Indianapolis Times, Volume 42, Number 71, Indianapolis, Marion County, 1 August 1930 — Page 9

lUJG. TANARUS, 1930

’AIRSHIP SAFER THAN PLANE ON " ATLANTIC HOPS R-100 Adds to Proof That Dirigible Is Logical • Ocean Carrier. B it Noi<nce Nrrrice WASHINGTON, Aug. I.—The sale irrival at Montreal of the British airship R-100. after a non-stop flight of 3.400 miles, from Cardington, England, shows again that the day of regular trans-Atlantic travel by airship is not far distant. Since the R-100, one of the two largest airships in the world, is an experimental ship and in many respects Is unlike any other ever built, the success of this trip well establishes the present superiority of the airship over the airplane for transAtlantic travel. However, the only airplane that can carry nearly as many passengers as an airship, the giant German Dornier DO-X. is yet to make a flight from Europe to America. Her performance will be watched with even more interest than that which now attends the R-100. Airship Is Safe Safety proclaims the airship as the logical means of crossing the Atlantic by air. With the arrival of the R-100 bearing forty-four persons, about 475 people have crossed the north Atlantic non-stop by air, it is reported. Os this number, statistics show, approximately 442, or 93 per cent, have made the passage by airship and only about 33, or 7 per cent, have crossed by airplane. * There have been nine attempts to fly the North Atlantic by rigid airships and ail have been successful; fio lives have been lost. Thirtyseven attempts have been made to fly by airplane and only thirteen of these have been successful. The great loss of life resulting from the airplane attempts is well known. Carries Pay Load None of the airplanes carried a pay load, while the Graf Zeppelin on each of its five trips took twenty passengers and several tons of mail and express. Seven persons on the R-100 are observers. Two other crossings were made by the British R-34 and one by the U. S. S. Los Angeles. The chief innovation in the design of the R-100 is its "fatness.” The Graf is a slender cigar, while the R-100 curves throughout its entire ' length in graceful lines. It is about seventy feet shorter than the German ship and a third larger in diameter. This feature Is said to give it great strength to resist shearing stress, similar to that which caused the Shenandoah disaster in the United States. Eighty per cent of the automobiles stolen in New York arc recovered.

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BEGIN HEBE TODAY DAN RORIMER. former New York ; newipiper men. who u now writing ! scenarios for Continents! Pictures In I Hollywood gets a letter from an c.d friend In New York. ZIOOY YOLNU, I lellliyi hire to look up a girl named i ANNE WINTER, who has come from Tul- • , sa. Okla.. to ' crash the pictures. Dan compiles reluctantly, as he ts ! distrustful of Zlmv. but Anne proses to ! be charming. She has had stage experience—in stock companies, which Dan tells her ta the best foundation for an extra to have. Anne gathers that he t* a little dissatisfied witlk things at Continental. For one thing, he thinks they have miscast the star whom they select to Diav In the picture that Is to be made from a storv he had written before coming to Hollywood. „ _ Rorimer tells Anne about some of the discouraging phases of extra work, but he really believes ahe will "make the grade.” and he thus assures her. Thev go to the Roosevelt Hotel to dance, and Dan. before the evening is over, is quite smitten with her. NOW GO ON WITH THE STORY CHAPTER POUR IT was Monday morning. Rehearsals were to start that day for “Grim Holiday.” Dan Rorimer, settling down at the desk in his tiny office and staring out of the window at a drizzle of rain, looked back on two weeks of. idleness and fervently hoped there would be work for him in the forthcoming production. Even if a lot of changes in the script were necessary, he wouldn't mind—not unless they changed the framework of his story. It at least would make him feel like an essential part of the machinery of this organization instead of a human fifth wheel, forgotten in a little coop of an office with a typewriter, a desk and a couple of chairs, and a window that looked out upon numerous parked automobiles. When Continental Pictures bought his story, the executive at the New York office had informed him that the studio contemplated immediate production. Rorimer had thought "immediate production” meant just that, and was surprised to find on his arrival that nothing had been done beyond the preparation of the scenario. He had read that, had been impressed by its technical craftsmanship. Looking back over those two weeks, Rorimer smiled a little bitterly at the recollection of his reception at the Continental lot. He had been introduced to the producer, no less, and that important and busy individual had ordered that Rorimer be shown the sights. The studio manager had invited him to lunch, introduced him to various directors and scenario writers at the table, who had greeted him pleasantly, pausing long enough in their game of throwing dice to see who should be stuck for the meal checltS, to bid him welcome to Hollywood. One of the directors said: "If you're not doing anything this afternoon, come over on Stage Five. We’re shooting some interesting stuff.” PHOTOGRAPHY in natural color. Standing beside the director, Rorimer, who never had been in-

