Judge — October 4, 1924 — page 29: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

sh! Hush!” I cautioned. “Pher- | be “What?” “Phee-be! Pher-be!” He stared at me. I thought his expres- sion was a little queer. “Phee-be!”’ I repeated. “Cuckoo! Cuckoo!” said Bill. I shook my head earnestly. That last was not quite like Bill. “You must come over,” continued Bill, giving me a playful push and skipping a few steps away. “Bill—” I began. He executed an elaborate imitation of Pan with his pipes as he started off down the road, flinging me back an arch look over his shoulder now and then. “Bill!” I cried desperately. “Cuckoo!” he answered as he skipped out of sight. “Cuckoo!” “Where are you going?” called Angela a moment later, as she reappeared through the bushes. I turned to face her, very red and very | uncomfortable. “I'm going to spend the summer in a mine,’ I announced grimly. “T want to get back a little self-respect.” Corey Ford The Real Stars of the Screen (Continued from page 20) of mine will send you reeling in large numbers into the cinemadrome by thousands to see it because you believe perfectly well that I don’t know what I am talking about. Well, go ahead, but be your blood upon your own sand. I | still have the courage of my convictions and will go on thinking this is a blah picture. If you have the luck (there are two kinds, viz., good and bad) to come in on the picture during the episode that I feel inclined to call “Broadway After Dark,” namely that part of the picture in which the souls of Rod La Rocque and Vera Reynolds tango up the path toward the judgment, you will wonder if you haven't dropped in on another one of those Hollywooden sneerials of which “Souls for Sale” and “The Great White y" were protagonists. What you will think of the rest of the picture I leave to your own nimble wit. Suffice it to say that I was bitterly disappointed in that Rod and Vera were not more successfully gassed earlier in the picture and that their " spirits were not permitted to go where they were going more directly. You will agree with me when you shall have seen the many tangents at which this picture shoots itself, that it might have more truthfully been called “Clay Pigeon Feet.” DeMille has often shot shafts of genius but he is hopeless when symbolism courts him and in “Feet of Clay” symbolism Tuns pigeon-toed all over the film. Maybe you'll like it. I didn’t. Keeping the Telephone Alive Americans have learned to depend on the telephone, in fair weather or in foul, for the usual affairs of the day or for the dire emergency in the dead of night. Its continuous service is taken as a matter of course. The marvel of it is that the millions of thread-like wires are kept alive and ready to vibrate at one’s slightest breath. A few drops of water.in a cable, a faulty connection in the wire maze of a switchboard, a violent sleet, rain or wind storm or the mere falling of a branch will often jeopardize the service. Every channel for the speech currents must be kept electrically intact. The task is as endless as housekeeping. Inspection of apparatus, equipment and all parts of the plant is going on all the _ time. Wire chiefs at “test boards’’ locate trouble on the wires though miles away. Repairmen, the “trouble hunters,”’ are at work constantly wherever they are needed in city streets, country roads or in the seldom-trodden trails of the wilderness. Providing telephone service for this great nation is a huge under- taking. To keep this vast mechanism always electrically alive and dependable is the unending task of tens of thousands of skillful men and women in every state in the Union. AND ASSOCIATED COMPANIES BELL SYSTEM One Policy, One System, Universal Service CHORUS GIRLS’ NUMBER JUDGE Out Next Thursday Glorifying the American Chorus Girl 27 comicbooks.com