "Capt. Billy's Whiz Bang" CAPT. BILLY'S WHIZ BANG was a humor magazine published during the 1920's and 1930's. In the early 1920's, its motto was "explosion of pedigreed bunk." In addition to slightly-risque jokes ("I want a good girl and I want her bad") many issues contained Hollywood gossip in columns with titles like "Movie Hot Stuff" and "Silver Screen Shrapnel." The following are some selected items of gossip which appeared in the few months before and after the Taylor murder. (For a few other items of gossip from WHIZ BANG, see TAYLOROLOGY 71 and 73.) * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * November 1921 CAPT. BILLY'S WHIZ BANG ...The "exposure" of Fatty's past actions by daily newspapers ought not to be news to regular Whiz Bang readers. For more than a year we have "kidded" Fatty, in our "movie pages," for his famous "pajama parties," and dedicated the cover of our August, 1920, issue to Fatty's "heart-breaking" playfulness in Hollywood. A recent report to the Whiz Bang was to the effect that Mr. Arbuckle bought the Randolph Miner home on West Adams Street, Los Angeles, because it was supposed to hold a thirty thousand dollar cellar. Dorothy Dalton has been seen dancing often of late at the Ambassador Hotel in Los Angeles with her millionaire "angel," Godsell, of the Goldwyn Film Company. Thompson Buchanan, Lasky scenario chieftain, is encouraging Helene Chadwick in her film career. ...I don't know what's the matter with Charley [Chaplin]. His divorce suit must have been a shattering experience. His hair is growing gray around the edges, and his nerves seem on the raw edge. One day he was being interviewed by a gang of reporters in his suite at the New York hotel, and nearly chewed off the head of one of the newspaper men who asked him with what American he compared Lenin, the Bolshevist. Without warning, Charles tore into the reporter and handed him a cutting rebuke for his stupidity. He talked scornfully about "you Americans"--which is poor stuff for Charley. To tell the truth, I thought he was going to cry. And I guess he wasn't far from it. Charley told me afterward that his nerves are in such a condition that he weeps at the slightest excuse... Chaplin speaks bitterly of his married life and at the same time glares with melancholy rage and dismay at his first gray hairs. The first time the newspaper photographers took his picture on his arrival in New York, he asked them with alarmed solicitude to retouch the plates so his gray hairs would not show. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * December 1921 CAPT. BILLY'S WHIZ BANG H. H. Waters, scenario writer, was found clad only in a suit of pajamas, the other morning just outside the Hollywood Hotel. He was unconscious and bleeding profusely. The names of the other picture folk who attended the party have been kept under cover. There are still a few rumbling in San Francisco regarding Arbuckle and his now famous party. The stories they tell are wonderful to listen to by way of teaching us farmers what strange means certain persons have devised to get a kick out of life. For instance, as my friend Barney Google would say, take this little "roomer": Two of the numerous members of the party decided to entertain their guests--the party was "dragging" as it were. The form of entertainment provided so I am told, was the kind few of us number among our accomplishments. Somehow or other, we have never gotten over that old- fashioned idea that certain ceremonies listed in the regular catalog or otherwise, are not for an audience. Rather, they are for occasions dedicated solely to the gods and ourselves. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 1922 CAPT. BILLY'S WHIZ BANG The gossips have it that Jack White is a cave man. Pauline Starke, they say, has rejected Jack twice for his cave man tendencies, but, we've again seen them dancing together of late. The "eyes" have it that Marshall Neilan is looking amorously toward Gloria Swanson these days. He gave a dinner party with Gloria as guest of honor on New Year's Eve, at the Midwick Country Club in Pasadena and there have been other affairs of more informal nature. Blanche Sweet protests, not always too gently or without earshot of others. Blanche, you see, has done her duty. She has been quite constant to Marshall since the days his first wife began blocking his divorce plans and said she never would give him his freedom. The divorce has since taken place, however. Marshall is free, but although he is often seen with Blanche as in the old days, the culmination of their romance has not taken place. It is gossiped about Hollywood that Blanche is none too pleased and friends fear fireworks. Von Stroheim and the Universal, you remember, had a lively set-to about the cutting of his production, "Foolish Wives." Which brings to mind the fact that a showman offered Carl Laemmle of Universal $50,000 for the expurgated portions of "Foolish Wives." One of these interludes showed the eminent Mr. von Stroheim giving a cold cream body massage to a very pretty young thing, it is said. The movie folk in the East are about as active as a brown bear in midwinter. You need an ear more acute than the hearing apparatus of a redskin to detect the faint sounds of secret social activities. The cinema celebrities just aren't taking chances. The way the Eastern newspapers have been playing up the Taylor murder has scared them to death. The bullet that ended the Los Angeles director's life has probably done more to bring fil-em husbands and wives together for the time being than anything short of a blast on the judgment day cornet... Of course, there are brooding near-scandals. For instance, there are rumors of a screen comedienne and a dancer who was appearing at the moment in a Los Angeles hotel. The comedienne had recently left her husband and--Well, the lady was rushed Eastward by her sister and all seems to be well, at least for the time being. Wonder what the famous tango dancer thinks? * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * June 1922 CAPT. BILLY'S WHIZ BANG We hear that the reason why a certain foreign film star has not visited these shores is a reported uncontrollable--well--temperament. The lady in question might do something awkward, so she isn't going to be permitted to