Linda Lee, Incorporated Part 34

"When I want a doctor, I'll call him myself. Good night."

"I'm sorry," said Lucinda simply.

With no choice other than to go, she went. But the vision she carried away, of Nelly Marquis glaring at her with eyes malevolent, her frail body vibrating so that it shook the bed, must have haunted Lucinda's conscience all evening long had she let the affair drop then and there.

Returning to her room, she telephoned the office and asked for the hotel physician. The clerk reported that the doctor was out, but promised to advise him of her call as soon as he came in.

Upwards of an hour later a knock ushered in a quiet young man with weary, understanding eyes, who attended gravely to what Lucinda had to tell him.

"She seems to have taken such an inexplicable dislike to me," Lucinda wound up, "I'm sure she won't see you if she knows you come through me.

But the girl is really ill and needs help. So, I thought, perhaps you might find someone else in the hotel who knows her and could get her to consent to see you."

"I fancy I know her well enough myself to excuse a friendly call," the physician answered. "She's an old patient of mine, though she hasn't been in Hollywood for some time, I believe."

"Then you must know what's the matter with her...."

"Yes, I know.... But it would be unprofessional to tell you, of course, Miss Lee."

"Then tell me this much: that you can help her."

"I'm not sure of that. Not unless she's willing. To do her any real good, I'd have to have her under observation for some weeks. And cases like hers are peculiar, peculiarly strong-headed.... However, I'll see if I can do anything with her now, and let you know."

Three minutes after he had left, he knocked again.

"Too late, Miss Lee," he reported. "Nelly Marquis checked out about a quarter of an hour ago, they tell me at the desk--called for an auto and left no address."

XXVI

The indigene of Southern California has long since ceased to regard with much interest the publicly practised tribal customs of those clans which herd upon the motion-picture reservation. He no longer thinks he's seeing life when he comes upon troops of fairy policemen rapturously chasing their trails by broad daylight, or woebegone gentlemen with too much trousers popping out of manholes in public thoroughfares, or painfully unconscious sweethearts in broad-minded evening dress at high noon fondling each other in front of, say, the Hollywood Hotel. He no more knows a thrill when motor-loads of revellers in giddy costume and with sanguine noses blow by his unromantic bungalow at breakneck speed, preceded or followed by other cars filled with bored proletaires in workaday clothes, among them one embracing affectionately the slim young limbs of a camera tripod. And if he should chance to observe his next-door neighbour lamming the everlasting daylights out of his wife on the front lawn, he would make sure there was no camera within range before telephoning for the police.

A month of Hollywood had so accustomed Lucinda to such sights that she became a part of them, at least in as far as involved coursing through the streets in full make-up, without any sense of making herself unduly conspicuous.

She even forgot to think it strange that she, Lucinda Druce, should not resent being made love to unprofessionally, that is to say without an eye to the camera, by a man with rouge on cheeks and lips and eyelashes beaded with mascaro.

If the feeling that she had cast her lines in strange places was quick to wear off, in those three days of work with the Summerlad company, the fun of it wasn't. Lucinda threw herself into the detail of every hour with tremendous zest, and liked it all as she seldom had liked anything before.

To rise hours before the time at which use had habited her to waking, rout the drowsiness from her flesh with a cold plunge, dress hastily in her becoming white costume, s.n.a.t.c.h a bite of breakfast and dash out into the cool glow of morning sunlight to rendezvous at the studio; to pick up Lynn and f.a.n.n.y for company on a cross-country race to a wild canyon of the Sierra Madre; to change to horseback when the going grew perilous for motor travel, and ride five miles farther up a trail that now ran level with the rushing waters of a mountain stream, now climbed dizzily above it on rocky ledges barely wide enough to afford foothold for one horse at a time, ending in a lovely wilderness spot which Jacques had selected because, he said, it hadn't been "shot to death"; to idle, chat and giggle with Lynn, f.a.n.n.y and Alice Drake during the long delays devoted by Jacques to making up his mind what he wanted the company to do in preference to the action indicated in the continuity which he was politely presumed to be producing; to lunch al fresco, grouped round a blanket on which a decidedly rude and hearty picnic meal was spread; to frolic through a few minutes of make-believe while the camera clicked and Jacques bawled directions through a megaphone; then to drive back in the evening lull, with lights breaking out in lilac dusk like fireflies in a tinted mist; to get home so weary that she could hardly keep awake long enough to wolf down the dinner for which she was ravening, then to fling herself into the warm, all-obliterating haven of bed; and all the while to be falling more and more madly in love but still practising delectable, self-tantalizing self-denial: this wasn't work in any sense, but play, sheer play of a most gorgeous sort and of which surely one could never tire.

