flat right in the middle of the third act while he went down and announced the next night's play--the one that his name was Eddie Duffy and he called himself Clyde Maltravers?""In a way, in a way," agreed Mr. Montague dismally. "A certain lack of finish in the manner, perhaps.""Remember how Charlie Dickman, the manager, nearly murdered him for it in the wings? Not that Charlie didn't have a right to. Well, this boy dances like Eddie Duffy would have danced.""He was undeniably awkward and forgetful," said Mr. Montague. "Well do I recall a later night. We played Under the Gaslight; Charlie feared to trust him with a part, so he kept the young man off stage to help with the train noise when the down express should dash across. But even in this humble station he proved inefficient. When the train came on he became confused, seized the cocoanut shells instead of the sand-paper, and our train that night entered to the sound of a galloping horse. The effect must have been puzzling to the audience. Indeed, many of them seemed to consider it ludicrous.
Charlie Dickman confided in me later. 'Syl, my boy,' says he, 'this bird Duffy has caused my first gray hairs.' It was little wonder that he persuaded young Duffy to abandon the drama. He was not meant for the higher planes of our art. Now our young friend here"--he pointed to the perspiring Merton Gill--"doesn't even seem able to master a simple dance step. I might say that he seems to out-Duffy Duffy--for Duffy could dance after a fashion.""He'll make the grade yet," replied his daughter grimly, and again the music sounded. Merton Gill continued unconscious of his feet, or, remembering them, he became deaf to the music. But the girl brightened with a sudden thought when next they rested.
"I got it!" she announced. "We'll have about two hundred feet of this for the next picture--you trying to dance just the way you been doing with me. If you don't close to a good hand I'll eat my last pay-check."The lessons ceased. She seemed no longer to think it desirable that her pupil should become proficient in the modern steps. He was puzzled by her decision. Why should one of Baird's serious plays need an actor who forgot his feet in a dance?
There were more social evenings at the Montague home. Twice the gathering was enlarged by other members of the film colony, a supper was served and poker played for inconsiderable stakes. In this game of chance the Montague girl proved to be conservative, not to say miserly, and was made to suffer genuinely when Merton Gill displayed a reckless spirit in the betting. That he amassed winnings of ninety-eight cents one night did not reassure her. She pointed out that he might easily have lost this sum.
She was indeed being a mother to the defenceless boy. It was after a gambling session that she demanded to be told what he was doing with his salary. His careless hazarding of poker-chips had caused her to be fearful of his general money sense.
Merton Gill had indeed been reckless. He was now, he felt, actually one of the Hollywood set. He wondered how Tessie Kearns would regard his progress. Would she be alarmed to know he attended those gay parties that so often brought the film colony into unfavourable public notice? Jolly dinners, dancing, gambling, drinking with actresses--for Mr. Montague had at last turned out a beer that met with the approval not only of his guests but of his own more exacting family. The vivacious brew would now and again behave unreasonably at the moment of being released, but it was potable when subdued.
It was a gay life, Merton felt. And as for the Montague girl's questions and warnings about his money, he would show her! He had, of course, discharged his debt to her in the first two weeks of his work with Baird. Now he would show her what he really thought of money.
He would buy her a gift whose presentation should mark a certain great occasion. It should occur on the eve of his screen debut, and would fittingly testify his gratitude. For the girl, after all, had made him what he was. And the first piece was close to its premiere.
Already he had seen advance notices in the newspapers. The piece was called Hearts On Fire, and in it, so the notices said, the comedy manager had at last realized an ambition long nourished. He had done something new and something big: a big thing done in a big way. The Montague girl would see that the leading man who had done so much to insure the success of Baird's striving for the worth-while drama was not unforgetful of her favours and continuous solicitude.
He thought first of a ring, but across the blank brick wall of the jewellery shop he elected to patronize was an enormous sign in white: The House of Lucky Wedding Rings. This staring announcement so alarmed him that he not only abandoned the plan for a ring-any sort of ring might be misconstrued, he saw-but in an excess of caution chose another establishment not so outspoken. If it kept wedding rings at all, it was decently reticent about them, and it did keep a profusion of other trinkets about which a possible recipient could entertain no false notions. Wrist watches, for example. No one could find subtle or hidden meanings in a wrist watch.
He chose a bauble that glittered prettily on its black silk bracelet, and was not shocked in the least when told by the engaging salesman that its price was a sum for which in the old days Gashwiler had demanded a good ten weeks of his life. Indeed it seemed rather cheap to him when he remembered the event it should celebrate. Still, it was a pleasing trifle and did not look cheap.
"Do you warrant it to keep good time?" he sternly demanded.