come over. At least so the tale goes. Hollywood is 100 per cent pure! Who says anything to the contrary? Why in the old days when an unmarried or getting-a-divorce man lived in the same house with an unmarried woman, people accused them of wrongdoing whether they KNEW or not. However, now, a couple can live right in the same house together and not have a thing in the world wrong! When an ideally pure state of things of this sort can exist, the American home, whether blessed with a framed marriage license or not, is certainly NOT a disgrace to any community! Nor instance. Seena Owen just came west and started fireworks by suing her former husband, George Walsh, for a divorce and naming Estelle Taylor, Fox star, as corespondent. Miss Owen told the court that Miss Taylor and Mr. Walsh were both living in a house at 2023 Cahuenga Avenue and, therefore, something wrong was going on. However, Miss Taylor said there certainly was NOTHING wrong going on and she didn't see why they shouldn't live in the same house if they wanted to! Miss Taylor has even gone a step further by bringing a $100,000 damage suit against Seena Owen for "destruction of her good reputation for morality and virtue." And Miss Taylor appeared in court the other day and laughed right out loud at Seena, too. You see Estelle's mamma invited George to live at their house on Cahuenga and move away from the Ambassador Hotel. Then mamma went to New York on a trip and on January 27th at midnight, three horrid "Dicks" burst into the front door of the house. George was getting ready for bed and Estelle was in the bathtub but what's wrong with that, pray tell? The "Dicks" had to acknowledge they saw nothing wrong! Estelle says grandma didn't want her to go into pictures anyhow--too risky. She had tried to keep her in the clean path of vaudeville. She says she's an innocent pawn in the whole trouble between George and Seena and is peeved to the extent of $100,000! Anne Mower has just divorced her husband, Jack, Lasky leading man. "Every night was Saturday night to Jack," the wife complained. "We were happy when he earned $15 a week but success has spoiled him!" * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * July 1922 CAPT. BILLY'S WHIZ BANG The wife of Douglas Doty has just won her divorce decree. Doty is the former editor of the Century Magazine. From 1914 to 1917 he was editor of Cosmopolitan and later became a literary adviser of Harper's. He is now a writer at the Lasky Studio. A man of literary gifts without dispute. He has a daughter fourteen years of age. Harvey J. O'Higgins, the author and playwright and other famous folk tried to keep the Doty household intact, but without success. Douglas was smitten with "Hollywooditis" when he first came west to become head of the Universal scenario department. His interest became consumed by several ladies--one after another--and his confidants were amused because Doty was always saying, "I want you to meet my friend So-and- So--she's a wonderful inspiration in my work--" and every few weeks the "inspirator" went by a different name. Hollywood may have to look to its sensational newspaper laurels if certain doings at a Long Island studio leak out. Here--where presides a low brow megaphoner recently from the coast and the recent director to a well known actress of foreign birth--the feminine aspirants can either depart insulted or remain and blush. Isn't it time for the movies to pass this primitive stage? Lawsuits are the order of the day. Makes no difference how young you are. You are never too young to sue. Little Robert Campbell, via Mamma Campbell (Robert is two years of age), has sued for contracting a cold while "on location" at the Lasky ranch. Robert is the youngest person ever known to bring a lawsuit. We shall soon expect to hear that new born babes are suing their parents for bringing them into a hard and wicked world. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * August 1922 CAPT. BILLY'S WHIZ BANG Eleanor Dowler is divorcing Ervin Martin, art director for the Pickford- Fairbanks studios, having lived with said husband exactly one day. The wife claims that the drinkables passed around at a party given by Allan Dwan made her forget everything and that when she woke up she found she had married Martin. In New York, just recently, two of the most important magnates in the film world paid a girl dancer $1,000 early in the morning after a night of carousing in a wild resort, to disrobe entirely before the remaining guests and execute a dance forbidden at secret order stags. ***************************************************************************** ***************************************************************************** The Mishawum Manor Scandal One of the film industry scandals which took place prior to the Arbuckle and Taylor scandals concerned a 1917 party in Massachusetts. The following is a newspaper account of the incident and aftermath. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * July 19, 1921 NEW YORK EVENING WORLD N. Y. Movie Magnates "Framed" for $125,000 by Woman's Diary and a Fake Flashlight Photo Inside Story of a Conspiracy of Boston Blackmailers, the "Fatty" Arbuckle Dinner and the Subsequent Orgy Revealed for the First Time Boston, Mass., July 19.--About every one who has been listening to the testimony in the trial of District Attorney Tufts of Middlesex County for alleged malfeasance in office is pretty well convinced that half a dozen moving picture magnates of New York and Boston were deliberately framed up by a bunch of Boston men four years ago, and shaken down for about $125,000. The moving picture magnates are certain of it now--as a matter of fact, they began to see the light soon after they had parted with their money, but they were afraid to take any active steps toward getting it back for fear of publicity. The publicity has overtaken them anyhow and the case has thrown a scare into many prominent politicians, statesmen, tired business and professional men and financiers of Boston and vicinity because of the close association with it of one "Brownie" Kennedy, a woman who has in years past conducted a number of unsavory resorts. What causes the scare is the fact that "Brownie" kept a diary. And the diary is in the possession of the State's Attorney who