The Cat's Meow

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You are in a large wooden room, it looks like a warehouse on a dock. There are ropes spooled on the rafters, wooden crates in the corners and colourful handpainted buoys on the walls. A floor-to-ceiling curtain constitutes one of the walls, dividing the space. A crowd of maybe sixty people mills around you, making their way to and from a nautical themed bar. These sixty people are your fellow audience members. Their invitation to the show suggested they dress in 1920s-themed attire, and the room is filled with flapper dresses and sharp suits. The Crew (performers immaculately dressed in sharp white nautical uniforms) roam the space, welcoming audience members as honoured guests of Hearst's, putting them at ease, and clearing empty glasses. <<linkappend "Suddenly the lights go out.">> A spotlight finds Elinor Glyn, 60, standing on a balcony, her English accent smooth and refined. She speaks to the crowd below her dreamily. Or is she speaking to herself? <blockquote>"Black. And White. Black is the absence of color. In white, there is the entire spectrum. Hold a clear prism up to white light and you get a rainbow. Hold that same prism up to black and you get ... Oh hell, more black. I am a writer. My art has one tool. Words. Black ink on white paper. People often speak of Truth being black and white. Still others say that we dream in black and white. Art. Truth. Dreams. Darkness coupled with so many colors. Come with me will you? Tell me if what I dreamed is true. Or if my truth ... is but a dream. Come. We are about to go yachting ... on the grayest ocean you have ever seen."</blockquote> The light on Elinor disappears, and the house lights return. At the same time, the curtain wall falls away, revealing the doorway to another room. The crowd starts making their way in. [[Move to the next room|A1S1 Arrivals]]<</linkappend>>

This room is decorated as the deck of the Oneida. Rich wood panelling, crisp tablecloths, brightly lit for a sunny Californian day. The Crew bustle past you. They're moving suitcases, throwing ropes, welcoming audience members on board. A large gangplank is secured in the entranceway from the previous room to this one. The crew gently position the audience around the edges of the room, where there are spaces for them to sit or stand. The audience are in the same physical and fictional space where the action is to happen, but they have the option to watch without getting involved. Thomas Ince, hotshot movie producer, takes off his sunglasses as he steps off the gangplank, shortly followed by Margaret and George. Only George looks truly comfortable. They have a conversation about the yacht ("My God, look at the size of this thing") until Marion appears from indoors. Marion sees Thomas from behind and shouts "Charlie!". Thomas turns around and Marion realises her mistake. "Dopey me. Tom!" she says, and gives him a hug. Tom compliments Marion's nautical outfit, and offers to cast her in one of his films. Marion plays along for a moment, before leaving to find their host - William Randolph Hearst. Next second, Chaplin (yes THE Charlie Chaplin) steps on deck via that same gangplank. Thomas gives him a lukewarm welcome, introducing him to George ("My business partner") and Margaret ("George's guest, and a delightful actress in her own right"). After a polite but terse conversation ("Failure is a character builder, eh?") Chaplin beats a hasty retreat to the buffet table. Do you... [[Follow Chaplin to the table|A1S1 Flirting]] or [[Stay with Thomas, Margaret & George|A1S1 Gossip]]

Marion, carrying a bunch of balloons, is decorating the deck. As she passes the buffet table, Chaplin pops one of her balloons to get her attention. "Why haven't you returned any of my calls, you little shit?" She asks, out of the corner of her mouth. Neither she or Chaplin seem aware that you're within earshot. Chaplin feigns an excuse and tries to smooth things over. Marion is having none of it. "Willie's heard about us. He's even had private detectives poking around. He's invited you this weekend so he could watch us. In fact, he's up there watching us right now. Nothing can happen this weekend, do you understand me? Nothing." Especially given gossip columnist Lolly Parsons has just stepped on board. "Do you really believe that if you had reached me I would have stayed away?" Asks Chaplin. "No, but you should really believe that I wanted you to." Marion says, fixing a grin as she turns to leave. [[Follow Marion to meet Lolly|A1S1 Lolly]] [[Stay with Charlie at the buffet|A1S1 Charlie]]

