Linda Lee, Incorporated Part 13

"I'm sure that would be delightful," replied Lucinda, suspended judgment melting into liking even in those first few minutes.

"Oh, Daddy thinks of all the nice things!"

"And I'll see each you ladies gets a print," Culp volunteered benignly, "so's you can get it run through a projectin' machine any time you want, d'y'see, and show your friends how you once acted with Alma Daley."

"Daddy! don't be ridiculous."

Vivacious, by no means unintelligent, and either an excellent actress in private life or else an unpretending body, happy in her success and unashamed of humble beginnings, Miss Daley was tactful enough to make her guests forget themselves and the trial to come, as they took their places--with no prearrangement but much as if they were actually meeting at the Ritz--and were served with tea by actor-waiters in correct livery. All the same, Lucinda noticed that their hostess ingeniously maneuvered to a central position in the foreground, where she sat full-face to the camera; this being by far her best phase. And just before the lights blazed up, the girl launched into a spirited account of her pa.s.sage-at-arms with King Laughlin, which, recited without malice but with keen flair for the incongruous, carried the amateur players easily over the first minutes, in which otherwise constraint must inevitably have attended camera-consciousness.

"I was so fussed," she concluded, "I swore I'd never act another scene for him. But when I remembered how foolish he looked, posing in front of that awful orchestra like a hypnotized rabbit, I just had to laugh; and I couldn't laugh and be mad at the same time, of course. And then I had to tell King what I was laughing at, and that made him so ashamed he's sulking in his office now and won't come out while any of you are here."

"Then all's serene-o once more, Miss Daley?"

"Oh, sure. You see, Mr. Lontaine, we've simply got to finish this picture tonight, somehow, even if we have to work on till morning; so I accepted his apology and made it up."

"But those extra people Mr. Culp let go----?"

"That's all right," Culp responded from his place beside the camera.

"When I see how things was goin', I sent down to the cashier and told him not to pay 'em off, so they didn't any of 'em get away."

At this point, clever actress that she was, Miss Daley extemporized a star part for herself by rising without warning and announcing that she would have to run and change for the scenes to be photographed as soon as the tests had been made.

"I'll hurry and try to get ready before you go," she said, shaking hands all round with charming grace; "but if I don't see you again, it's been just wonderful to meet you all, and I do hope this isn't good-bye forever!"

The general flutter in acknowledgment of her farewells had barely subsided when the bank lights hissed out and the camera stilled its stuttering.

"Nice little scene," Mr. Culp applauded generously, intercepting Lucinda as, with the others, she left the set, clearing it for the individual tests. "Goin' to screen pretty. You'll be surprised."

"Can you really tell, Mr. Culp?"

"How it's goin' to look in the projectin'-room, y'mean? Sure. Not that I'd gamble on my own judgment, I don't pretend to know how to make pitchers; all I know's how to make money makin' 'em, d'y'see. When I say that little scene's goin' to go great on the screen, I'm bankin' on Jack here."

He dropped an affectionate, fat hand on the shoulder of the cameraman.

"Excuse me, Mrs. Druce, want to introduce you to Mr. Jack Timilty, best little cameraman ever turned a crank." The cameraman grinned sheepishly and preferred a diffident hand. "No temp'ament, no funny business about Jack, Mrs. Druce, always on the job and deliverin' the goods. And sticks, d'y'see. Take it the way it is nowadays, you don't hardly get time to get to know a director before he stings somebody else for a coupla hundred dollars more'n you're paying him, d'y'see, and quits you cold as soon's he finishes his pitcher. But Jack sticks. That's why y'always can count on good photography and lightin' effects in an Alma Daley production. And when Jack says that little scene took pretty, I _know_ it did."

"'Sright, Mrs. Druce," Mr. Timilty averred. "I wouldn't like to say about the others, but you and that other little blonde lady----"

"Mrs. Lontaine."

"Guess so, ma'm, didn't catch her name. Her and you registered like a million dollars."

"It's awfully nice of you to tell me so, Mr. Timilty----"

"Jack wouldn't pa.s.s you a compliment unless he meant it, Mrs. Druce.

He's no kidder."

"Anyway I guess it ain't the first time anybody's told you that, ma'm.

It's easy to see you've been camera-broke."

"But I haven't," Lucinda protested, laughing. "Really, I a.s.sure you----"

At this juncture Mr. Willing called for Mr. Timilty's co-operation in taking the test of Jean Sedley. So Lucinda stood aside and watched and wondered if it were really true that she had shown any evidences of ability out of the ordinary.

Not that it mattered.

Nevertheless the little fillip administered to her self-esteem made her feel more contented; into the bargain, it deepened her interest in the business in hand.