is prosecuting Tufts. It is stated that the diary contains the names of all the men who ever visited her places. It has frequently been produced in evidence during the Tufts trial as a check-up on witnesses. There are men in Boston who would pay as much for that diary--known as "The Little Red Book"--as the movie magnates paid the lawyers. If the aforesaid movie men would be perfectly frank they would say that they believe a plan to shake them down was concocted at the Copley Plaza Hotel on the night of March 16, 1917, while a dinner in honor of Roscoe ("Fatty") Arbuckle was in progress. They would even go so far as to give the name of the man they think was responsible for the plot, which included a fake flash light picture, the institution of suits for alienation of affection by men who have never put in an appearance and whose whereabouts are unknown to their own lawyers, and other means of intimidating wealthy married men. While the Arbuckle dinner was in progress--and it was a very damp affair- -certain New England film distributors to the number of five were mysteriously informed that there would be a continuation of the festivities after the hotel affair had closed. The same information was conveyed to six New York movie magnates. And at about midnight the eleven movie men and a lawyer drove out to a road house called Mishawum Manor, Wilburn, Mass, about twelve miles from Boston, which was conducted by "Brownie" Kennedy. Whoever arranged the party called her on the telephone and told her to have twelve bright girls on hand to entertain the visitors. Champagne was the only drink, and that quite a bit of it was absorbed is proved by the fact that the bill for the party, paid by a New York and Los Angeles magnate, was $1,060. When the proceedings, which began about 1 o'clock A. M., were about an hour old there was a blinding flash and a report behind a curtain in a room in which all the men and women were assembled. Three of the male guests, two of them New Yorkers, immediately got cold feet. While no trace of a camera was found, they feared they had been snapshotted by flashlight. The other nine remained. A good time was had by all, and aside from the remorse that is the aftermath of all such affairs, nobody thought much about it. But things began to happen. Several of the magnates received letters from the lawyer who had attended the Mishawum Manor party containing insinuations of impending trouble. Mishawum Manor was raided and "Brownie" Kennedy was arrested and arraigned in court. A short time later she was again arrested at her home in Cambridge. On that occasion police officers obtained possession of the "Little Red Book." On May 6 a Boston newspaper printed a recital--more or less veiled--of the party at Mishawum Manor on March 6. No names were mentioned but everybody who had attended the "Fatty" Arbuckle dinner had a rather definite idea as to the identity of the dozen. Somebody clipped the article from the newspaper, placed it in an envelope and sent it to the wife of one of the men who had gone out to Mishawum Manor and remained there. Said wife knew that her husband was not home on the night of March 6. How he had explained his absence is immaterial, but the explanation was all shot to pieces by the newspaper clipping. This particular magnate, being in bad at home but valiantly sticking to his original story, and fearing that his wife's anonymous informer might go further, shot a barrage of telegrams to Boston begging that something be done. At about the same time a Boston lawyer filed a suit for alienation of affections against a New York magnate in the name of a man who was supposed to live in Providence, R. I. The suit alleged that the Providence man's wife has attended the Mishawum Manor party and had entertained the magnate from New York. Another suit was filed against another New York magnate by a lawyer claiming to represent a Boston man who alleged that his seventeen-year-old daughter had attended the party and been entertained by the magnate. And still another suit of similar nature was filed. The New York magnate was frightened blue. The Boston men were in the same state but they were not strong on money. Lawyers began to pop into the case from all angles. Politicians took a hand in it. Rumors spread in Boston that a lot of easy money was coming to town. After many frantic telegraph and long distance telephone communications, a meeting was held in New London, Conn., attended by the two New York magnates and several of the lawyers. One of the lawyers said that the suits could be settled and releases obtained from all the women who attended the party for the sum of $250,000. One of the New York movie magnates is reported to have fallen in a dead faint when the sum was mentioned. Prolonged negotiations ensued. The movie magnates promised to put up $125,000 and no questions asked. The bulk of the money was contributed by two New York magnates. The New England bunch--with possibly one exception-- did not chip in. The New York magnates went home and raised the cash and one of the Boston lawyers went down and got it and brought it back. The New Yorkers had been assured that two big politicians--one a Democrat, the other a Republican- -would straighten the matter out. As a matter of fact there was nothing to be straightened out. The party, except for the wealth of a few of the males present, did not differ from hundreds of others that had been held at Mishawum Manor. None of the women had made any complaints. The alleged suits had been brought by persons who have never been seen and cannot be found. The New York magnates did not, of course, know the truth. They thought they were in a scandalous hole, but got some relief from the assurance that the big politicians would pull them out of it. Their relief was short-lived, for in a few days they were informed by wire that the big Democratic Boston politician had dropped the case. Deliriously they scrambled for the long distance telephone and talked to Boston. After considerable pleading the Boston politician agreed to go in again for a $10,000 retainer and all that was left out of the original bundle after the claims had been paid. He has since testified that he raked down $32,000, but this figure is considered low. Tufts came into the case because the