"Swell reception at the Maison de Glue, with the waiters on roller skates in honour of rich Uncle Rollo Glue. The head waiter starts the fight by doing a fall with his tray. Tom gets the tray in the neck and soaks the nearest man banquet goes flooey. Then we go into the chase stuff.""Which is Uncle Rollo?"
"That's him at the table, with the herbaceous border under his chin.""Is he in the fight?"
"I think so. I was going to rehearse it once more to see if I could get a better idea. Near as I can see now, everybody takes a crack at him.""Well, maybe." Montague girl seemed to be considering. "Say, how about this, Jeff? He's awful hungry, see, and he's begun to eat the celery and everything he can reach, and when the mix-up starts he just eats on and pays no attention to it. Never even looks up, see what I mean? The fight spreads the whole length of the table; right around Rollo half-a-dozen murders are going on and he just eats and pays no attention. And he's still eating when they're all down and out, and don't know a thing till Charlie or someone crowns him with the punch-bowl. How about it? Ain't there a laugh in that?" Baird had listened respectfully and now patted the girl on a shoulder.
"Good work, Kid! That's a gag, all right. The little bean's sparking on all six, ain't it? Drop around again. We need folks like you.
Now, listen, Rollo--you there, Rollo, come here and get this. Now, listen--when the fight begins--"Merton Gill turned decisively away. Such coarse foolery as this was too remote from Beulah Baxter who, somewhere on that lot, was doing something really, as her interview had put it, distinctive and worth while.
He lingered only to hear the last of Baird's instructions to Rollo and the absurd guests, finding some sinister fascination in the man's talk. Baird then turned to the girl, who had also started off.
"Hang around, Flips. Why the rush?"
"Got to beat it over to Number Pour."
"Got anything good there?"
"Nothing that will get me any billing. Been waiting two hours now just to look frenzied in a mob.""Well, say, come around and see me some time.""All right, Jeff. Of course I'm pretty busy. When I ain't working I've got to think about my art.""No, this is on the level. Listen, now, sister, I got another two reeler to pull off after this one, then I'm goin' to do something new, see? Got a big idea. Probably something for you in it. Drop in t' the office and talk it over. Come in some time next week. 'F Iain't there I'll be on the lot some place. Don't forget, now."Merton Gill, some distance from the Buckeye set, waited to note what direction the Montague girl would take. She broke away presently, glanced brazenly in his direction, and tripped lightly out the nearest exit. He went swiftly to one at the far end of the building, and was again in the exciting street. But the afternoon was drawing in and the street had lost much of its vivacity. It would surely be too late for any glimpse of his heroine. And his mind was already cluttered with impressions from his day's adventure. He went out through the office, meaning to thank the casting director for the great favour she had shown him, but she was gone. He hoped the headache had not driven her home. If she were to suffer again he hoped it would be some morning. He would have the Eezo wafers in one pocket and a menthol pencil in the other. And she would again extend to him the ******* of that wonderful city.
In his room that night he tried to smooth out the jumble in his dazed mind. Those people seemed to say so many things they considered funny but that were not really funny to any one else. And moving-picture plays were always waiting for something, with the bored actors lounging about in idle apathy. Still in bis ears sounded the drone of the sawmill and the deep purr of the lights when they were put on. That was a funny thing. When they wanted the lights on they said "Kick it," and when they wanted the lights off they said "Save it!" And why did a boy come out after every scene and hold up a placard with numbers on it before the camera? That placard had never shown in any picture he had seen. And that queer Montague girl, always turning up when you thought you had got rid of her. Still, she had thrown that knife pretty well. You had to give her credit for that. But she couldn't be much of an actress, even if she had spoken of acting with Miss Baxter, of climbing down cables with her and falling off cliffs. Probably she was boasting, because he had never seen any one but Miss Baxter do these things in her pictures. Probably she had some very minor part. Anyway, it was certain she couldn't be much of an actress because she had almost promised to act in those terrible Buckeye comedies. And of course no one with any real ambition or capacity could consider such a thing--descending to rough horse-play for the amusement of the coarser element among screen patrons.
But there was one impression from the day's whirl that remained clear and radiant: He had looked at the veritable face of his heroine. He began his letter to Tessie Kearns. "At last I have seen Miss Baxter face to face. There was no doubt about its being her.
You would have known her at once. And how beautiful she is! She was looking up and seemed inspired, probably thinking about her part.
She reminded me of that beautiful picture of St. Cecelia playing on the piano. . . ."