If this were all there was to motion-picture acting, then Lucinda could not wonder that, as she was one day informed by a crusty veteran of the colony: "b.u.ms may turn revivalists, and lawyers honest, but there ain't no known cure for a lens lizard."

In the name of all things reasonable! why sigh to be cured of a vocation at once so profitable and so enthralling?

There was another side to the business, of course, there had to be. One knew it couldn't be all beer and skittles, one heard dark hints of the uglier side, one even caught glimpses of it and its workings now and then, as in the instance of Nelly Marquis; but awareness of it had no perceptible effect upon the spirits of those with whom Lucinda found herself a.s.sociated for the time being. Some of the younger members of the acting division seemed to take life a thought seriously--"life"

meaning, as a rule, themselves--but the more experienced, and the men of the technical groups, the directors, cameramen, and their a.s.sistants, the property men and jacks-of-all-trades, went about their work with jests ever on their lips. Lucinda heard few orders given or acknowledged other than in the semi-jocular vein known as "kidding." Even Jacques, whose office clothed him with a certain dignity, by which he was intermittently depressed, seemed in his most earnest moments to find it difficult to express himself in terms of becoming gravity. The common att.i.tude summed up to this: that making pictures was all a huge lark and (strictly between those engaged in it) a darned good joke on the people who paid the bills.

As for the part she was supposed to play in this picture of Summerlad's, Lucinda never managed to secure an intelligible exposition of its nature or its relation to the plot. Both Summerlad and Jacques seemed strangely vague in their own minds concerning it, and Alice Drake frankly confessed she hadn't read the 'script and hadn't the faintest notion what the picture was about. She did what Jacques told her to do, and did it very well, and so long as there were no complaints and her weekly cheque turned up on time, she didn't care (she said) a thin red hoot about the story. Neither was this an uncommon att.i.tude, she averred; not infrequently directors imposed it upon the actors and actresses working under them. There was George Loane Tucker, who had directed _The Miracle Man_; Miss Drake had worked for him and could testify concerning his methods. He never told any of the cast what the story was, only what he wanted them to wear and do and how and when to do it; that was all. He had even invented a secret system of numbering the "takes," so that he alone could properly a.s.semble the thousand or so separate scenes and close-ups which go to make up the average motion-picture when photography on it is finished, scenes which are never by any chance photographed in consecutive order. Nor was Tucker the only one....

Later on, in the projection-rooms of the Zinn Studios, Lucinda saw the "rushes" of the scenes in which she had played; "rushes" being the first positive prints made from the uncut negative: "takes" running anywhere from twice to a hundred times the length of the scene to be finally incorporated into the finished picture and disclosed to the public. She was well content with the way she had done what little had been given her to do, but was left in the dark as to what it was all about. And in the final cutting and editing, that sequence of scenes dropped out of the film altogether. So that n.o.body ever knew, except possibly Summerlad and Jacques....

To the best of her observation her role was that of an involuntary vamp.

Not vampire: vamp. No other term will serve so well. Originally a derisive diminutive, the usage of the studios has endowed this monosyllable with a significance all its own, not readily definable. A vamp no longer means of necessity a vampire, a scarlet-mouthed seductress of strong men's souls. A vamp may be a far more socially possible person that that, in fact any attractive woman who comports herself toward another woman's man consistently with the common amenities of civilized intercourse.

As an involuntary vamp, then, Miss Lee was to meet Mr. Summerlad under romantic circ.u.mstances and innocently wean him from strict fidelity to the charms of his betrothed (or it may have been his wife) Miss Drake.

Of this situation Miss Drake was in due course to become cognizant. What was to happen after that between Miss Drake and Mr. Summerlad was no concern of the involuntary vamp's. Furthermore, she never learned.

The said romantic circ.u.mstances proved sufficiently thrilling to bring about an early wedding in most films. Miss Lee was run away with by her horse while taking an early morning canter in mountains conveniently adjacent to her family's suburban villa. Mr. Summerlad, similarly engaged in health-giving equestrianism, happened along at the right time to observe her peril, pursue, and s.n.a.t.c.h her bodily from her saddle to his arms at the very instant when her mount was plunging headlong over a precipice. After which he escorted her to her home, and on the way the two indulged in such normal love-making as was only to be expected when the facts of the case were taken into consideration.

