Screenland (Nov 1950-Oct 1951)

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So, Ann and Josephine, the French poodle she bought in England, moved into Martha's spare room, and Josephine soon afterward became a mother. At first Ann wasn't going to move any of her things out of her own house. She was just sort of "camping out" she said. That was in May, 1949. It is now the Winter of 1950 and Ann is still a guest in Martha's house. Her things are stacked along the walls almost to the ceilings. She loves living at Martha's. "I'll probably wind up selling my house and staying here," she says contentedly. Martha has a small and most attractive country cottage in a semi-rural section of the Valley. No fancy new gadgets. Everything old and used and comfortable. Her father and mother, Mr. and Mrs. Coil, live with her. Mrs. Coil does all the cooking, and Mr. Coil works in the garden and the small orchard. They have an old-fashioned backyard with a grape arbor. "I don't feel like home at my home any more," says Ann. "These days when I say let's go home, I mean Gidd's home." Since she has been a house guest Ann has completed two pictures. One of them, the recently released "Stella," is high old comedy at its best. Ann co-stars with Victor Mature, and they make a very handsome romantic team. In her second picture, "Woman On The Run," made by an independent company called Fidelity Pictures, with a Universal-International release, Ann is co-starred with Dennis O'Keefe. It's described as a dramatic love story with an unusual twist. While working on the Bunker Hill location (Bunker Hill is a slum area in Los Angeles) the picture crew noticed a gang of tough looking boys standing around the set at night. Because of a wave of "rat pack" attacks on innocent people in Los Angeles, the company became jittery. "Shouldn't we call the cops and ask for police protection?" one of them nervously asked Ann. "Holy Toledo," laughed Ann. "Those guys are my pals." And then she explained that the boys were members of the Mickey Finn Youth Club, an organization run by Mickey Finn, a Los Angeles police officer, to combat juvenile delinquency. Ann has for some time been the main support of the group. She frequently visits the boys at their club which is located in the toughest section of eastside Los Angeles. And they are often her guests at picnics and barbecues. "They're here every night to see that nothing happens to me," said Ann. "Any time I work in a tough neighborhood Mickey Finn's boys are always around to chaperon me. Want to take a punch at me?" The prop man said no thanks, he didn't. Another location for "Woman On The Run" was the Ocean Park pier, Los Angeles' most famed amusement park. For seven nights the company worked in this odd setting from six p.m. until daylight. Most of the action at the pier was filmed on the roller coaster, where the exciting climax of the film occurs — where Ann realizes for the first time the identity of the murderer. Very few things upset happy, amiable, casual Ann. But a roller coaster, just to look at one, scares the daylights out of her. When she was a small child her father took her to an amusement park in Dallas, and they rode on the roller coaster. The ride not only terrified the child but, in addition, she hit her lip on the guard rail, splitting it badly and chipping a front tooth. That was Sheridan's last ride — on a roller coaster. Until she made this picture. Like Marie Antoinette approaching the guillotine Ann clambered into the roller car. What she hadn't counted on, however, was the fact that it was necessary for her to take the ride again and again, to get the various shots needed for the long sequence. After eight trips around the mile-and-a-quarter track Ann turned a lovely shade of chartreuse. That roller coaster did for her cast-iron stomach something that years of Southern cooking and Mexican chili have never been able to do. If you want to live to a ripe old age just don't ever mention "roller coaster" to Miss Sheridan. Here's How It Happened Continued from page 44 her life because another actress had been earmarked for the part, but studio head Jack Warner had asked Mr. Keighley to consider Pat since she was under contract to the studio and was due for a buildup. Mr. K. obligingly looked at the only picture Pat had made, "Tea For Two," tested her and liked what he saw. That's when the light of her destiny turned green. But Pat was still unsuspecting when the company of "Rocky Mountain" arrived in Gallup, New Mexico, the roughand-ready Western town which has become practically a suburb of Hollywood, because it's used so often for location. Mr. Flynn was, at the time, still being very attentive to his then fiancee, the Princess Ghika, and she had come along on the jaunt. Pat was more concerned with her aching muscles, which ached because she was taking a severe pounding astride a horse, another of her unfa vorite means of transportation. She'd been thrown when she was a kid and had kept herself purposely remote from nags ever since. No one, least of all Errol and Pat, seems to know just when or how the situation began to change. But change it