roadhouse is in Middlesex County. Boston is in Suffolk County. Some of the movie men, conveyed by lawyers, went out to see Tufts. He told them that if they would get rid of people who were making complaints to him he would let the matter drop--would not rake up t Well, the money was paid, but one magnate who had parted with his share painfully and reluctantly, is believed to have employed a New York detective to look into the matter. At any rate he obtained information which led him to believe that only two of the women who had attended the party had signed the so-called waivers; that neither of the women knew what she was signing, and neither obtained a cent for her signature; that the money used to settle the alleged "alienation" and other suits had been paid to the lawyers, that there had been no flashlight picture taken and that at least $47,000 was grabbed off by two men who were implicated in getting up the Mishawum Manor dinner. One of the movie magnates almost cried on the witness stand last week. After the court session he confided to friends that he didn't care so much about the money, but being played for a boob almost broke his heart. He is one of the men who got cold feet and left early and was entirely blameless except for the fact that he went out to the party as an invited guest. ***************************************************************************** ***************************************************************************** Statement by Lowell Sherman Regarding the Arbuckle Party Actor Lowell Sherman was one of the participants in the party in San Francisco which resulted in charges against Roscoe "Fatty" Arbuckle for allegedly having caused the death of Virginia Rappe. Sherman never testified at any of the Arbuckle trials, but he did make the following statement regarding the party, which was not reprinted in any of the four books about Arbuckle (see TAYLOROLOGY 28), so we are reprinting it here. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * September 22, 1921 NEW YORK EVENING WORLD Lowell Sherman Tells of Arbuckle Party that Resulted in Girl's Death Lowell Sherman, the actor, who arrived in this city yesterday and who was one of the persons present at the party of Roscoe Arbuckle in the St. Francis Hotel, which resulted in the death of Miss Virginia Rappe, was called to the office of District Attorney Swann today and made a statement to Judge Swann and Assistant District Attorney Banton. The statement made by Mr. Sherman and given out by the District Attorney is as follows: "I was a guest of Mr. Arbuckle in room, 1219-20-21, St. Francis Hotel, San Francisco, on Sept. 5, 1921. There were three rooms. Mr. Arbuckle and Frederick Fishbach occupied a bedroom at one end of the suite, and I had a bedroom at the other end. There was a living room between the two bedrooms. "We had breakfast about 10:30 that morning. Between 12 and 1 o'clock that afternoon, guests began to arrive, until finally there were about a dozen people in the living room. Miss Virginia Rappe came with Mrs. Bambina Delmont. The men present were: Mr. Fishbach, Mr. Arbuckle, Mr. Semnacher, a man named Fortlouis, who I think is a traveling man for a New York dressmaker, and myself. The names of the ladies in the party have been published from time to time in the newspapers. "The refreshments consisted of a very fine quality of Scotch whisky and an equally fine quality of gin, which were partaken of quite freely by every one present. Eventually, everybody felt the influence of the liquor. There was a phonograph on a living room table which played constantly. First one person and then another would put on a record. "At the beginning of this party I had received telegrams from a manager requesting me to play in a play in San Francisco on Sept. 26. As I had a picture opening on Sept. 15 in Los Angeles, I felt unable to do this. So I immediately got into communication with this manager, who was in Seattle, by wire, and also put through long-distance telephone calls to Los Angeles to see if there was some one there who was not working and who could fill this part for this manager. "I received the addresses of some people from Mr. Semnacher, who was a moving picture agent. So that my entire time at most of this party was taken up trying to get these calls and writing out telegrams in answer to this manager. I spent my time back and forth from my own room to the living room, because there was a telephone in each room. If the calls had come to the living room I could not have heard on account of the people laughing and talking and the phonograph, so I told them downstairs to switch everything into my room. "During this time I sent several telegrams, which the boys from downstairs came up to get. During the course of this business of mine, while the party was going on, I saw Miss Rappe sitting on the sofa in the living room. I had never met her before and was introduced to her when she came in. I noticed the young lady was rather hilarious, evidently from the effects of the liquor. "The next I saw or heard of Miss Rappe was when I came from my room and Mr. Arbuckle said to me that the young lady was ill. His exact words were 'That Rappe girl is sick.' She was then in Arbuckle's room. Some of the people were in there, and some were outside in the living room. "I went into Mr. Arbuckle's bedroom and looked in the door, and saw this young lady on one of the twin beds tearing off her clothes, clutching at her stomach and evidently in pain, groaning. I cannot say that she screamed because I did not hear any scream. She used no words that were distinct. It was just a sort of mumbling and groaning. I looked at the young lady on the bed and realized the young lady had had something to drink and said at the time, 'I guess that little girl has a little bun on, and has indigestion.' "I went out into the living room for a second and the next I saw was that some of the ladies and Mr. Fishbach had taken what was left of her clothes off and were putting her in a cold tub, which was directly in my line of vision through the door of Mr. Arbuckle's room. I walked into the bathroom to see if I could help any, and it seemed she was well cared for by the young ladies. "It was about that time that Mr. Arbuckle sent for the house physician and the manager