South Bend news-times. (South Bend, Ind.) 1913-1938, 1922-05-29

front the two and while confessing
she had planned deliberately 20
marry either one OF the other or
them for his money. assert herself
10 be TOO good 90 be the wife OF
either.
Nolan proceeded now 20 act out
in his own person the business which
he conceived ro be in character for
eirl OF Ne!ly's quality ih circum-
stances 50 contrived as TO make
voluntary eavesdrOpping on her
part seem constructiyely defenslble.
And Lucinda looked on with earnest
attention and puCkered brows, eager
TO tatch every hint that would help
F her become "A better actress Her
+ distrust Of Nolan extended only TO
f his abilities as a constructive builder
+ of storytelling pictures and a Judge
I of pictorial values For the very
! considera bic amount Of raw rover
as a pantomine which he indubita-
biy possessed. she had much re-
/ spect.
This enthusiasm was running
away with him now. he was build
Ing the solo scene which Lucinda
was TO play on lines of broad emo
tioual meIodra ma widely inconsist-
ent with the situation. Forgetting
+ Cnat. while the conversation assum-
ed 10 be going on beyond the door
was one well calculated to- annoy
and disgust her whom il concerned
f its revelations were after all hardly
/ of a character TO break her heart.
/ Nolan was. as Nelly. ranting and
raving in the anele. like one gone
! half-mad with shock and grief. Yet
such was the fire he infused into
the performance that for the time
/ being he truly succeeded in pervert-
\ ing Lucinda's grasp of The scene.
/ Having exhausted his repertoire Of
! emotional aruGce. ne stepped out
OF the camera lines. consulting Lu-
cinda With a glance and the ster-
eotyped inquiry. See what I want.
dear?" she nodded without think
/ ins-"You make ii most real III
do my best"-and stepped into
3 character and the set as the lights
blazed on. the cameras began TO
( tick. and Nolan seized his baton OF
authority. the megaphone which he
/ invariably used while directing
/ though he had as much need of il
now as the cameras had of tele-
scopic lenses.
Now. dear" he blared through
this Instruments 10 il and show
US all you've got. Don't be afraid
/ of letting yourself go. Remember.
this is your Big Scene. biggest
you've got in this story. your one
~
that you're a sure-enough actress.
/ Now you put your ear to the crack
i'm the door and hear your name
\ Give a big start and look Mortified.
, You never dreamed men could talk
about women like that. YOU know.
/ Show us horror. dear and make il
strong. YOU can't make it too strong
/ Remember you're just realizing the
man YOU love is such a rotten cad
/. he could make a bet about your
virtue. II just makes you feel sick
all over
Great snakes: What's that for?
What's the matter2"
For a sudden Lucinda laughed
outright suddenly the heart-rending
tremolo of Nolan's voice as he de-
I tailed the awful offence Richards
had committed against Nelly in the
/ play tickled irresis-ably her sense of
! the absurd. and her laugh followed
naturally inevitably uncontrolla-
/ bly,.
I'm sorry Mr.. Nolan. she
/ gasped Forgive me. IL didn't
know I was going o laugh then-till
till it struck me as so funny"
Her voice rose and broke in an
/ other zeal of hys-erical merriment,l
/ her wordA became unintellsible
while Nolan literally ground his
teeth
What struck YOU as so funny?"
he exploded. Show me anything
funny about this scene and I'm