Merton of the Movies Part 27

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.

There were moments during this scene when Merton wondered if Baird were not relapsing into Buckeye comedy depths, but he saw the inevitable trend of the drama and the justification for this bit of gambling. For the son, now penniless, became desperate. He appealed to Merton for a loan, urging it on the ground that he had a sure thing thirty--to-one shot at Latonia. At least these were the words of Baird, as he directed Merton to deny the request and to again try to save the youth from his inevitable downfall. Whereupon the youth had sneered at Merton and left the place in deep anger.

There followed the scene with the boy's sister, only daughter of the rich delicatessen merchant, who Merton was pleased to discover would be played by the Montague girl. She entered in a splendid evening gown, almost too splendid, Merton thought, for street wear in daylight, though it was partially concealed by a rich opera cloak. The brother being out, Merton came forward to wait upon her.

"It's like this," Baird explained. "She's just a simple New York society girl, kind of shallow and heartless, because she has never been aroused nor anything, see? You're the first one that's really touched her heart, but she hesitates because her father expects her to marry a count and she's come to get the food for a swell banquet they're giving for him.

She says where's her brother, and if anything happened to him it would break her heart. Then she orders what she wants and you do it up for her, looking at her all the time as if you thought she was the one girl in the world.

"She kind of falls for you a little bit, still she is afraid of what her father would say. Then you get bolder, see? You come from behind the counter and begin to make love, talking as you come out--so-and-so, so-and-so, so-and-so--Miss Hoffmeyer, I have loved you since the day I first set eyes on you--so-and-so, so-and-so, so-and-so, I have nothing to offer but the love of an honest man--she's falling for it, see?

So you get up close and grab her--cave-man stuff. Do a good hard clench--she's yours at last; she just naturally sags right down on to you. You've got her.

"Do a regular Parmalee. Take your time. You're going to kiss her and kiss her right. But just as you get down to it the father busts in and says what's the meaning of this, so you fly apart and the father says you're discharged, because his daughter is the affianced wife of this Count Aspirin, see? Then he goes back to the safe and finds all the money has been taken, because the son has sneaked in and grabbed out the bundle and hid it in the ice-box on his way out, taking only a few bills to get down on a horse. So he says call the police--but that's enough for now. Go ahead and do that love scene for me."

Slowly the scene was brought to Baird's liking. Slowly, because Merton Gill at first proved to be diffident at the crisis. For three rehearsals the muscular arm of Miss Montague had most of the clenching to do. He believed he was being rough and masterful, but Baird wished a greater show of violence. They had also to time this scene with the surrept.i.tious entrance of the brother, his theft of the money which he stuffed into a paper sack and placed in the ice-box, and his exit.

The leading man having at last proved that he could be Harold Parmalee even in this crisis, the scene was extended to the entrance of the indignant father. He was one of those self-made men of wealth, Merton thought, a short, stout gentleman with fiery whiskers, not at all fashionably dressed. He broke upon the embrace with a threatening stick.

The pair separated, the young lover facing him, proud, erect, defiant, the girl drooping and confused.

The father discharged Merton Gill with great brutality, then went to the safe at the back of the room, returning to shout the news that he had been robbed by the man who would have robbed him of his daughter. It looked black for Merton. Puzzled at first, he now saw that the idolized brother of the girl must have taken the money. He seemed about to declare this when his n.o.bler nature compelled him to a silence that must be taken for guilt.

The erring brother returned, accompanied by several customers. "Bring a detective to arrest this man," ordered the father. One of the customers stepped out to return with a detective. Again Merton was slightly disquieted at perceiving that the detective was the cross-eyed man.

This person bustled about the place, tapping the cooked meats and the cheeses, and at last placed his hand upon the shoulder of the supposed thief. Merton, at Baird's direction, drew back and threatened him with a blow. The detective cringed and said: "I will go out and call a policeman."

The others now turned their backs upon the guilty man. Even the girl drew away after one long, agonized look at the lover to whose embrace she had so lately submitted. He raised his arms to her in mute appeal as she moved away, then dropped them at his side.

"Give her all you got in a look," directed Baird. "You're saying: 'I go to a felon's cell, but I do it all for you.' Dream your eyes at her."

Merton Gill obeyed.

The action progressed. In this wait for the policeman the old mother crept forward. She explained to Merton that the money was in the ice-box where the real thief had placed it, and since he had taken the crime of another upon his shoulders he should also take the evidence, lest the unfortunate young man be later convicted by that; she also urged him to fly by the rear door while there was yet time. He did these things, pausing for a last embrace of the weeping old lady, even as the hand of the arriving policeman was upon the door.

"All for to-day, except some close-ups," announced Baird when this scene had been shot. There was a breaking up of the group, a relaxation of that dramatic tension which the heart-values of the piece had imposed.

Only once, while Merton was doing some of his best acting, had there been a kind of wheezy t.i.ttering from certain members of the cast and the group about the cameras.

Baird had quickly suppressed this. "If there's any kidding in this piece it's all in my part," he announced in cold, clear tones, and there had been no further signs of levity. Merton was pleased by this manner of Baird's. It showed that he was finely in earnest in the effort for the worth-while things. And Baird now congratulated him, seconded by the Montague girl. He had, they told him, been all that could be expected.

"I wasn't sure of myself," he told them, "in one scene, and I wanted to ask you about it, Mr. Baird. It's where I take that money from the ice-box and go out with it. I couldn't make myself feel right. Wouldn't it look to other people as if I was actually stealing it myself? Why couldn't I put it back in the safe?"

Baird listened respectfully, considering. "I think not," he announced at length. "You'd hardly have time for that, and you have a better plan.

It'll be brought out in the subt.i.tles, of course. You are going to leave it at the residence of Mr. Hoffmeyer, where it will be safe. You see, if you put it back where it was, his son might steal it again. We thought that out very carefully."