of the hotel, either Mr. Boyle or Mr. Kearton. I met one of them, but can't remember which one it was. Arbuckle engaged a room for the young lady around the hall, and carried her himself half way round, and then this assistant manager of the hotel carried her the rest of the way. I walked around with several people. Just who they were I don't know. We all sort of walked around to see if the girl was put to bed. "I saw her in the room that was engaged for her, and left. That is the last I ever saw of Miss Rappe. "I did not hear Miss Rappe make any statement from the time that I saw her in the bed in Arbuckle's room until the time that I saw her in the bed in the room that he had engaged for her after she became ill. All this time she seemed to be in very great pain, and was groaning, but I did not hear her utter a word. The house physician was with her the latter part of the time, having come in with the house manager and walked around to the new room with her." "When I got back to my room I just said 'It's too bad about that girl getting sick,' and Roscoe said, 'Well, listen here, this party is going to be a little bit rough and we better see what we can do.' He said, 'You tell them that the reporters are coming up to see me and they better get out.' So I did that, and everybody eventually cleared out, and I went into my room, and that is the last I saw of them. "Arbuckle never told me how the matter occurred, because I never asked him. The party got on my nerves and I was very bored, and had this other thing in my mind, and I didn't pay much attention to anything that was going on. "I tried to be nice to everybody, but they were not pals of mine or people that I knew and I didn't pay much attention to them, never thinking anything was going to happen. "Nobody at that time expressed an opinion as to what was the matter with the girl, except some of the girls wondered what it was, and it was a generally accepted thought that the girl had got a little bun on and was ill. None of the persons present expressed any other opinion in my hearing. "Arbuckle did not at that time or any other time express to me an opinion as to what was the matter with the girl. Arbuckle never told me what occurred between himself and the girl after they entered his bedroom and closed the door. He never told me at any time that he had intercourse with the girl and I never asked him whether he did. I had no opinion as to what had occurred between Arbuckle and Miss Rappe, because I knew he had known the girl for four or five years, as he had told us, and I did not know but what he went in the room to talk to her privately. "I did not suspect anything wrong. I did not see Arbuckle put his arm around the girl before she went into the bedroom or put his hands upon her. Arbuckle was sitting in the chair next to the sofa upon which she sat. He was sitting with a drink in his hand, laughing and talking, and he did not have his hands upon the girl in any way. "I sat down next to her myself and talked to her, and it was the first time I had seen her. Mrs. Delmont did not at that time or any other time express in my presence her opinion as to what had occurred in the room. She never expressed an opinion in my presence or hearing as to what was the matter with the girl. "She went around to that room with us when they took the young lady and told them to take care of her. I said, 'I guess the little girl will be all right.' The doctor was there, and I paid no more attention to her. Mrs. Delmont did not seem to be at all upset at the time about anything that had happened to Miss Rappe. "I went back to Los Angeles with Arbuckle on board the Harvard the next afternoon. We had engaged our passage the day we got to San Francisco (Saturday morning) for four people and the car. We took the car back with us on board the boat. I never saw Miss Rappe after that and never inquired about her because I did not take any of it seriously. "I do not know whether Mr. Arbuckle communicated with her. If he did he did not do so in my presence. The next morning Mr. Semnacher came up to the room, and I seem to remember somebody saying 'I wonder how the Rappe girl is?' "Arbuckle did not at that time or any other time say in my presence what had occurred between himself and the girl in his bedroom, and I never asked him. I suppose if I had asked him he would have told me. I never asked Arbuckle what he thought was the matter with the girl, except that he seemed to have the same opinion as every one else--that the girl had a bun on and was ill. That's all. "His exact words I do not remember, to tell you the truth, but that was the substance. He sort of agreed with me that the girl had indigestion. He did not seem in any way upset about it, any more than anybody was at the party. "There is nothing further that I can think of that would aid either the prosecution or the defense in this matter. As all the testimony states, the door of Arbuckle's room was closed. I never entered the room while Miss Rappe was in there, as before related. "When I made my deposition to Mr. Doran, the District Attorney at Los Angeles, I told him I would try and think of anything important that might come to me later regarding this matter, but although I have tried to remember other circumstances of importance, I have been unable to do so. I never heard Miss Rappe express an opinion as to what was the matter with her at any time." ***************************************************************************** ***************************************************************************** A Dictionary of Flapper Slang The following are extracts from several "flapper dictionaries" published in newspapers within two months of Taylor's murder, from the NEW YORK EVENING MAIL, BALTIMORE EVENING SUN, and CINCINNATI COMMERCIAL TRIBUNE. Airdale -- homely man. Alarm clock -- chaperon. An alibi -- a box of flowers. Anchor -- bank roll. Apple-sauce -- flattery or bunk. Bean picker -- one who tries to patch up trouble. The berries -- applied to express surprise, disgust, indignation; said this way: "Ain't that the berries!" Blouse -- to leave, to beat it, to take the air, to blow; "Let's blouse." Button shining -- close dancing, or achieving the same effect without the music. Cake basket -- a limousine. Cake eater -- a