Photoplay (Jan-Jun 1935)

PHOTOPLAY MAGAZINE FOR MAY, 1935 99 ,, don't want you to find out that I'm hivering little woolly lamb inside." Je ent up the walk to his front door and ptelf in with a key. i g alone there in the car it was cold. I ndiyself shivering. was no one on the streets at that early r i! the morning so the woman who came ig he sidewalk aroused my speculative I first saw her under a lamp-post a hi feet away. She was coming toward couldn't make out from that distance e was like, and as she came nearer her s in the shadow so I never did get a Iwbod look. ould see me, though, because I was he light. She did see me, in fact, belittle way from the car she slackened e. I felt that she was studying me. at id she want? And why stare at me as ie,'ere memorizing my features? apparently she had no intention of ii|g. Instead, when she got abreast of she quickened her pace and turned up k that led to the front door of Sohlki's 5fl On the steps she paused a minute, aifitly took a latch-key out of her purse docked the door. ft she had entered the house I had plenty ■ to speculate on her identity. I waited vlited. Nobody came out — neither Sohlki 5( nor the woman who had a duplicate 'his quarters. eed to enumerate the ideas which went t oughmyhead. They would occur to anyH She might be his wife — I didn't know tjr or not he was married — or one of his tiprts — he had implied that he had j-or just a servant. tnk I waited at least half an hour before up. It was too cold to sit there any I figured that walking would at least Hme up. So I got out of the car and briskly in the direction from which •(>man had arrived. My idea was that Id probably come from a street car line hought I might be able to find it. Vn I had walked about a block an auto| came puffing along noisily behind me. ■ibeen conscious of it for several seconds it drew up alongside at the curb. ;S thinking, "Oh, lord, another pick-up," i familiar voice hailed me. ■ney, Miss Rachel, where you-all goin'?'' ,rned around and laughed. "You fool," I affectionately, "what are you doing ere at this time of night?" here is 'over here'?" Louella questioned usly. lon't know. How did you get here?" e? Honey, Miss Rachel, I just followed lan's car — the one that scold you so bad t the studio." >u mean you went to the restaurant — aited all that time — and then trailed us s place? Why?" 1 tell you— I didn't like that man. I think he's a very nice gentleman." ughed loudly at the weak conclusion of xplanation. "You're a crazy fool, a," I told her as I climbed gratefully ur car, "but I was never so glad to see dy in my life. Have you got any idea home is?" J, ma'am." 1 right, then. That makes us even. on. And if you see a policeman don't 'er him until I ask him where we are." 'tat happened to Sohlki in that house? It < amazing that it was bizarre. I will tell >out it in next month's Photoplay.) NEW FINER POWDER MAKES FEATURES LOOK SOFTER Silk-sifted Evening in Paris face powder imparts a more tender delicacy , like the beautifying effect of a soft-focus photograph. Unsifted face powder on the skin is similar to the effect of a boldly high-lighted, hard-finish photograph. Finer, downier texture absorbs light — harsh reflections disappear — your face takes on an effect that flatters like a soft-focus photograph! YOUR face powder may have been fooling you into believing you are less lovely than you can be. Perhaps you have noticed that your features seemed to grow bolder, harder, as you applied your powder. That's because, until now, face powders imparted a flat, hard surface to the skin that reflected light. 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