"I see," said Merton. "I wish I had been told that. I feel that I could have done that bit a lot better. I felt kind of guilty."

"You did it perfectly," Baird a.s.sured him.

"Kid, you're a wonder," declared the Montague girl. "I'm that tickled with you I could give you a good hug," and with that curious approach to hysteria she had shown while looking at his stills, she for a moment frantically clasped him to her. He was somewhat embarra.s.sed by this excess, but pardoned it in the reflection that he had indeed given the best that was in him. "Bring all your Western stuff to the dressing room tomorrow," said Baird.

Western stuff--the real thing at last! He was slightly amazed later to observe the old mother outside the set. She was not only smoking a cigarette with every sign of relish, but she was singing as she did a little dance step. Still she had been under a strain all day, weeping, too, almost continuously. He remembered this, and did not judge her harshly as she smoked, danced, and lightly sang,

Her mother's name was Cleo, Her father's name was Pat; They called her Cleopatra, And let it go at that.

CHAPTER XIV. OUT THERE WHERE MEN ARE MEN

From the dressing room the following morning, arrayed in the Buck Benson outfit, unworn since that eventful day on the Gashwiler lot, Merton accompanied Baird to a new set where he would work that day. Baird was profuse in his admiration of the cowboy embellishments, the maroon chaps, the new boots, the hat, the checked shirt and gay neckerchief.

"I'm mighty glad to see you so sincere in your work," he a.s.sured Merton.

"A lot of these hams I hire get to kidding on the set and spoil the atmosphere, but don't let it bother you. One earnest leading man, if he'll just stay earnest, will carry the piece. Remember that--you got a serious part."

"I'll certainly remember," Merton earnestly a.s.sured him.

"Here we are; this is where we begin the Western stuff," said Baird.

Merton recognized the place. It was the High Gear Dance Hall where the Montague girl had worked. The name over the door was now "The Come All Ye," and there was a hitching rack in front to which were tethered half-a--dozen saddled horses.

Inside, the scene was set as he remembered it. Tables for drinking were about the floor, and there was a roulette wheel at one side. A red-shirted bartender, his hair plastered low over his brow, leaned negligently on the bar. Scattered around the room were dance-hall girls in short skirts, and a number of cowboys.

"First, I'll wise you up a little bit," said Baird. "You've come out here to work on a ranche in the great open s.p.a.ces, and these cowboys all love you and come to town with you every time, and they'll stand by you when the detective from New York gets here. Now--let's see--I guess first we'll get your entrance. You come in the front door at the head of them. You've ridden in from the ranche. We get the horseback stuff later. You all come in yelling and so on, and the boys scatter, some to the bar and some to the wheel, and some sit down to the tables to have their drinks and some dance with the girls. You distribute money to them from a paper sack. Here's the sack." From a waiting property boy he took a paper sack. "Put this in your pocket and take it out whenever you need money.

"It's the same sack, see, that the kid put the stolen money in, and you saved it after returning the money. It's just a kind of an idea of mine," he vaguely added, as Merton looked puzzled at this.

"All right, sir." He took the sack, observing it to contain a rude imitation of bills, and stuffed it into his pocket.

"Then, after the boys scatter around, you go stand at the end of the bar. You don't join in their sports and pastimes, see? You're serious; you have things on your mind. Just sort of look around the place as if you were holding yourself above such things, even if you do like to give the boys a good time. Now we'll try the entrance."

Cameras were put into place, and Merton Gill led through the front door his band of rollicking good fellows. He paused inside to give them bills from the paper sack. They scattered to their dissipations. Their leader austerely posed at one end of the bar and regarded the scene with disapproving eyes. Wine, women, and the dance were not for him. He produced again the disillusioned look that had won Henshaw.

"Fine," said Baird. "Gun it, boys."

The scene was shot, and Baird spoke again: "Hold it, everybody; go on with your music, and you boys keep up the dance until Mother's entrance, then you quit and back off."

Merton was puzzled by this speech, but continued his superior look, breaking it with a very genuine shock of surprise when his old mother tottered in at the front door. She was still the disconsolate creature of the day before, bedraggled, sad-eyed, feeble, very aged, and still she carried her bucket and the bundle of rags with which she had mopped.

Baird came forward again.

"Oh, I forgot to tell you. Of course you had your old mother follow you out here to the great open s.p.a.ces, but the poor old thing has cracked under the strain of her hard life, see what I mean? All her dear ones have been leaving the old nest and going out over the hills one by one-you were the last to go-and now she isn't quite right, see?

"You have a good home on the ranche for her, but she won't stay put. She follows you around, and the only thing that keeps her quiet is mopping, so you humour her; you let her mop. It's the only way. But of course it makes you sad. You look at her now, then go up and hug her the way you did yesterday; you try to get her to give up mopping, but she won't, so you let her go on. Try it."

Merton went forward to embrace his old mother. Here was tragedy indeed, a bit of biting pathos from a humble life. He gave the best that was in him as he enfolded the feeble old woman and strained her to his breast, murmuring to her that she must give it up-give it up.

The old lady wept, but was stubborn. She tore herself from his arms and knelt on the floor. "I just got to mop, I just got to mop," she was repeating in a cracked voice. "If I ain't let to mop I git rough till I'm simply a scandal."

It was an affecting scene, marred only by one explosive bit of coa.r.s.e laughter from an observing cowboy at the close of the old mother's speech. Merton Gill glanced up in sharp annoyance at this offender.

Baird was quick in rebuke.

"The next guy that laughs at this pathos can get off the set," he announced, glaring at the a.s.semblage. There was no further outbreak and the scene was filmed.

There followed a dramatic bit that again involved the demented mother.