GENIUS COMES INTO ITS OWN
Merton Gill, enacting the part of a popular screen idol, as in the play of yesterday, sat at breakfast in his apartments on Stage Number Five. Outwardly he was cool, wary, unperturbed, as he peeled the shell from a hard-boiled egg and sprinkled salt upon it. For the breakfast consisted of hard-boiled eggs and potato salad brought on in a wooden dish.
He had been slightly disturbed by the items of this meal; it was not so elegant a breakfast as Hubert Throckmorton's, but he had been told by Baird that they must be a little different.
He had been slightly disturbed, too, at discovering the faithful valet who brought on the ****** repast was the cross--eyed man.
Still, the fellow had behaved respectfully, as a valet should. He had been quietly obsequious of manner, revealing only a profound admiration for his master and a constant solicitude for his comfort.
Probably he, like Baird, was trying to do something distinctive and worth while.
Having finished the last egg--glad they had given him no more than three--the popular screen idol at the prompting of Baird, back by the cameras, arose, withdrew a metal cigarette case, purchased that very morning with this scene in view, and selected a cigarette. He stood negligently, as Parmalee had stood, tapped the end of the cigarette on the side of the case, as Parmalee had done, lighted a match on the sole of his boot, and idly smoked in the Parmalee manner.
Three times the day before he had studied Parmalee in this bit of business. Now he idly crossed to the centre-table upon which reposed a large photograph album. He turned the pages of this, pausing to admire the pictures there revealed. Baird had not only given him general instructions for this scene, but now prompted him in low, encouraging tones.
"Turn over slowly; you like 'em all. Now lift the album up and hold it for a better light on that one. It's one of the best, it pleases you a lot. Look even more pleased--smile! That's good. Put down the album; turn again, slowly; turn twice more, that's it; pick it up again. This one is fine--"Baird took him through the album in this manner, had him close it when all the leaves were turned, and stand a moment with one hand resting on it. The album had been empty. It had been deemed best not to inform the actor that later close-ups of the pages would show him to have been refreshed by studying photographs of himself--copies, in fact, of the stills of Clifford Armytage at that moment resting on Baird's desk.
As he stood now, a hand affectionately upon the album, a trace of the fatuously admiring smile still lingering on his expressive face, a knock sounded upon the door. "Come in," he called.
The valet entered with the morning mail. This consisted entirely of letters. There were hundreds of them, and the valet had heaped them in a large clothes-basket which he now held respectfully in front of him.
The actor motioned him, with an authentic Parmalee gesture, to place them by the table. The valet obeyed, though spilling many letters from the top of the overflowing basket. These, while his master seated himself, he briskly swept up with a broom.
The chagrined amusement of Harold Parmalee, the half-savage, half-humorous tolerance for this perhaps excusable weakness of woman, was here accurately manifested. The actor yawned slightly, lighted another cigarette with flawless Parmalee technique, withdrew a handkerchief from his sleeve-cuff, lightly touched his forehead with it, and began to open the letters. He glanced at each one in a quick, bored manner, and cast it aside.
When a dozen or so had been thus treated he was aroused by another knock at the door. It opened to reveal the valet with another basket overflowing with letters. Upon this the actor arose, spread his arms wide in a gesture of humorous helplessness. He held this briefly, then drooped in humorous despair.
He lighted another cigarette, eyed the letters with that whimsical lift of the brows so characteristic of Parmalee, and lazily blew smoke toward them. Then, regarding the smoke, he idly waved a hand through it. "Poor, silly little girls!" But there was a charming tolerance in his manner. One felt his generous recognition that they were not wholly without provocation.
This appeared to close the ****** episode. The scenes, to be sure, had not been shot without delays and rehearsals, and a good two hours of the morning had elapsed before the actor was released from the glare of light and the need to remember that he was Harold Parmalee. His peeling of an egg, for example, had not at first been dainty enough to please the director, and the scene with the album had required many rehearsals to secure the needed variety of expressions, but Baird had been helpful in his promptings, and always kind.
"Now, this one you've turned over--it's someone you love better than anybody. It might be your dear old mother that you haven't seen for years. It makes you kind of solemn as you show how fond you were of her. You're affected deeply by her face. That's it, fine! Now the next one, you like it just as much, but it pleases you more. It's someone else you're fond of, but you're not so solemn.
"Now turn over another, but very slow--slow--but don't let go of it.
Stop a minute and turn back as if you had to have another peek at the last one, see what I mean? Take plenty of time. This is a great treat for you. It makes you feel kind of religious. Now you're getting it--that's the boy! All right--"The scene where he showed humorous dismay at the quantity of his mail had needed but one rehearsal. He had here been Harold Parmalee without effort. Also he had not been asked to do again the Parmalee trick of lighting a cigarette nor of withdrawing the handkerchief from its cuff to twice touch his forehead in moments of amused perplexity. Baird had merely uttered a low "Fine!" at beholding these bits.
He drew a long breath of relief when released from the set.
