The self-enchanted : Mae Murray : image of an era (1959)

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She stepped back through the door. A property man rushed over with a bottle and a dropper. "Can I give you some tears?" She was puzzled. "You're going to cry in this scene, for tears we use glycerine." "I never heard of such a thing. How silly. I'll cry." "Now, Miss Murray. The camera is here. You do see the chalk lines? Keep your arms down, your hands clasped. I know it's difficult for a dancer but . . ." "I'm a pantomimic dancer and actress," she said clearly. "And I'm your director. Boys, yank that pulley, swing that curtain another foot, sun's getting through. Shall we begin? Kick it! Action . . . Camera!" This time she had no difficulty crying. As Kimp Ward, she clenched her hands and tears overflowed. The door opened. Captain Ralph Percy walked into the room, a great, gentle human being with great dilated eyes. He looked so kind — certainly this man would give her time. Perhaps some day she could even make him understand she had been jailed with harlots and thieves, indentured by mistake. The scene went on. "KNEEL AT THE FIREPLACE," roared Melford, "busy yourself brushing ashes . . ." She knelt. A flood of raw, blinding light flared up at her. At that moment the planter moved forward as if to take her arm. This called for surprise. She was about to register surprise, perhaps even shock, when a gun exploded so close she jumped with fright. "Good. Cut," roared the director. Trembling, she clung to Wally, who tried to calm her. "A blank cartridge," Melford said. "To help you register shock. Worked fine." "For you, not for me. I'm an actress, not a trained seal." She ran from the set. "The way that kid walks, she'll fly right off the screen one of these days," someone said. "Melford's got his hands full." 56