Screenland (Nov 1949-Oct 1950)

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You remember, one evening when you were out, she openly admired another woman's diamond bracelet.' But she wasn't obvious about it, and you never gave it another thought. Then you call and you can't get a date with her. She is dying to see you, too, but something has come up. Finally you do get together, and she tells you she is the kind of girl who loves expensive things. "You understand, you are just my type, you're wonderful, but I'm all alone and I have to look out for myself. We really hadn't better see each other any more." When you call her, she is evasive. By this time you are searching your mind like mad, trying to think what to do to please her, to bring back that wonderful first evening. Then you remember that she said she liked diamond bracelets. You send her one. She returns it immediately. Then she calls. "What have I done?" you ask. "We won't talk about it now," she says. She teases on the telephone. It seems the only time you can see her on the morrow is when she's going shopping. You go along and of course you wind up right in front of Cartier's window. The bracelet you buy is ten times more than the first. Soon you have such an investment in diamonds in her that you stick. You can't afford to let go of your investment. Then there's the Losing Lucy, who always leaves her compact or her gloves in your car, or her lipstick in your pocket, so .she can call you and it will bring about another date. There's Designing Dolores, who asks you to a little party at her apartment. You arrive to find everyone had to cancel the party and it's just a party for two. The pitfalls there are obvious. Then there's Personal Phyllis, who takes everything personally. You apologize to make up, and seem forever trying to get back into her good graces. The most aggravating is Catty Catherine, who talks about someone else in a derogatory way. You become silent. You are so appalled at her clawing that you are aware of being embarrassingly silent. The girl gets you to talk, so you talk about someone to make her appear better. Then she turns on you. She then goes on to say how you talk about people! The most exasperating are the Scene Makers, who turn on tears or temper. A man will do anything to avoid a scene. She wins her point merely because you don't want to be embarra.ssed. A woman's like the little poem called "The Secret Of Closing Sales:" "He asked if she ever could love hhn She answered him, No, on the spot. He asked if she ever could love him, She assured him again she could not. He asked if she ever could love him, She laughed til his blushes he hid. He a^ked if she ever could love him. By Gosh, she admitted that she did. . ." Femininity expresses itself very young. The other night Lionel Atwell's small son, Tony, was visiting at our house. My little three-year-old blonde daughter, Lynn, said to him, "You hadn't better sit there. Git up." He did, and she quickly motioned for him to sit by her. I am reminded of the little boy who asked the little girl, "Kiss me." She said, "Oh, no," and threw her arms around him, saying. No, No, No, pulling closer all the time. The little boy was without guile. The little girl was already operating her femininity by instinct, which an adult man later determines is trickery. It's like the old song: "The gal I left behind me has been ahead of me all the time." It's Always A Picnic! Continued from page 43 working, she could kite off to the beach, hike, or shop and lunch at the Farmers' Market with some of the fellows she'd met, actors or business men connected with the industry. Vera has very definite ideas about dating. She likes fellows who are fun to be with in the daytime as well as in the evening; she likes someone who is fun to swim with and dance with but who is just as good talking before a big fire. "After all," she says, "you can't rumba your way through life! Some of my masculine friends represent one sort of interest, others represent different qualities that I esteem too. Whenever I find a man who embodies all the aspects of living I value most, there won't be any other escorts." Vera's idea of a happy day is like the one .she and Roc Hudson spent at Ojai. They found they didn't have Saturday calls, jumped in his car and headed north, past Ventura, into the mountains. Roc is the six-foot-three-incher who scored in "Fighter Squadron," "Undertow" and "Shoplifter." He loves the outdoors and is a good athlete. They stopped on the way to Ojai for orange juice and for buttermilk. They drove through fruit orchards in bloom and came out finally into the rolling fertile valley. They left the car then, hiked through the woods, practised shooting (Vera confined her aim to tin cans, fared pretty well for a beginner) , then found a meadow with a great oak under which to spread their lunch. They ate sandwiches and fried chicken which Vera had packed at home, and the coffee she had poured scalding hot into the thermos. Then they drove to a friend's ranch where they rode horseback all afternoon. That evening they went to the Ojai Country Club for dinner and e3