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Picture Show Annual 101 it is ells J 22 CARE-FREE CONSTANCE " My candle burns at both ends. It will not last the night ; But ah, my foes, and oh, my friends — // gives a lovely light." THAT is evidently Constance Talmadge's motto, for Constance has been burning her candle at both ends consistently for some years—working hard during the day, dancing hard at night, and sandwiching in between the two all forms of outdoor exercise. And each morning she is up as fresh and bright as the morning itself — sometimes brighter — with no tell-tale lines or shadowed eyes marring her appearance. Six hours a night is Constance's allowance of sleep, and this allowance, which would make nervous wrecks of many people if they spent the other eighteen as she does, she finds ample. The secret is her amazing vitality, which never weakens. Her energy is inexhaustible, and has been since she was a long, skinny school- girl. The word " rest " holds no meaning for her—she only under- stands the word "change"; quietude is unknown ; boredom is not tolerated. After several years she still entertains Hollywood with her ever bubbling gaiety, her wild enthusiasms and numerous love affairs, and Hollywood, a town of quickly aroused interests as quickly satiated, is not easy to entertain. Other stars who have amused it by their vim have eased the pace they set and gently sunk into quieter routine, but Connie still goes on. " Work while you work and play while you play," aptly describes her mode of living, for she works with a gusto only equalled by her playing. If all the screen stars were to be divided under two headings—those who are like their screen personal- ities, and those who are not, Constance would be in the first classification. Some stars in the flesh are utterly unlike their screen shadows—Charles Ray, for instance, the tattered, gawky country boy of so many films, becomes a well- dressed, self-possessed young man in reality ; Adolphe Menjou, the debonair man of the world, is said to be domesticated in private life ; Mary Pickford's screen kiddish- ness masks a highly intelligent and capable business woman. Not so Constance—she is, if anything, a sort of concen- trated essence of her screen self, full of gaiety that is never strained but wells spontaneously from her care-free nature