Margaret immediately hits Thomas. "Thanks, you introduce me and then you hog him all to yourself." Thomas looks over to the other side of the room, where Chaplin is now. "Little prick." "Really?" asks George, smirking, "I hear he's got quite a big one. "An actor running a studio," Tom continues, "it's like the goddamned serfs running the palace. He lost his shirt on that last picture and they say The Gold Rush is so over budget the financiers have stoped returning his phone calls." "Not to mention that his sixteen year-old lead actress collapsed on set - pregnant," adds George. They're enjoying the gossip, and either don't know or don't care that you can hear them. "Really?" Tom asks, bemused. "They learn about the birds and the bees so much younger these days." "The buzz around town is that Chaplin did the pollinating..." George drawls. Speaking of gossip, Lolly Parsons has just stepped off the gangplank and arrived on deck. [[Go to meet Lolly|A1S1 Lolly]] [[Stay with Thomas, George and Margaret|A1S1 Networking]]

Marion arrives near the gangplank to introduce the visibly nervous Lolly. Marion calls out to the deck. "Lolly, this is everybody. Everybody, this is Lolly - Miss Louella Parsons, the insightful movie reviewer for Willie's 'New York American'. Especially insightful because of the wonderful things she writes about me!" Lolly is clearly excited to be among the well to do. "And I wrote them even before I knew that you and Mr Hearst were... I mean, that you two are... That you're both... uhm..." Everyone, Lolly included, is amazed at how quickly she got her foot in her mouth. "Gosh, this thing is big, isn't it?" She asks. From behind her, a deep, eloquent, woman's voice booms out: [["'Yes dear, but does he know what to do with it?'"|A1S1 Elinor]]

Chaplin watches her leave, hands on his hips in mock outrage. "If she can keep that up all weekend, I'll eat my hat. Oh!" He's suddenly reminded of something and turns to you (yes, you!). "A starving man in the desert eats his own hat in desperation. Is that funny?" The two of you discuss the various comedy merits of eating different items of clothing, until Chaplin hears a familiar voice. His ears pricked, he looks gleefully up at the gangplank. [[You turn your head to see...|A1S1 Elinor]]

Marion calls out to the deck. "Lolly, this is everybody. Everybody, this is Lolly!" Thomas Ince rolls his eyes, then turns away and sees you (yes, you!). He smiles. "Thomas Ince, pleasure to meet you." He asks you about your interest in the movie business, and politely lets you know that he had a hand in most of your favorite movies of the last five years. "Have you ever considered a career on screen yourself?" He reckons he could make a tidy profit with a star like you on his next feature. Especially if his new deal goes through... He's about to introduce you to his companions, when he hears a booming English voice call out. [[He looks up to see...|A1S1 Elinor]]

Elinor Glyn is at the top of the gangplank, addressing the audience. As before, she is spotlit. The other characters freeze in place. <blockquote> "Welcome to Hollywood - a land just off the coast of Planet Earth. I have traveled the world and lived almost everywhere, yet I remain in this place. I fear this bizarre yet fascinating town, but I can't leave it. You see, I'm never quite certain if I am visiting the zoo or if I am one of the animals in a cage. This yacht belongs to William Randolph Hearst. That woman is Marion Davies, his very public mistress. It is November, 1924. Thirteen passengers walked on board; one of us was carried off horizontally two days later. Little evidence exists to support any version of the weekend events. History has been written in whispers. This is the whisper I hear in my dreams." </blockquote> The tableau breaks. <<if visited ("A1S1 Lolly")>> Marion introduces Lolly to Elinor, who hurriedly leaves to talk to Chaplin. Lolly, not catching the social cue, follows close behind. Marion takes some decorations over to a nearby railing and says, to nobody in particular, "Be ready, Pops, I'm coming up." Do you... [[Follow Elinor and Lolly to Chaplin|A1S1 Lolly Chaplin]] [[Help Marion with the decorations|A1S1 Decorations]] [[See what Thomas is doing|A1S1 The Deal]] <<elseif visited ("A1S1 Networking")>> Do you... [[Stay with Thomas|A1S1 The Deal]] [[Follow Elinor to visit Chaplin|A1S1 Lolly Chaplin]] [[Help Marion with the decorations|A1S1 Decorations]] <<else>>Do you... [[Stay with Chaplin|A1S1 Lolly Chaplin]] [[Help Marion with the decorations|A1S1 Decorations]] [[See what Thomas is doing|A1S1 The Deal]] <<endif>>

