Modern Screen (Aug-Dec 1943)

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really took Linda by utter surprise. Pev breezed in one Friday evening. ''Got a three-day pass." "What you doing with it?" "Drive some place maybe." "How about gas?" "Saved my coupons up." After dinner he suggested they go see Ann Miller, Linda's closest friend. There was a glorious moon, and Pev stopped the car before they reached the house. Her heart skipped a beat. All she could think was, "He's going overseas." hush stuff . . . Words of sentiment don't come easy to Pev. "I — I'm in love with you. Brown Eyes. Will you marry me? Tomorrow?" "Tomorrow? — Oh yesyesyesyes, Pev!" Well, as it happened, they didn't get away till four the next afternoon, so the wedding was on Sunday. She told Pev about the suit finally, and he told her about the ring, lying snug in his pocket for two weeks. They called for Ann Miller at the studio — Linda and Pev and Corporal Bill Heath, ex-test director at 20th-Fox and Pev's best man. To keep Hollywood unsuspecting, they resorted to dodges. The girls wore slacks, sun glasses, and scarves round their heads. Suitcases had been sneaked into the trunk. Bill went to an out-of-the-way shop for the flowers — white orchids for Linda, purple for Ann. The night before Linda had phoned Las Vegas for reservations and gone panicky as one hotel after another reported, full up. At the Apache they had one room. The boys had resigned themselves to bunking in the car. At the hotel they were oh so formal. "Terribly kind of you to come up, Miss Darnell." "You have my music, haven't you, Sergeant." "Good night. Miss Miller, we'll come for you in the morning." At the desk Bill continued the comedy. "It's so late, we hate to drive back to barracks. Any chance of a room?" Yes, there'd just been a cancellation. Next morning was like a swift dream. The note from Pev, slipped under the door, too sweet to tell about. Her hands shaking so, she could hardly get her make-up on. Ann helping her into the sheer white wool suit — adjusting the white pillbox hat — pinning the orchids in place. The guy with the camera posted at the front door. "Maybe he's there for something entirely different, but let's not take a chance." Sneaking out the back way. Driving to the courthouse. And suddenly Linda wasn't nervous. For something beautiful happened. It was Palm Sunday, and Pev was standing beside her. And just as the voice said, "Dearly beloved," the church bells chimed. They smiled at each other. "I, Monetta Linda — " "I. John Peverell — ." So now it was no longer a secret, and they phoned the studio. And ordered champagne with their lunch, and Linda kept one of the corks to put away with her orchids. For the present they're living in Linda's small apartment. You'd think that a face like hers would be enough. But the girl can cook, too, and not just a steak or a chop. Pev's mad about her corn Creole and her eggs with sherry and her salad dressing and her garlic toast for steak. On the other hand, she'll do no dish-washing — always leaves them for the maid in the morning. stay-at-homes . . . Nightclubs and restaurants rarely see them. They like to eat at home and to be by themselves. In the living room after dinner. Pev tunes in to news commentaries or the fights. Linda reads and draws. She's doing a portrait of Pev. Sometimes they take in a newsreel, the only kind of movie Pev cares about. As for Linda, she gets all the diversion she needs from her husband. He could always make her laugh, but never has he been so charming, so full of jokes and fun — so cute, as she finally sums it up. They own everything in common. "Where's the camera?" "In my car." "In whose car?" "In our car." But there's one point on which Pev's inconsistent. Linda wants to move into his house — their house — a lovely Monterey colonial over-looking the ocean. They can't do it on his soldier's salary. . When Linda says, "How about my salary? " he goes masculine, won't let her spend money. There's another thing she wants, too. On her dressing table stands a picture of Pev at four. Some day. not too far distant, she wants a baby who'll look like Pev. "He's got to be a boy. and he's got to have the same devil in his eye and the same fat legs. Exactly like Pev I want him, but exactly — or back he goes straight to the Indians — " Linda Darnell. 19, married Pev Marley, 40-odd. Because she loves him. Because home is where the heart is. Because, for the first time in 19 years, Linda's heart is at home in the world. "FOR WHOM THE BELL TOLLS" 'PRODUCTION] (Continued jrom page 39) was Zion National Park. Finally, the ideal site was discovered — Sonora Pass, 'way up in the High Sierras. When they found it, snow was piled high in deep drifts, perfect setting for the El Sordo battle sequence. The Technicolor cameras were rushed to the spot and rigged up with electric pads to prevent freezing. Then an entire troupe was flown there, and 15 days later, the scenes were cut, edited and ready to be inserted in the final production. Menzies made a ten-foot-square basrelief map of the surrounding terrain for Wood's guidance in planning the action, then drew more than 5,000 sketches, all in color, of the characters and the sets that would have to be built at the studio. Because of the government edict that only $5,000 worth of new material could be used in any one picture, Wood decided to shoot as much of the footage as possible on location. Originally, the filming schedule called for 38 days in the Sierras, but the time was extended to ten weeks. quick freeze . . . The temperature up there hovered around zero, dropping below that at night. Akim Tamiroff had to keep chipping the ice off his elaborate make-up between scenes. 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