The Early Ayn Rand

"Take my advice, Claire," Mr. Bamburger was saying half an hour later to the white ghost of a woman who was leaving his office. "Stay dead officially, leave Hollywood, and give up the movies. Better for your reputation and your peace of mind. Of course, you can prove your identity easily. But the public won't take you. You'll only make yourself ridiculous. And no producer will take you. Ask them. They'll tell you the same things. You've made quite a fortune in pictures. You don't have to work. Rest and enjoy it. Try to marry some nice, respectable millionaire. Forget the movies. I am more experienced than you are and I know the business: the screen is not for you any more."

Mr. Bamburger objected violently. Werner von Halz objected with a string of invectives in five European languages. But Winston Ayers and Heddy Leland Ayers, his wife, insisted quietly and irrevocably. So Jane Roberts was signed for the second feminine lead in Child of Danger. The character appeared only in the second half of the picture and the part had not yet been filled.

Mr. Bamburger surrendered on condition that Jane Roberts remain strictly Jane Roberts, change the color of her hair and the shape of her eyebrows, keep to herself socially, and let no breath reach the press about any connection between her and Claire Nash.

"Still," sighed Mr. Bamburger, "still the public will know."

"I hope," said Winston Ayers earnestly, "I hope from the bottom of my heart that they do. But I have my own doubts."

Jane Roberts' part was that of a sweet, innocent country maiden in Queen Lani's kingdom. It was not a big part, but it was worth ten starring roles. It gave her an opportunity for all the dramatic emotions she cared to display. It fitted her to perfection. It was a brilliant condensation of all the great parts she had played.

Claire Nash gathered all her strength. She remembered all her famous roles and took the best from each. She brought to her part the sweet, helpless glances, the tremulous lips, the famous smile of innocence, all the movements, manners, and graces that had been admired so much by fans and critics. She did everything she had ever done and more. Never had she acted so well in her life.

Six months later came the reviews:

" Child of Danger is the picture of the century. Words are inadequate before the magnificence of this miracle of the screen. One must see it in order to comprehend the enchantment of this cinematic triumph- The story is as great as its author — Winston Ayers. And when this is said, everything has been said. Werner von Halz gains his right to immortality by his brilliant direction of this one masterpiece. Heddy Leland, the new star, is a discovery that surpasses anything ever seen on the screen before. Her acting bears the flaming seal of that genius which makes Screen History...

"If we may be permitted to carp on minor flaws in such a stupendous achievement, we would like to remark in passing on a small annoyance in a perfect evening- We are speaking of the second feminine lead. It's one of those innocent, insipid little things with nothing but a sweet smile and a pretty face. She reminds us of some star or other, but her weak, colorless portrayal of the country maiden shows the disadvantages of a good part in the hands of an inexperienced amateur. The part is played by one Jane Roberts."

Part II

THE EARLY THIRTIES

Red Pawn

c. 1931-32

Editor's Preface

In 1930, while still working in the RKO wardrobe department, Ayn Rand began to outline We the Living. But she interrupted the novel late in 1931 to write a movie original, hoping to earn enough money to enable her to write full-time. Ayn Rand regarded Red Pawn as her first professional work. Happily, it was also her first sale: she sold it to Universal Pictures in 1932 for $1,500, and was thus finally able to escape RKO. The payment of $1,500 was for a synopsis of the story as well as the screenplay-Universal later traded the story to Paramount (for a property that had cost Paramount $20,000). All rights are now owned by Paramount Pictures, which has never produced the story, but which has granted permission to reprint the synopsis here.