side a moving picture studio before, watched with keen interest and was Informed by the director that the lights used in color photography were several times as strong as those for black and white. "Hotter than the very devil, too. I understand they’re working on a cold light now. It’ll be great if they perfect it. "This morning I was shooting a restaurant scene, and an extra girl playing a waitress was supposed to come on a id pick up a tray. Well, the table had been under the lights for a little while—and did she drop the tray! It was hotter than fire. She said a few things, too.” What caused Dan Rorimer to smile now was the fact that after three or four days of being treated like a visiting celebrity he had been abruptly forgotten. The scenario chief, showing him to the little office, had said, "Well, Rorimer, this is yours. I’m sending in a bunch of scripts; you can study them to see how it’s done. We’ll be making you work pretty soon—and this is a fine little place to sweat.’ Rorimer now looked about him. A fine place to sweat! A fine place to sit and wonder if they ever expected to use you! Four plain walls, adorned with a few framed pictures of movie celebrities. A door at one end, a window at the other; beside the window, his desk. Someone now stuck his head in at the door. It was Gregg, the scenario chief. He said: "I suppose you're ready to give them a hand—you knew that Murray was sick?” “Yes,” said Rorimer. "I’m darned glad to get to work.” Gregg smiled. He was gray and well groomed, with a lined cheek and a perpetually worried look in his eyes, from frequent tilts with the studio manager. “You may get more than you’re looking for,” he said. “I just wanted to warn you about one thing; don’t get sore if they ask you to make changes in your story. .Maybe I don't need to tell you that.” “I hope not,” said Rorimer. "Well, it’s not pretty to write a nice magazine story, or a book, and have somebody kick it all around for you. But try to remember that the production of a talking picture is an expensive proposition; this one will riln more than $6,000 a day—and it’ll probably exceed, its budget at that. . . . Collins is the director. “So I heard,” said Dan. Collins was the director who had been so pleasant to him his first day at the Continental. "When he makes a suggestion,” Gregg said, “it’s usually a soilnd one.” "I’ve heard he's very good,’ said Dan. “I’ve got only one kick; why ” Gregg interrupted with a patient smile. “Why did they give your story to Atwood? Between the two

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of us. even Collins squawked a little when Adamson did that. “But Atwood’s got a ostly contract, and we’ve got to keep him busy. Besides, he won’t be as bad as you think; he’s a trooper, whatever they say about him.” p n p BY mid-afternoon Rorimer had reason to think even more highly of Collins’ ability. Several times during rehearsals the director had stopped everything and, turning to Dan, had shown where the changing of a line here and there would improve the dialogue. Once it had added a laugh to a scene in which a laugh w’as needed greatly. It had relieved the tension of a long, nerve-wracking sequence. Collins said he believed in long and thorough rehearsals. “It cuts down the retakes,” he explained. He

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prided himself a little on his reputation for quick productions. Dan made his changes right on the sets. Collins, remarking that he was quick and intelligent and facile, once voiced his approval. “You seem to know what it’s all about,” he said. “Good dialog’s the thing. Ever write anything for the stage?” “The stage doesn’t know it yet,” Dan smiled. “I wrote a play, but that’s as far as it got.” Collins nodded. “Maybe it helped you more than you know.” When Dan met Frederick Atwood, the famous screen idol entirely disarmed Rorimer with the warmth of his greeting. He shook hands cordially, said he had read Rorimer’s story, “Grim Holiday,” and liked it. “Good story. Good writing.” His words were clipped, precise, his accent British. Rorimer felt a little ashamed; but, studying the almost feminine beauty of Atwood's perfect features, yet persisted in the conviction that the man had been miscast. He went back to his hotel that evening, tired but elated. He hadn't realized the tension he had been working under until he was driving ‘back in his car.

Now he lay stretched out on his bed, relaxing cramped muscles, regretting the large number of cigarets he had consumed They had dulled his appetite—and Paul Collier would be called for him at 7 to take him to the Wampas dinner downstairs. He smiled, thinking of the pleasure he would take in tellnig Collier about Anne Winter. “So you were out of town in case she had a friend, eh?” But Anne didn't have a girl friend; she lived alone. This he had learned upon taking her home Saturday night. n n u YESTERDAY— Rorimer had taken her out driving Sunday afternoon—she had confided that she expected to live strictly within the limits of her own funds. He learned that she had saved most of her stage earnings and these were her stake. “Father told me I'd be writing home for him to pay the rent, but I told him he didn’t know his own daughter.” v Rorimer, propped up on a pillow whence he could gaze out on a myriad of yellow lights, was willing to wager that Mr. Winter not only-

knew his own daughter pretty well, but was proud of her. He reached for the telephone. Anne Winter was one swell girl, he thought asking for her number. Too bad she was up against such a tough proposition; just one in 20,000 —or thereabouts, he supposed—trying to crash the movies by the extra route. . . . Maybe Collins could do something for her. Collins was a good scout, and knew his stuff—maybe.

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“Hello, thills Dan Rorimer, inquiring after your good health and frame of mind.” Anne's voice answered: “Both are excellent, thank you. I never felt better, and—big surprise!—l go to work tomorrow.” (To Be Continued) Some' persons can hear nothing higher than 4,000 vibrations a second, while others hear 50,000 vibrations.