small-salaried male person who frequents teas and other entertainments and never makes any effort to repay his social obligations; harmless lounge lizard. The cat's pajamas -- anything that is very good. Cellar-sheller -- a young man who always turns up where liquor is to be had without cost. Cheaters -- same as glimmers, optics, eyes; sometimes meaning eye glasses. Clothesline -- one who tells the neighborhood secrets. Cluck -- a girl who dances clumsily. Corn shredder -- young man who dances on lady's feet. Crepehanger -- reformer. Cuddle-cootie -- young man who takes a girl for ride on a bus. Cutting yourself a piece of cake -- making yourself wait patiently. Darbs -- a person with money who can be relied on to pay the check. Did I was -- an exclamation of approval. Dimbox -- a taxicab. Dingledangler -- one who persists in telephoning. Dog kennels -- pair of shoes. Dogs -- feet. Dropping the pilot -- getting a divorce. Ducksoup -- anything agreeable, easy or congenial to the moment. Dud -- a wall flower. Dumbdora -- a stupid girl. Ear muffs -- radio receivers. Egg harbor -- a dance hall where no admission is charged. Father Time -- any man over thirty years of age. Feathers -- small talk. Fig leaf -- one-piece bathing suit. Finagler -- a young man who stalls until some one else pays the checks. Finale hopper -- a young man or a young woman who makes a business of appearing late at dances after the ticket takers have gone. Fire alarm -- a divorced woman. Flatwheeler -- young man who takes young lady to an egg harbor. Forty-niner -- man who is prospecting for a rich wife. G. G. -- refers to a man; coded form of the English expression Gullible Goof, which speaks for itself, but he doesn't. Given the air -- when a girl or fellow is thrown down on a date. Glimmers -- the eyes of either sex; "To put the glimmers on" is to take notice. Goofy -- To be in love with or attracted to, "I'm goofy about Jack." Grubstake -- invitation to dinner. Handcuff -- engagement ring. Hiphound -- one who drinks hooch. His tempo's bad -- a phrase used about any one off color in any way. Holyholy -- Flapper who won't indulge in mugging match. Hush money -- allowance from father. Jane -- a girl who meets you on the stoop. Jewelers -- flappers who measure college success by the number of fraternity pins they collect. John Bananas -- otherwise a goof, chump, sap; one who is silly, impossible, dense or dead, but too lazy to lie down. John D. -- an oily person. Lollygagger -- a young man addicted to attempts at hallway spooning. Mad money -- carfare home if she has a fight with her escort. Monogs -- Taken from the old English "monogamist," referring to the male or female student who plays with but one person of the opposite sex. Mugging match -- a necking party. Nice girl -- one who takes you in and introduces you to her family. The office -- a sign of warning, done covertly; vis: "I gave him the office to duck." Oilcan -- an impostor. Out on parole -- a person of either sex who has been divorced. Owl -- Flapper who cuts classes and is only seen at night at dances and parties; usually wise enough to get high grades in academic work. Pillowcase -- young man who is full of feathers. Pocket twister -- girl who eats, dances and drinks up all of a man's spare change. Police dog -- young woman's fiance. Punching the bag -- Act of a man who chats with a girl--and keeps on chatting. Ritzy -- stuck up. Rug hopper -- a young man who never takes a girl out; a parlor hound. Seraph -- Girl who likes to be kissed, but not violently. Slat -- young man. Smudger -- one who does all the closefitting dancing steps. Snake-charmer -- a female bootlegger. Snugglepup -- young man who frequents petting parties. Sodbuster -- an undertaker. Static -- conversation that means nothing. Stilts -- legs. Strike breaker -- young woman who goes with her friend's "steady" while there is a coolness. Struggle -- a dance. Strut your stuff -- otherwise show them how it is done; to dance, sing, etc. Sugar -- money. Sweetie -- anybody she hates. Swift's premium -- clumsy flapper; wall flower. Tomato -- good looking girl with no brains. Weeping willow -- same as crepehanger. Whangdoodle -- jazz band music. Whiskbroom -- a man who cultivates whiskers. Windsucker -- any person giving to boasting. A Wow -- denoting something extremely clever, brilliant or pleasing. ***************************************************************************** ***************************************************************************** The following article is largely superficial, but it does have some interesting fragments, including a rumor that at midnight on February 1, 1922, Edna Purviance had been very drunk and had gone to Taylor's door. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * May 1924 SCREENLAND The Jinx on Mabel Scandal loves a shining mark; so it lives in Hollywood that it may watch the stars. Scandal loves to hit a movie star and see him squirm and hear him make denial--but Scandal is cross-eyed and bigoted and blind, and even its microscopic lenses will not aid it to clear vision. It has spattered Herbert Rawlinson, smirched Bill Hart, driven Fatty Arbuckle off the screen, and now is crushing Mabel Normand. And Rawlinson and Hart and Arbuckle are the cleanest trio of men that have ever played in pictures. And Mabel's is the warmest heart that ever beat on a moving picture lot! There is a jinx that walks with Mabel, a jinx that is Scandal's friend. Let her bury herself among her books for years and years; let her busy herself with work at the studio, or over her drawing board at home; let her live her life as she may; someday the jinx will take her to the home of a friend. And then there is talk. Women's clubs in narrow little towns throughout the land will bar her pictures from their sanctimonious theaters; chivalrous censors will condemn her immediately; ministers who zealously follow the gentle Nazarene in all His ways, show her no Christ-like mercies. Two years ago Mabel stopped at the home of William Desmond Taylor, to return a book she had borrowed [sic], to have a chat with him, and run along. Taylor took her out to her car, and raised her hand to his lips--in the Continental manner that distinguished him--and said "Goodbye, little lady"-- and was found in his home next