Jacques used up all of one day and two-thirds of the next staging and shooting the runaway and the rescue scenes, in none of which either Lucinda or Summerlad figured in person. Lucinda, it is true, was photographed from several angles, riding along the mountainside trail at a point where it was broad enough for her horse, with safety to its rider, to shy and start to run away. The animal was an unusually intelligent, perfectly trained and docile trick-horse that, given the right signals, would perform a number of feats such as shying, running away, stopping short, falling dead under its rider. And Lucinda was a good horsewoman, though not good enough for such rough and really dangerous riding as would be required after the start of the runaway. A double was therefore provided for her, a tough and wiry young person of about her height and weight who made her living by risking her life in just such ways, and who, with Lucinda's white coat, hat and boots added to her own white riding-breeches, pa.s.sed well enough for Lucinda in "distance shots."

A double was likewise provided for Summerlad, though he was a superb rider and vigorously a.s.serted his right to take what chances he pleased with his own neck. But Jacques explained it wasn't Summerlad's neck he cared about, it was finishing a picture in which eighty thousand dollars had already been sunk and for whose completion Summerlad's services would be required for four more weeks. Thereafter he could break his neck as often and in as many places as he liked, for all of Jacques.

So Summerlad held his peace and his place at Lucinda's side, well out of harm's way, while Jacques went ahead and directed the rescue.

Runaway, pursuit and rescue were all staged on a ledge-like trail three hundred feet above the boulder-strewn bed of the brawling stream, and were photographed simultaneously by three cameras, from the river-bed shooting upwards, from the opposite side of the canyon on a level with the trail, and from the trail itself but at a distance great enough to prevent the fact that doubles were used from becoming evident when the pictures were projected.

It was all honestly hazardous and ticklish work, rendered doubly and trebly so by the fact that each part of the action had to be replayed over and over again to satisfy Jacques, an old hand at "stunt stuff" and a painstaking one.

Lucinda's heart, as she looked on, was in her mouth more often than not.

It made no difference that it was all played at a far slower tempo than would appear when it was screened; the projection-machine flashes the pictures across the screen at a faster rate than that at which they are taken; consequently it is only necessary to crank the camera at slower than normal speed to attain an effect of terrific speed in projection.

Fast or slow, it was risky enough in all conscience; and Lucinda was more than glad when the last repet.i.tion had been shot and Jacques gave orders to shift to a location near the mouth of the canyon.

For those scenes of sentiment which Lucinda and Summerlad were to play in person, Jacques wanted the contrast of richer and more abundant vegetation, and the location he selected brought the party at length to a point below that at which the automobiles had been forced to stop.

Here Lucinda and Summerlad were photographed time and again, in distance shots, medium shots, and close-ups, riding side by side, registering the dawn of a more intimate interest each in the other, dismounting to rest in a sweet sylvan glade by the side of the stream, and finally in each other's arms, with Miss Drake riding up to surprise them as they kissed.

Whether by intention or because such scenes are a commonplace of picture-making, Lucinda could not say, but she had not been in any way prepared for the fact that she was to be kissed by Summerlad; whereas she had been flirting with him decorously but dangerously for the best part of three days. Now suddenly, toward the close of the third, she was instructed to permit his embrace, submit to his kiss, and kiss him in response.

She made no demur, for that would have seemed silly, but did her best to ape the matter-of-course manner of all hands, and went through it with all the stoicism, when the camera wasn't trained on her, that was compatible with the emotions she must show when it was.

But her heart was thumping furiously when she felt Summerlad's arms for the first time enfold her; and when, murmuring terms of endearment appropriate to both the parts the man was playing, he put his lips to hers, she knew, both despite and because of the tumult of her senses, that she was lost. Control of the situation between them pa.s.sed in that instant from her hands to his.

Released at length, she looked round, dazed and breathless, to find that, during the business of the kiss, a party of uninvited onlookers had been added to their professional audience.

A motor-car had slipped up on the group and stopped, and one of its two pa.s.sengers had alighted and drawn near to watch.

This was Bellamy.

XXVII

Momentarily stunned eyes saw the face of Bellamy only as a swimming blur of flesh-colour shaded by a smile of hateful mockery. Then, not unlike rays of the sun escaping from complete eclipse, Lucinda's wits struggled from out a dark penumbra of dismay to make new terms with the world--or try to, under the handicap of panicy conviction that it was all up now with Linda Lee.