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Back The Great Pretenders
Chapters (55)
  1. Cover
  2. Praise for The Great Pretenders
  3. Dedication
  4. Epigraph
  5. PART I
  6. Chapter One
  7. Chapter Two
  8. Chapter Three
  9. Chapter Four
  10. Chapter Five
  11. Chapter Six
  12. Chapter Seven
  13. PART II
  14. Chapter Eight
  15. Chapter Nine
  16. Chapter Ten
  17. Chapter Eleven
  18. Chapter Twelve
  19. Chapter Thirteen
  20. Chapter Fourteen
  21. Chapter Fifteen
  22. Chapter Sixteen
  23. Chapter Seventeen
  24. PART III
  25. Chapter Eighteen
  26. Chapter Nineteen
  27. Chapter Twenty
  28. Chapter Twenty-one
  29. Chapter Twenty-two
  30. Chapter Twenty-three
  31. Chapter Twenty-four
  32. Chapter Twenty-five
  33. Chapter Twenty-six
  34. PART IV
  35. Chapter Twenty-seven
  36. Chapter Twenty-eight
  37. Chapter Twenty-nine
  38. Chapter Thirty
  39. Chapter Thirty-one
  40. Chapter Thirty-two
  41. Chapter Thirty-three
  42. Chapter Thirty-four
  43. Chapter Thirty-five
  44. PART V
  45. Chapter Thirty-six
  46. Chapter Thirty-seven
  47. Chapter Thirty-eight
  48. Chapter Thirty-nine
  49. Chapter Forty
  50. AUTHOR’S NOTE
  51. Readers Guide
  52. DISCUSSION QUESTIONS
  53. Acknowledgments
  54. About the Author
  55. What’s next onyour reading list?

From the beginning, Carleton Grimes made a big show of Paragon’s commitment to Adios Diablo. He invited me to come to the massive publicity send-off from Union Station, a private train that would take everyone to El Paso, where they would be met by an armada of trucks and vans to cross into Mexico for what was supposed to be a thirty-six-day shoot. Hiring the private train, he told me, actually cost less than regular tickets and freight rates for all the cast and crew, which was over a hundred people, and the vehicles and sets and costumes. He had another consideration as well: With a private train, there would be no question of segregated cars once they crossed into Texas. I was impressed at his foresight; Leon would not have thought of that.

Two mariachi bands played lustily, wandering through the vast, vaulted station. Katy Jurado, Golden Globe winner for her role in High Noon, gave a speech in English and Spanish. Adios Diablo had no major stars (Paragon could not afford them), so Carleton asked for a favor from none other than Grace Kelly. Once word went out that the Oscar-winning actress would be there, the local television stations, radio, and fan magazine magpies flocked to the publicity event. Miss Kelly graciously allowed herself to be photographed with the cast, including Clayton Strong, who waved to me. (When he auditioned for the role, and got the part, Clayton sent a dozen roses to Clara Bow Drive with the message, No more togas. Regards and thanks, Clayton Strong.)

For Miss Hedda Hopper’s note-taking benefit, Carleton Grimes introduced her to the new young director, Sam Pepper, and the writer, Art Luke. Sam Pepper flattered Miss Hopper. Art, a man not known for his charm, was short with her, and to make amends, Carleton described Art as the Gary Cooper of writers, a savvy choice that made Miss Hopper blush like a maiden beneath her flower-and-feather-laden hat. Carleton also had extraordinarily nice things to say about me, calling me the most interesting woman in Hollywood. Hedda insisted we have lunch sometime soon.