morning, dead, a bullet hole in his side. There was a girl who lived next door to Taylor, and she came home at midnight with a wealthy clubman's friend. She was drunk. She insisted on going into Taylor's home and having "another lil' drink." She almost staggered into the open doorway. She fought her companion with loud words, with vulgar profanity, and with uncertain and trembling hands. The neighborhood was aroused. All the neighbors knew of the affair. But not a word was said. Her reputation was at stake. She might have given material testimony about that open door. But she was never called. There was no jinx on her. Mabel had come in the daylight, and had gone away in the daylight. But it was Mabel who got all the notoriety out of the murder--Mabel and Mary Miles Minter. Mary came into the case but slightly--her letters were found in Taylor's house. Some of them were printed. She was only a child, however, an innocent lovely child. She said she was engaged to Taylor, and that they would have married. And she remained the innocent child--as far as the censors knew. Ah, Mabel might have kept out of it--but her sympathy was too great. She must tell the world how fine a man this Taylor was, and how she had liked him. It was the only tribute she could give him--and she would not hold it back though it put a brand upon her. It was not the thing to do--perhaps. Only a man should have been as brave, and as scornful of public opinion. Mabel was sick for months. Mabel went abroad. Mabel returned and made some comedies. Mabel took up life where she had left off when Taylor died. The jinx seemed to have been satisfied. And New Year's day she went to see two friends--stepped into an apartment for a little while--and the jinx laughed, and Scandal rocked with glee. Come with me to Mabel's house. You'll love to hear her talk. She's interesting. She reads philosophies. She's a highbrow, but you'll not learn that from her. She's the most natural of the stars, the most human, the most original. And she loves to talk in the argot of the studios, the slangy patter of the lot--"that part is out"--"it's all wet"--"hold it for a still." It takes real brains to appreciate the niceties of slang. Oh, she'll spatter the room with English undefiled if you wish--and does it often. But she prefers quaint slang--and she can make it turn handsprings as well as the great George Ade. You will meet stars in Hollywood who talk in stilted phrases, and smooth involved sentences--when they deign to speak to you at all. And they will quote you lines from authors whose names they may remember--bits they have learned for the impressing of newspaper men. Their words are cloaks to hide their ragged minds. But talk to Mary Pickford, Viola Dana, Mae Busch, Blanche Sweet, Helen Ferguson or Mabel Normand--they have things to say--and say them naturally. Come on, let's talk to Mabel. She's going out as we enter, and she bids us come along. "My flowers," she says, "are withering. I can't endure them. We ourselves wither fast enough. Let us not have dying things around us." We escort her to the Japanese florist down the street, and Mabel goes into little ecstasies over sweet peas and violets, and poppies, and lilies and fresh green ferns; arranges them in pleasing combinations of color; smells them; loves them with her eyes. A little thing, Mabel, with black hair and big brown eyes--and the lines of suffering still in her face. You will hear no slang today from Mabel--for who that knows good English speaks in slang when he is sad? She isn't the same Mabel we used to know; the rollicking, joyous, chummy, prank-playing star of the Sennett lot. She is a chastened woman, a suffering little girl who cannot understand why fate should whip her as it has. "Only a little while ago," she says, "I started again to take up my drawing. You know I used to draw when I was a little girl. I had no technique, but the artists I knew said I had originality, and that was better than technique. "I used to draw for the Butterick people long ago, you know? And then some artist got me to pose. I posed for many of them--in New York. The Leyendeckers, Flagg, Gibson, Stanlaws, Christy, Hutt--lots of them. I got $1.50 in the morning; and $1.50 in the afternoon. I spent 30 cents in carfare going and coming, between Staten Island and New York. "I loved to pose. I would stand so still and look out at the clouds, and the tops of great buildings. And I would dream. Such dreams as I had! "Never then did I think the day would come when I would see my name in ugly headlines in every newspaper that I saw. Never then did I think I would hate and loathe my name; or that the nights would come when I would put my hands to my eyes and try to shut out the vision of that name. "Never then did I think that my brain would rock, saying to itself over and over--'Mabel Normand! Mabel Normand! Mabel Normand!!'--saying it over and over and over with a kind of horror at the repetition--saying it over and over until a merciful sleep would blot it out. "A young girl's dreams--money enough to keep my mother and sister from want--money enough for lessons in painting and music--money enough for all the books and the flowers and the beautiful things I wanted--dreams of a little home, and children, a peace, and happiness! "I didn't take the movies seriously then. It was just posing in front of a camera instead of a man with a brush and a box of pretty paints. I posed as a page for Griffith, and I didn't get home until morning. I could not be bothered with that. I didn't like to stay up so late--and I had to pose in the morning. I felt I couldn't afford to lose the $2.70 net a day to pose in the movies, and so I didn't go back. "One day I ran into Mack Sennett and Henry B. Walthall and some others, and they said Griffith was looking all over for me. They explained that I had held up the picture. I had registered in some scenes, and hence I must be in all the rest of that sequence. So of course I went back." That was Mabel's start, and it was only a little time until she was getting $100 a week, and the world was enjoying the freshness and the beauty and the charm and the sympathy that were hers. Hundreds, then thousands a week; fame; everything she had dreamed of, looking at the clouds as she posed. There are stars who have saved their money; there are stars who have squandered it; there are stars who have lost it in stocks. Mabel gave it away. She would see a girl weeping and ask her what was the matter. "Your mother's going to die unless you can get her to the hospital? And you haven't got a cent?" Great anger would ride Mabel. "Why didn't you tell me before?"