"Exactly," assented Baird, with one of those nervous spasms that would now and again twitch his lips and chin. "Out there in the big open spaces where men are men--that's the idea. And you build up a little gray home in the West for yourself and your poor old mother who never lost faith in you. There'll be a lot of good Western stuff in this--Buck Benson stuff, you know, that you can do so well--and the girl will get out there some way and tell you that her brother finally confessed his crime, and everything'll be Jake, see what Imean?"
"Yes, sir; it sounds fine, Mr. Baird. And I certainly will give the best that is in me to this part." He had an impulse to tell the manager, too, how gratified he was that one who had been content with the low humour of the Buckeye comedies should at last have been won over to the better form of photodrama. But Baird was leading him on to the set; there was no time for this congratulatory episode.
Indeed the impulse was swept from his mind in the novelty of the set now exposed, and in the thought that his personality was to dominate it. The scene of the little drama's unfolding was a delicatessen shop. Counters and shelves were arrayed with cooked foods, salads, cheeses, the latter under glass or wire protectors. At the back was a cashier's desk, an open safe beside it. He took his place there at Baird's direction and began to write in a ledger.
"Now your old mother's coming to mop up the place," called Baird.
"Come on, Mother! You look up and see her, and rush over to her. She puts down her bucket and mop, and takes you in her arms. She's weeping; you try to comfort her; you want her to give up mopping, and tell her you can make enough to support two, but she won't listen because there's the mortgage on the little flat to be paid off. So you go back to the desk, stopping to give her a sad look as she gets down on the floor. Now, try it."A very old, bent, feeble woman with a pail of water and cloths tottered on. Her dress was ragged, her white hair hung about her sad old face in disorderly strands. She set down her bucket and raised her torn apron to her eyes.
"Look up and see her," called Baird. "A glad light comes into her eyes. Rush forward--say 'Mother' distinctly, so it'll show. Now the clench. You're crying on his shoulder, Mother, and he's looking down at you first, then off, about at me. He's near crying himself. Now he's telling you to give up mopping places, and you're telling him every little helps.
"All right, break. Get to mopping, Mother, but keep on crying. He stops for a long look at you. He seems to be saying that some day he will take you out of such work. Now he's back at his desk. All right. But we'll do it once more. And a little more pathos, Merton, when you take the old lady in your arms. You can broaden it. You don't actually break down, but you nearly do."The scene was rehearsed again, to Baird's satisfaction, and the cameras ground. Merton Gill gave the best that was in him. His glad look at first beholding the old lady, the yearning of his eyes when his arms opened to enfold her, the tenderness of his embrace as he murmured soothing words, the lingering touch of his hand as he left her, the manly determination of the last look in which he showed a fresh resolve to release her from this toil, all were eloquent of the deepest filial devotion and earnestness of purpose.
Back at his desk he was genuinely pitying the old lady. Very lately, it was evident, she had been compelled to play in a cabaret scene, for she smelled strongly of cigarettes, and he could not suppose that she, her eyes brimming with anguished mother love, could have relished these. He was glad when it presently developed that his own was not to be a smoking part.
"Now the dissipated brother's coming on," explained Baird. "He'll breeze in, hang up his hat, offer you a cigarette, which you refuse, and show you some money that he won on the third race yesterday. You follow him a little way from the desk, telling him he shouldn't smoke cigarettes, and that money he gets by gambling will never do him any good. He laughs at you, but you don't mind. On your way back to the desk you stop by your mother, and she gets up and embraces you again.
"Take your time about it--she's your mother, remember."The brother entered. He was indeed dissipated appearing, loudly dressed, and already smoking a cigarette as he swaggered the length of the shop to offer Merton one. Merton refused in a kindly but firm manner. The flashy brother now pulled a roll of bills from his pocket and pointed to his winning horse in a racing extra. The line in large type was there for the close-up--"Pianola Romps Home in Third Race."Followed the scene in which Merton sought to show this youth that cigarettes and gambling would harm him. The youth remained obdurate.
He seized a duster and, with ribald action, began to dust off the rows of cooked food on the counters. Again the son stopped to embrace his mother, who again wept as she enfolded him. The scene was shot.
Step by step, under the patient coaching of Baird, the ****** drama unfolded. It was hot beneath the lights, delays were frequent and the rehearsals tedious, yet Merton Gill continued to give the best that was in him. As the day wore on, the dissipated son went from bad to worse. He would leave the shop to place money on a horse race, and he would seek to induce the customers he waited on to play at dice with him. A few of them consented, and one, a coloured man who had come to purchase pigs'-feet, won at this game all the bills which the youth had shown to Merton on entering.
