OF SARAH NEVADA MONTAGUE
They were six long weeks doing the new piece. The weeks seemed long to Merton Gill because there were so many hours, even days, of enforced idleness. To pass an entire day, his face stiff with the make-up, without once confronting a camera in action, seemed to him a waste of his own time and a waste of Baird's money. Yet this appeared to be one of the unavoidable penalties incurred by those who engaged in the art of photodrama. Time was needed to create that world of painted shadows, so swift, so nicely consecutive when revealed, but so incoherent, so brokenly inconsequent, so meaningless in the recording.
How little an audience could suspect the vexatious delays ensuing between, say, a knock at a door and the admission of a visitor to a neat little home where a fond old mother was trying to pay off a mortgage with the help of her little ones. How could an audience divine that a wait of two hours had been caused because a polished city villain had forgotten his spats? Or that other long waits had been caused by other forgotten trifles, while an expensive company of artists lounged about in bored apathy, or smoked, gossiped, bantered?
Yet no one ever seemed to express concern about these waits. Rarely were their causes known, except by some frenzied assistant director, and he, after a little, would cease to be frenzied and fall to loafing calmly with the others. Merton Gill's education in his chosen art was progressing. He came to loaf with the unconcern, the vacuous boredom, the practised nonchalance, of more seasoned artists.
Sometimes when exteriors were being taken the sky would overcloud and the sun be denied them for a whole day. The Montague girl would then ask Merton how he liked Sunny Cafeteria. He knew this was a jesting term that would stand for sunny California, and never failed to laugh.
The girl kept rather closely by him during these periods of waiting.
She seemed to show little interest in other members of the company, and her association with them, Merton noted, was marked by a certain restraint. With them she seemed no longer to be the girl of free ways and speech. She might occasionally join a group of the men who indulged in athletic sports on the grass before the little farmhouse--for the actors of Mr. Baird's company would all betray acrobatic tendencies in their idle moments--and he watched one day while the ****** little country sister turned a series of hand-springs and cart-wheels that evoked sincere applause from the four New York villains who had been thus solacing their ennui.
But oftener she would sit with Merton on the back seat of one of the waiting automobiles. She not only kept herself rather aloof from other members of the company, but she curiously seemed to bring it about that Merton himself would have little contact with them.
Especially did she seem to hover between him and the company's feminine members. Among those impersonating guests at the hotel were several young women of rare beauty with whom he would have been not unwilling to fraternize in that easy comradeship which seemed to mark studio life. These were far more alluring than the New York society girl who wooed him and who had secured the part solely through Baird's sympathy for her family misfortunes.
They were richly arrayed and charmingly mannered in the scenes he watched; moreover, they not too subtly betrayed a pleasant consciousness of Merton's existence. But the Montague girl noticeably monopolized him when a better acquaintance with the beauties might have come about. She rather brazenly seemed to be guarding him. She was always there.
This very apparent solicitude of hers left him feeling pleasantly important, despite the social contacts it doubtless deprived him of.
He wondered if the Montague girl could be jealous, and cautiously one day, as they lolled in the motor car, he sounded her.
"Those girls in the hotel scenes--I suppose they're all nice girls of good family?" he casually observed.
"Huh?" demanded Miss Montague, engaged with a pencil at the moment in editing her left eyebrow. "Oh, that bunch? Sure, they all come from good old Southern families--Virginia and Indiana and those places." She tightened her lips before the little mirror she held and renewed their scarlet. Then she spoke more seriously. "Sure, Kid, those girls are all right enough. They work like dogs and do the best they can when they ain't got jobs. I'm strong for 'em. But then, I'm a wise old trouper. I understand things. You don't. You're the real country wild rose of this piece. It's a good thing you got me to ride herd on you. You're far too innocent to be turned loose on a comedy lot.
"Listen, boy--" She turned a sober face to him--"the straight lots are fairly decent, but get this: a comedy lot is the toughest place this side of the bad one. Any comedy lot.""But this isn't a comedy lot. Mr. Baird isn't doing comedies any more, and these people all seem to be nice people. Of course some of the ladies smoke cigarettes--"The girl had averted her face briefly, but now turned to him again.
"Of course that's so; Jeff is trying for the better things; but he's still using lots of his old people. They're all right for me, but not for you. You wouldn't last long if mother here didn't look out for you. I'm playing your dear little sister, but I'm playing your mother, too. If it hadn't been for me this bunch would have taught you a lot of things you'd better learn some other way. Just for one thing, long before this you'd probably been hopping up your reindeers and driving all over in a Chinese sleigh."He tried to make something of this, but found the words meaningless.
They merely suggested to him a snowy winter scene of Santa Claus and his innocent equipage. But he would intimate that he understood.
"Oh, I guess not," he said knowingly. The girl appeared not to have heard this bit of pretense.