--she might never have seen the girl before. But mama was taken to the hospital, and Mabel paid the bills. She had so much--and there were millions who had so little! Mabel--the star whom the censors condemn--used to cry sometimes because she could help so few. She listened avidly to the studio chatter, sifted it for clews, hurried to the bedsides of carpenters or electricians who had been hurt in accidents, or who had been laid off because of lack of work. Show her misfortune, and she would steal away from her work, taking flowers with her, and money, and a woman's sympathy. One time in New York she was speeding along in her car. A big shiny car, and warm. She was wearing a new ermine coat. It cost some thousands of dollars. Outside on the snowy sidewalk she saw a girl, walking, bending into the wind, dressed in a thin skirt and a thinner jacket. She stopped the car, got out, put her ermine coat on the girl, and jumped in the car again and cried "Drive on" before the girl could even thank her. Ever a tear in her eye, ever a laugh in heart--before the jinx got busy. A man's brain, a man's endurance, a man's courage--a man's sane outlook--but a woman's sympathy and an imp's love of fun. There was a woman writer in Los Angeles who had just been married. She was sitting in a theater box with the bridegroom, waiting for the play to begin, when Mabel walked into the box. She knew the writer, and had heard of the wedding; but she didn't know the groom. Yet she threw her arms about him, and whispered in his ear--loud enough for the bride to overhear--"Oswald, Oswald, I have found you at last, my darling. Oh, Oswald, life has been so bitter for us since you left. But you'll come back now to your wife and your little chee-ild? Oh promise me!" "Mabel, you humbug," said the writer, "you almost frightened me!" But the jest was so good it was repeated--and there were dull ones who knew not Mabel, and saw no jest whatever. They looked serious, and said, "where there's smoke there must be fire." And then the Taylor tragedy. "He was a gentleman," says Mabel. "An aristocrat who loved only brilliant minds. Many a girl has loved him--but I doubt if he loved any girl. "He never did more than kiss my hand when he left me at my home. And he'd say, 'Goodbye, my clever little lady,' or 'Goodbye, little friend; when shall we meet again?' "Nothing more than that. He always did the correct thing--sent flowers, books, candy. He was an elderly man and a scholar, a gentleman always. "And the stories they told of him when he was dead--and the stories they told of me! "Well, maybe he was peculiar. Maybe he was all they say he was. I don't know. Looking back I can see little things--things I passed over at the time, not understanding. "Oh, have you ever felt that no one in the world was honest and sincere? Haven't there been times in your life when you knew that all the world was false? That's how I felt then." Yes. Scandal was almost satisfied. But his job was incomplete. Nearly two years, he waited to enter the Dines' apartment. "I went to Mack Sennett's New Years eve," says Mabel. "But I left early, without seeing the New Year in. I was depressed and lonesome. I wanted to be alone. "I came home, and wept most of the night, silly tears for myself. And I started a letter to my mother--a letter I finished next day." She was addressing and signing New Year's cards--and the phone kept ringing. At 11 o'clock New Year's morning Edna called up and invited her to the Dines apartment. But Mabel was busy. At 1 o'clock, and at 2, and at 3, and 4, and 5 o'clock she rang. "I thought there might be something the matter," says Mabel. So I went. Dines started joking about the Christmas package that Mrs. Edith Burns, my companion, had bought for him, and forgotten to give him. "I called and asked Mrs. Burns to send it over with Joe--the chauffeur I knew as Joe Kelley, not as Horace Greer. And Joe came, and Dines had been drinking, and Joe shot him. "A joke over a Christmas package, and I took it seriously, and once again my name danced before me in the headlines of a thousand daily papers-- and once again my brain repeated 'Mabel Normand! Mabel Normand! Mabel Normand!' until I thought I should go mad." It was Mabel who wrapped the wounded man in blankets; Mabel who called the doctor; Mabel who made arrangements to have him taken from the receiving hospital and its police doctors to the Good Samaritan and her own surgeons. It is Feb. 1. Incidentally it is the second anniversary of the "breaking" of the Taylor murder story. Greer is at liberty pending the outcome of the hearing. Dines is in the hospital, under bonds to reappear on the witness stand and say who shot him. He has sworn he does not remember. Mabel and Edna have testified, and made statements to the district attorney. Perhaps you have already realized it was only Mabel's sympathy that placed her there with the Jinx. Perhaps the censors will admit they were hasty, and the women's clubs they were wrong. Perhaps you will see her soon again on the screen, and laugh with her once more--and never remember her as she looks sitting alone in her home, anything but the Mabel of the films. "We all make mistakes," she says as you murmur goodbye. But life is making mistakes, and learning from them. I have made mistakes of course--but in all my life I've harmed nobody but myself." ***************************************************************************** ***************************************************************************** Back issues of Taylorology are available on the Web at any of the following: http://www.angelfire.com/az/Taylorology/ http://www.etext.org/Zines/ASCII/Taylorology/ http://www.silent-movies.com/Taylorology/ Full text searches of back issues can be done at http://www.etext.org/Zines/ For more information about Taylor, see WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991) *****************************************************************************