Perth Amboy evening news., 1922-05-15

hHts, the scene was enacted.
Now. Tommy, come on-slowly-
hole the door-look around, make
sure the room is empty-hold it
now shut the door-up to the table
don't forget where to put your hat
'sright. splendid! Now you look at
the other door-listen-show me
that you don't hear anything-good!
Open n drawer-easy now, remem-
Der you're trying not to make a
noise-look for the papers-show me
you can't find them. My God! where
can they be! That's it. Now you
hear a noise of-(Ready. Alma!-
shut the drawer-start to pick up
your hat-too late! Come on Alma
come on, You don't see him. you
look u of the window and sigh
let's see you sigh, Alma-beautiful,
beautiful! Now. Tommy, you move
she sees you-see him, Alma.
Slowly-hold it-wonderful! Now
call to him, Alma-Egbert! EgbertI"
The little mans voice cracked with
the heart-rending pathos he infused
into that cry; he continued to dance
a. 1 bark directions at star and lead
ing man till the door closed behind
Miss Daley's frantic exit.
Good! Now we'll shoot the close
ups"
The camera was brought forward
and trained at short range on the
spot where Miss Daley had fallen;
several stands of banked lights like
wise were advanced and adjusted.
The actress lay in a broken head
with her face buried on her arms.
the camera once more began to click
and Mr.. King Laughlin squatting by
its side, prepared to pull the young
woman through the scene by sheer
force of his inspired art.
But now the passion which before
had kept him hopping and scream-
ing had passed into a subdued and
plaintive phase; Mr.. Laughlin was
suffering for and with the heroine
whose woes were to be projected be-
fore the eyes and into the hearts OF
the world. He did not actually
cry, but his features were knotted
with the anguish that wrung his
heart, and his voice was thick with
sobs.
NOW. dear. you're coming to-
Won lust lift your head and look up,
dazed. You don't realize what's
happened yet. you hardly know
you are. Where am /. my
God! where am /? That's it-beau-
tiful. Now it begins to come to you.
He has cast you off-O my God! he
has deserted you. Fne-couldn't be
better-you're great, dear, simply
great. Now go on-begin to cry, let
the big tears well up from your
broken heart and trickle down your
Fine, Cry harder. dear
YOU must cry harder, this scene viii
go all flooey ii you can't cry any
harder than that. Think what he
to you-and now he has LETT
you-who knows?-perhaps for-ev-
er: Your heart is breaking, dear.
it's breaking. and nobody cares.
Can't you cry harder? Listen to the
music and /. Good God! how
d'you expect anybody to cry to
music like that?"
The last was a Shrek of utter
evaporation; and bounding to his
feet the little man darted furiously
at the musicians, stopping In front
the trio and beginning to beat
time with an imaginary baton.
Follow me, please-get this, the
way 1 feel it. So-slowly-draw 1t
out-hold it-get a little heart
break into it,"
And strangely enough he did
to infuse a little of his fine
into the three.
Throughout, on the floor before
the camera, under that cruel glare
of lights. Alma Daley strained her
face toward the lens and cried as #
her heart must surely break, real
tears streaming down her face-but
cried with fine judgment-never
that woman must be
lovely even in woe.
While Lucinda watched, a strange
voice saluted her.
In Lanes place sat a stout man
of middle-age with a sanguine
countenance of Semitic type, shrewd
and hard but good-humored.
How d'you do?" he said genially.
This is Mrs. bruce, amt it? CUPS
my name, Ben Culp."
TX
OF a sudden Miss Daley missed
her mentors voice. and in the mid
die of a sob ceased to cry precisely
as she might have shut off a tap.
In a moment of uncertainty, still
confronting the clicking camera,
still bathed in that whitening blaze,
she cast about blankly for her run