Mr. Willing seemed to be taking a deal of pains to make fair and thorough tests. For each of the four women he improvised brief but effective solo scenes to bring out their best points, if nothing that made severe demands upon the ability of the subject or the invention of the director.

Lucinda, for example, was discovered to the camera arranging flowers in a vase. A servant entered, delivered a letter, retired. Lucinda recognized the handwriting, and (the word was new to her in this application) "registered" delight, then--as, smiling, she opened and read the letter--bewilderment, misgivings, and a shock of cruel revelation which strangled all joy of living in her, struck her down, and left her crushed and cringing in a chair.

Despite a natural feeling that she was making herself ridiculous, Lucinda executed to the best of her ability the gestures prescribed and tried to impart to them some colour of sincerity. As a matter of fact, she was singularly (and stupidly, she a.s.sured herself) anxious to deserve the further commendation of Mr. Culp's cameraman.

But it was at best a trying task and, when it came to posing for the close-up with a wall of blinding incandescence only a few feet from her eyes, a true ordeal. She was glad when it was over, and quite satisfied that she wouldn't care to repeat the experience, in spite of Mr.

Timilty's encouraging "Pretty work, Mrs. Druce!"--whose source she could only surmise, since in her bedazzled vision everything remained a blur for some time after she had been delivered from the torture of the lights.

When at length that cloud of blindness cleared, Mr. Culp was nowhere to be seen. Nor did he show up again until the last test had been made and the party, once more shepherded by Mr. Lane, was on the point of leaving. Then Culp put in a hasty reappearance, coming from the direction of the dressing-rooms, nominated an hour for projecting the tests at the studio the next afternoon, bade a hearty good-bye to each of his guests, and insisted on escorting Lucinda to the door.

On the way, however, he managed to detain her and let the others draw ahead and out of hearing.

"Lis'n, Mrs. Druce," he abruptly volunteered: "Jack says your test's going to turn out great. That's just what he said--'like a million dollars.' And I been thinkin' ... I was speakin' it over with Mrs. Culp in her dressing-room, d'y'see, and she's strong for it, says she'd be tickled to pieces. She's a wonderful little woman, Mrs. Culp is, she ain't never yet made any mistake about n.o.body, d'y'see, and she's took the biggest kind a fancy to you, and says tell you she's sure you'll never regret it----"

"Please, please, Mr. Culp! You are too good, and it makes me most happy to know Mrs. Culp thinks well of me. But what," Lucinda laughed--"what _are_ you talking about?"

"Why," said Culp in some surprise--"I was thinkin' maybe you'd like to try goin' into pitchers. You got everythin', d'y'see, looks and style and all, everythin' but experience; and that's somethin' you can get right here in this studio, workin' with Mrs. Culp. I got a good part for you in her next pitcher you could try out in, and----"

"It's awfully kind of you," Lucinda interrupted, "and I'm truly appreciative, Mr. Culp; but really I couldn't think of it."

"That right?" Culp seemed to be genuinely dashed. "'Sfunny," he observed dejectedly. "I s'pose you know best what you want to do, but it'd be great little experience for you, take it from me, Mrs. Druce."

"I'm sure it would."

"And I got a hunch you'd make good all the way. You've got things n.o.body else on the screen's got but my little woman, d'y'see, and it wouldn't be no time at all, maybe, before you'd be a star with your own company.

I'll take care of that, you wouldn't have to worry about the money end of it at all, d'y'see----"

"But what if I don't _want_ to be a motion-picture actress, Mr. Culp?"

"Well, of course, if you don't, that's different." He pondered gloomily this incomprehensible freak. "Lis'n," he suggested, brightening: "Tell you what, Mrs. Druce: you go home and think it over. You got all night and most of tomorrow--you won't be comin' here to look at the tests till five o'clock, d'y'see--and if you should want to change your mind, I stand back of all I said. All you got to do is say yes, and walk right into a nice part, fit you like a glove, in the next Alma Daley pitcher----"

"Seriously, Mr. Culp; if I should think it over for a month, my decision would be the same. But thank you ever so much--and please thank Mrs.

Culp for me, too."

"Well," Culp said reluctantly, holding the street door, "if that's the way you feel about it ... well, of course.... G'dnight, Mrs. Druce, and pleas't'meet you."

The street was dark with a gentle darkness kind to eyes that still ached and smarted. And the frosty air was grateful to one coming from the close atmosphere of the studio, heavy with its composite smell of steam-heated paint and dust and flesh.

And crossing to her car, Lucinda experienced a vagary of vivid reminiscence. Just for an instant the clock was turned back for her a dozen years and more, she was again a little girl, a child bringing dazed eyes of dream from the warm and scented romance of a matinee, her thrilled perceptions groping mutinously toward reconciliation with the mysterious verities of streets mantled in blue twilight.