"FIVE REELS-500 LAUGHS"
It occurred to him the next morning that he might have taken too lightly Sarah's foreboding of illness. Reviewing her curious behaviour he thought it possible she might be in for something serious.
But a midday telephone call at the Montague home brought assurances from the mother that quieted this fear. Sarah complained of not feeling well, and was going to spend a quiet day at home. But Mrs.
Montague was certain it was nothing serious. No; she had no temperature. No fever at all. She was just having a spell of thinking about things, sort of grouchy like. She had been grouchy to both her parents. Probably because she wasn't working. No, she said she wouldn't come to the telephone. She also said she was in a bad way and might pass out any minute. But that was just her kidding. It was kind of Mr. Gill to call up. He wasn't to worry.
He continued to worry, however, until the nearness of his screen debut drove Sarah to the back of his mind. Undoubtedly it was just her nonsense. And in the meantime, that long--baffled wish to see himself in a serious drama was about to be gratified in fullest measure. He was glad the girl had not suggested that she be with him on this tremendous occasion. He wanted to be quite alone, solitary in the crowd, free to enjoy his own acting without pretense of indifference.
The Pattersons, of course, were another matter. He had told them of his approaching debut and they were ****** an event of it. They would attend, though he would not sit with them. Mr. Patterson in his black suit, his wife in society raiment, would sit downstairs and would doubtless applaud their lodger; but he would be remote from them; in a far corner of the topmost gallery, he first thought, for Hearts on Fire was to be shown in one of the big down-town theatres where a prominent member of its cast could lose himself.
He had told the Pattersons a little about the story. It was pretty pathetic in spots, he said, but it all came right in the end, and there were some good Western scenes. When the Pattersons said he must be very good in it, he found himself unable to achieve the light fashion of denial and protestation that would have become him.
He said he had struggled to give the world something better and finer. For a moment he was moved to confess that Mrs. Patterson, in the course of his struggles, had come close to losing ten dollars, but he mastered the wild impulse. Some day, after a few more triumphs, he might laughingly confide this to her.
The day was long. Slothfully it dragged hours that seemed endless across the company of shining dreams that he captained. He was early at the theatre, first of early comers, and entered quickly, foregoing even a look at the huge lithographs in front that would perhaps show his very self in some gripping scene.
With an empty auditorium to choose from, he compromised on a balcony seat. Down below would doubtless be other members of the company, probably Baird himself, and he did not wish to be recognized. He must be alone with his triumph. And the loftier gallery would be too far away.
The house filled slowly. People sauntered to their seats as if the occasion were ordinary; even when the seats were occupied and the orchestra had played, there ensued the annoying delays of an educational film and a travelogue. Upon this young actor's memory would be forever seared the information that the conger eel lays fifteen million eggs at one time and that the inhabitants of Upper Burmah have quaint native pastimes. These things would stay with him, but they were unimportant. Even the prodigal fecundity of the conger eel left him cold.
He gripped the arms of his seat when the cast of Hearts on Fire was flung to the screen. He caught his own name instantly, and was puzzled. "Clifford Armytage--By Himself." Someone had bungled that, but no matter. Then at once he was seeing that first scene of his.
As a popular screen idol he breakfasted in his apartment, served by a valet who was a hero worshipper.
He was momentarily disquieted by the frank adoration of the cross-eyed man in this part. While acting the scene, he remembered now that he had not always been able to observe his valet. There were moments when he seemed over-emphatic. The valet was laughed at. The watcher's sympathy went out to Baird, who must be seeing his serious effort taken too lightly.
There came the scene where he looked at the photograph album. But now his turning of the pages was interspersed with close-ups of the portraits he regarded so admiringly. And these astonishingly proved to be enlarged stills of Clifford Armytage, the art studies of Lowell Hardy. It was puzzling. On the screen he capably beamed the fondest admiration, almost reverent in its intensity--and there would appear the still of Merton bidding an emotional farewell to his horse. The very novelty of it held him for a moment--Gashwiler's Dexter actually on the screen! He was aroused by the hearty laughter of an immense audience.
"It's Parmalee," announced a hoarse neighbour on his right. "He's imitatin' Harold! Say, the kid's clever!"The laughter continued during the album scene. He thought of Baird, somewhere in that audience, suffering because his play was made fun of. He wished he could remind him that scenes were to follow which would surely not be taken lightly. For himself, he was feeling that at least his strong likeness to Parmalee had been instantly admitted. They were laughing, as the Montague girl had laughed that first morning, because the resemblance was so striking. But now on the screen, after the actor's long fond look at himself, came the words, "The Only Man He Ever Loved."Laughter again. The watcher felt himself grow hot. Had Baird been betrayed by one of his staff?
