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* 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.
*****************************************************************************
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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."....
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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.
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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.
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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."
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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.
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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."
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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)
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Reference in New Issue Copy Permalink