Evening journal., 1922-05-15
eDrl BY Louh JOsspA ys.o-
SYNOPSIS


ALM& DALEY. The visit is suggest
] HARRY LoNTAINE. who hopes .
form a motion picture company Il
California. He Is the husband o
Lucinda's school girl chum,
| FANNY LONTAINE. On the trip q
the studios on Ninth Avenue. Lu
cinda muses. over her break with he
husband.
BELLAAIY. Wealth. youth. beauty
= had failed TO bring happiness to thei
Fifth Avenue home after five year
of married life. Bellamys heavl
drinking and promiscuOus hirtation
had destroyed her early love for him
RICHARD DAUBENEY. her old sweet
heart. had returned to New York
She tried 70 forget her personal az
]. fairs watching King Laughlin., th'
director. and Tommy Shannon. lead
ing man, rehearse a scene.
"Oh, Tommy shannon" said Mr.
.Lane "TOmmy's all right
he knows what he's doing. All you
got TO do is let Tommy Shannon
alone and he'll ring the gong every
shot
but II that's the case, why did
Mr. Laughlin take so much trouble
ito show hin"
Lane explained: Kings all right,
-and Tommys all right. but IL Tom
my don't see a scene the way King
shows him. and King starts TO bawl
him out. why. Tommy'll just walk
Off the lot. And then where are you ?
You can't finish your picture with
out your leading man. can you2 And
there's maybe a hundred thousand
dollars invested In this proposition
already. One OF the first things a
|. dir ctor's got TO learn in this game
is how TO handle actors"
81 see" said Lucinda thoughtfully.
The way 10 handle an actor Is TO
let him have his own way"
you got the idea" Mr. Lane ap-
proved without a smile.
But suppose" she persisted
~suppose the leading man insists on
doing something that doesn't suit
Che part he's supposed to play2"
That's easy. What's your con
tinuity writer for?"
II don't know. Mr. Lane. You
see, don't even know what a con
tinuity writer Is"
why, he's the bird dopes out the
continuity the director works from
you know, the scenes in a picture.
The way they come out on the
p screen; Scene One. Scene Two, and
all like that. Well. you get your
continuity writer. OF course. and
have him make the change"
you mean you change the story
TO please the actor?"
-
when kou got maybe a hundred and
nfty or two hundred thousand dol
lars hung up in A picture"
'But doesn't that frequently spoil
the story?"
"Oh. what's a story?" Mr.. Lane
argued reasonably. People don't
60 10 see a story when they take in
an Alma Daley picture. They 60
because they know they get their
moneys worth when they see Ben
culp production that's taken from
some big Broadway success and !
costs a hundred and fifty or maybe |
two hundred thousand dollars. But /
principly Of course, they go 10 see I
Alma Daley. because she's the most /
poplar actress on the screen. and
makes more money than Mary Pick
ford
There was a sudden deluging OF
the set with waves OF artificial light
Of a weird violet tint. falling from
great metal troughs overhead and
beating in horizontally from the
metal stands or screens, which were
now seen TO be banks OF incandescent
tubes burning with a binding glare.
Nor was this all; shafts and floods
Of light of normal hue were like
wise trained upon the scene from a
dozen different points, until the
blended trays lent almost lifelike
coloring to the faces Of the actors
whose makeup had heretofore
oeemed ghastly and unnatural TO un-
initiated eyes.
Camera"
The command came from King
Laughlin. Lucinda could just hear
muhed clicking.
Coached by Mr.. Laughlin who
danced nervously upon the side
lines. the scene was enacted.
Now. Tommy. come on-slowly
hold the door-look around. make
sure the room is empty-hold It
now shut tho door-up 10 the table
don't forget where to put your
splendid, Now you look |
1t the other door-listen-show me
that you don't hear anything
good Open the drawer-easy now,
remember you're trying not TO make ,
4 noise-look for the papers-show ..
me you can't find them. My God!
you hear a noise off-(Ready' q
where can they be! That's It. Now ,
7ou hear a noise off-(Ready' ,
AlmaD the drawer-start to ,
pick up your hat-too latel Come :
IN, Alma-come on! You don't see !
lin. you look out Of the window and .
hgh-let's see you sigh. Alma ,,
beautiful Now. Tommy :
-ou move-she sees you-see him, ;
Alma. Slowly-hold it-wonderful! =
Vow call 10 him. Alma-Egbert! !
Igberti!"
The little mans voice cracked
With the heart-rending pathos he :
infused into that cry; he continued !
md leading man till the door closed
'ehind Miss Daley's frantic exit. =
Good Now Wen shoot the close
lps"
The camera was brought forward +
nd trained at short range on tho .
po twhere Miss Daley had fallen; u
everal stands of banked lights like- a
Tise were advanced and adjusted. q
he actress lay in a broken heap, u
Nth her faca burfod an bov-. rms