Before Chaplin can wisecrack about Elinor's arrival, she walks over to him, Lolly a little behind. "Hello, you little bastard," says Elinor, kissing Chaplin on the cheek. "It's the 'little' I object to," he replies. Lolly breaks in, and fawns over Chaplin at some length. He's very uncomfortable, which Elinor finds quite amusing. "Well, I'll leave you two then," says Elinor, "I have a... oh, something-or-other to attend to." [[Elinor slips away|A1S1 Elinor 2]], leaving Charlie in Lolly's literal clutches. Lolly continues her charm offensive, offering emotional support during this difficult time ("If you ever want to confide in someone sympathetic to your needs...", "All my close friends call me Lolly"). [[She trails off though, when she sees...|A1S1 Hearst]]

George returns to Thomas. "Hearst is a tricky fish, Tom. He's known to nibble and back off." Thomas looks out across the water. "That's the difference between you and me, George: you'd stop at hooks and worms. I'd use a goddamned harpoon with poison on the tip if I could get my hands on one." [[Speaking of, look who's landing on deck...|A1S1 Hearst]]

Marion puts up the last few decorations. She looks around, to make sure no-one's watching, and steals away up a nondescript staircase. Because you're the nearest, one of the crew puts an apron on you, and says sternly "Follow Ms Davies, but don't get in the way, and don't be seen." You hurry up the stairs behind her. Someone tries to follow behind you, but the crew member stops them. Down a corridor Marion opens a door, without knocking, and enters. You sneak to the door, and peek inside to see a luxurious cabin - William Randolph Hearst's. He's getting dressed in front of a mirror when he sees Marion enter. "Is everyone here yet?" He asks. The two of them clearly haven't noticed your eavesdropping. "Everyone's here, and you know it," she replies, "You're Radio Central here, spying on everyone. Are you going to join us?" Hearst asks about her and Charlie, she insists there's nothing between them. He offers her a present, a stunning butterfly brooch. He's worried she might leave him. She hugs him, comforts him. "What do I always say, W.R.?" "Shut up and keep me happy, Pops." She rests her head against his chest a moment. "Come on, Hollywood's best and brightest are waiting for you." "I know," he replies, straightening his tie, "I quite enjoy it." You duck out of the way as he leaves the cabin. [[Follow them downstairs|A1S1 Hearst]]

Elinor settles herself in beside the buffet table, clearly delighting in making snarky conversation with you. She commentates the arrival of the last few guests. "And look, it's boring Frank Barham. The Pill of the Hearst publishing world. They're invited to remind Hearst that for every one of "us', there are two of 'them'. And wonderful, Barham's wife's here. Her name's... her name's... oh yes! Who cares?" [[And there's one more arrival: W.R. Hearst himself.|A1S1 Hearst]]

Marion emerges through a doorway, and announces to the assembled guests "Well, here he is!" "Welcome!" Hearst booms. Everyone applauds. Marion kisses his cheek then leaves him to chat to the guests.<<if visited ("A1S1 Elinor 2")>> "Such an economy of words for someone who controls more print than Jesus Christ." Elinor mutters. <<elseif visited ("A1S1 Lolly Chaplin")>> Marion passes by, and Charlie grabs her hand, kissing it. She pulls away, angrily.<<elseif visited ("A1S1 Decorations")>> Hearst's PA approaches. "Chief, it's nearly noon. We should try to stay on schedule if possible." You hear nervous yells from the far end of the room. Two young women, flappers, laden with suitcases, are hurrying to get on board. "Raise the gangplank!" Hearst shouts, half-chuckling. They make it on board just in time.<<elseif visited ("A1S1 Lolly Chaplin")>> You see Thomas Ince staring off into the distance. You follow his gaze to see Chaplin grab and kiss Marion's hand. She pulls away, angrily. "I think this is going to be a most enjoyable boat ride." "Yeah," Tom replies, "The Cat's Meow." <<endif>> "Alright, everybody!" Hearst booms, "Out to sea we go!" [[Blackout.|Restart]]

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