Photoplay (Jan-Jun 1929)

Ii6 Photoplay Magazine— Advertising Section At tne end oi tne evening -Mte men avoided^ tier ou can't lell Tvhen a temporary deodorant will cease to protect you FOUR years away from home and her old friends found her lovelier than ever. But their enthusiasm wore off quickly — in fact, before the evening was over. Why was it? Because you can never know when a temporary deodorant will fail to protect you! Only by the regular use of Odorono can you be sure of lasting protection from unpleasant perspiration odor and ugly stains. Odorono, developed by a physician for his own use, keeps the underarm dry and fresh by checking perspiration in a safe way. Doctors recommend it where perspiration is annoying. At toilet goods counters Odorono Regular Strength and Odorono No. 3 Mild for sensitive skins, 35f and 60', and Creme Odorono in tubes 25*. Odorono Regular Strength (ruby colored), used twice a week at night. Pat on freely. Allow plenty of time to dry. Odorono No. 3 Mild (colorless), for especially sensitive skins and for hurried use. Use dally or every other day, night or morning. Pat on freely. Allow plenty of time to dry. t^EW 10<f OFFER: Mail coupon and lOi for the complete underarm toilette: samples of Odorono Regular Strength, Odorono No. 3 Mild, and Creme Odorono. The Odorono Company, Dept. G-4 114 West 17lh Street, New Votk Anna, straightened up. The canes fell to the floor. "It was nonsense of course, getting depressed." She gave the pillows a couple of punches. "I shall be walking next week. But I'm going back home in two years — to stay, I must work a little longer. I've never been extravagant, but comfort has become important, ril admit. And there are some families I'm interested in . . . "I shall buy an island in the Swedish archipelago. Winter and summer sports, both, are marvelous there. Part of the year I shall spend on the French Riviera and tooting about Europe. I haven't had much time in my life to read or to absorb. I started to work over here when I was fifteen — a Swedish servant girl with yellow pigtails ... I haven't had much time. "There you are — not much time! We in America love Europe because over there they take time. While I was in the hospital I realized how profitable it is to take time to do the little profitless human things that are most worth while." T RECALLED that George Stewart on his sick-'■ bed had asked me to give his love to Anna — "a wonderful girl, .'\nna." George, the brother of .-\nita Stewart and a promising young actor, had once plaj'ed Anna's son in a picture. He is now recuperating from an illness of two years. During those two years not one of his Hollywood friends — the young kids of his age — has come to see him, although he has telephoned them from his bed. "But you mustn't blame them. Herb," he said when I got explosive. "In HoUywootJ everything is making good, it seems. If a fellow can't do you some good you find a friend who can. I don't blame Ihem, it's the game." Alice Terry on her last visit to Hollywood said; "I don't think I shall ever return. It's an unhappy place. We ha\-e everything in the world that is supposed to make a person happy, and yet we are not. I think the trouble is that there is no real friendship." Here in Hollywood there is everything, wealth and fame and adulation, while one is still young. There is everything except the Greatest Thing in the World. Ambition and success are often incompatible, and incompatibility is grounds for quick divorce in Hollywood. Few are the great who can quit the pursuit of wealth and fame, having learned, and turn to "the little profitless human things that are most worth while." The Studio Murder Mystery [ CONTINUED FROM PACE 45 1 Other hand you unscrew this ..." touching the screw that held the camera magazine in place . . , "and then you throw off the chain from this spool and lift it off. The new magazine slips into this slot. You tighten the screw again, replace the wire chain on this pulley and . . . you're ready to shoot." "Thank you. Will you go through that several times?" And then — "And now show me how a person would unthread the film." "Like this." Serge released the catch on the httle drop door at one side of the camera and beckoned Smith to conje closer to see inside. Then he showed him how the film would be removed from the sprocket wheels. "Thanks," said Smith again, adding, "I've heard you must clean out these wheels and the interior of the case to prevent static." "That is so. It must be wiped carefully . . . brushed out first. ..." "Did you do that the last time you used your camera?" "Certainly." "Thanks. I won't keep you any longer," said Smith. "Will you go with me to the commissary and have a drink?" said Serge immediately, with his flashing smile. "Thanks again. I will." "/"^LANCY, go get my car and drive it ^-^around to the West side entrance of Stage Six." "Sure, Cap." Smith went quickly to the set, whipped a cloth of gold case from a pillow, smothered the camera in it, and, holding the heavy object carefully away from him, his hands where they would be least likely to confuse prints already made, started down the steps of Stage Six. His ej'es encountered those of Izzie Cohen, staring with curious resentment at him. "Hello, Cohen. Will you have a tart?" "Vat?" "Will you have a tart? I think I must look very much like the man in Stevenson's suicide club, you know . . . who went about with a tray of tarts . . . only I believe he carried it on his head. I'm not sure." "Vat iss it you haf?" " .K camera." " Vere are you taking it, please? " "Away." "Veil, you cannot do that, Mr. Smith! Not vidout I giff you a permit ! ' ' "Consider you have given it," said Smith pleasantly, putting the camera down carefully on the seat and getting in himself. "But it has got to haff a number and a requisition, and efferyt'ing! I got to keep track off efferyt'ing vat goes off the lot!" " Go give it a number. Give it anything you want, old <:hap! Say, how many times do cameras jam in one day ? " "I do not know. It depends." "Well, see if you can answer this one. What makes that Serge feUow leap up in the air when you're not looking at him?" "Oh, him? He vas vid the Russian Ballet. He got vat you call muscle bound, so that he iss not good anymore on the stage." "Know an3'thing more about him?" "I don't know noddings more, except he iss full off temperament like Seibert! He makes me lots of trouble in the Production Office. I got to charge that camera to some company. Cameras cost money." "So do murders!" CHAPTER XV. PROFESSOR AMLEY MIDDLETON was just returned from a period of exhaustive research abroad and he was finding his home shores a trifle unproductive in material for his expert knowledge to feed upon, when Smith walked in and set a motion picture camera down on his desk. "Ah," said the Professor with a long drawn, greedy breath, his eyes . . . those fierce black eyes with the predatory gleam of a hunting eagle . . . fixeti on the camera. . . , "Ah . . . being the man you arc. Smith, I can safely presume you have something here of interest!" "And being the man you are. Professor, I can safely presume you can make this interesting!" Which pleasantries being over Middleton stepped to his door, closed it, came back and seated himself at his desk. " Commence," he said. "HardeU murder. You've read of it? All right, then you know what the papers have told. This is new today . . . this camera. Frankly I'm shooting at the moon. What I Every advertisement In PHOTOPLAY MAGAZINE Is guaranteed.