Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-09-05
CONFESSIONS
OF 4 STAR
As Told to
INEZ KLUMPH
THE STORY BEGINS

Ans. studio in California, tohen COL
leen Moore, tho Gish girls, Bessie
LoVe and q host Of Others oere not
much more than extra girls. Diana
| Chetne relates the tdict she begins
soith the day IN the studio tchen she
and Isabel Heath, not stars then as
they are noio, ,cero sitting on the
sto'rs ,ohen q strange man came into
the studio and looked at them. Tho
cdmeruman called them do,on TO
meet rim, and u proved the turn
ing point in Isobefs Rfe. He ,oos
Pa Craney, q famous director from
the eastern studios, and he taught
Isobel to be the fret Of the screens
"babv comps" and engaged her for
such a part N q photopldy he ,ods
producing.
NOW GO ON WITH THE STORY
CHAPTER XII
TN THE weeks tnat followed that dance
L I went about great deal with Keith
Gorham. When we were out on loca-
ton his long red roadster. would arrive
some timo during the afternoon, and
when my work was over I'd rub of my
makeup, change my clothes, put on
my big, woolly white coat, and we'd
10 skimming of over the hills and along
the winding road by the sea. bound for
| home.
When we worked at the studio he'd
take me. to luncheon, when had time
| to 10, or bring me wonderful things in
q picnic basket when I had to stay in
| the studio. And almost every night we
danced somewhere, or went to the
movies, or rode by the sea in the moon
light.
knew that people were talking about
me, fast and furiously. But l didn't
care. We we're doing just what half the
boys md girls Of our age all over the
country were doing, Just having a Won
derful time together. I'D never played
around that way, except one summer
lived in Rochester, and I enjoyed every
minute Of II. I didn't care whether peo-
pie talked or not.
Ono thing that I liked about Keith
and In desperate effort to forget Derry
I was trying to like everything about
him that I could-was the way he
talked to me. He paid me compliments.
and the other men ! knew never did
that.
Derry would say, perhaps. "You were
stunning in that scene, Di: hope tnCy
won't cut it before the pictures re-
leased" or something like that. And
one day, when he and were in the pub
licity mans Office, looking at some new
photographs Of mine that were TO be
sent 20 the newspapers. he said:
'"This ones a corker-you're beautiful
ir it. Can l have the original. DIP"
The publicity man had added, in a
matter -of-fGct way, Sure. she photo
graphs pretty well. as a rulc-,but look
at this one. Would You believe that
bo Gould II al l,La thnto u,f,,1 ~ nj
I'd scrawlcd "To Derry from Dr."
across one of the photographs and given
1t to him.
lie never said. as Keith did. Diana,
your hair Is simply wonderful" or,
"Di, you have TIE most gorgeous eyes
I've ever seem" Derry saw life, as l
did, through the lens of motion pic
ture camera. while Keith had the nor
nal porton's outlook on It. And must
admit that I liked that.
His aunt didn't like his playing
around with me, I knew, but I was
having n good time, and l didn't care.
when Malcolm Sandy sent for me-
He was the head of one of the big
gest organizations making pictures, and
| had done so much for the development
| Of the motion picture industry that
every one respected him. which was
saying n good deal in the industry at
that time! hadn't, supposed that he
even knew of my existence, and when,
as Keith was ordering dinner for him
self and me at the Alexandria. I no
tieed in the newspaper l was glnncing
through that Malcolm Sandy had ar
rived from New York, l thought very
little Of 1t.
But the next night, when got home
late from the studio feeling too abso-
lutely exhausted even to move, / found
a message from his secretary asking me
to call him up the next morning. And
when I called, and Mr. Sandy himself
talked with me, and said he would like