The Foolish Lovers Part 34

"I may as well warn you that Dolly'll make love to you when she's recovered herself, but you needn't let it worry you. She can't help it, poor dear, and I often think it's the only real relaxation she has ...

with her temperament. Just humour her, old chap, if she does. I'll know you don't mean anything by it. It's temperament, that's all it is.

Dolly wouldn't do anything ... not for the world ... but it gives her a lot of satisfaction to pretend she's doing something. Lot of women like that, Mac. Not nice women, really ... except Dolly, of course ... and you can excuse her because of her temperament!"

They entered the sitting-room and sat down at the table.

"And I may as well tell you," Cream continued, "that Dolly and me aren't married. I'd like to be regular myself, but Dolly says she'd feel respectable if she was married ... and she thinks you can't be tragic if you're respectable. She always says that she's at her best when she feels that I've ruined her life. I daresay she's right, old chap, only I'd like to be regular myself. As I tell her, if it's hard to be tragic when you're respectable, it's d.a.m.n hard to be comic when you're not. I expect Lizzie told you about me and Dolly?"

John nodded his head.

"I thought as much. Lizzie always tells people. I don't know what the h.e.l.l she'd do for gossip if we were to get married. I can't think how she found out ... unless Dolly told her ... but you can be certain of this, Mac, if there's a skeleton in your cupboard, Lizzie'll discover it. Dolly's the skeleton in my cupboard. Of course, old chap, I don't want it talked about. I wouldn't have told you anything about it, only I guessed that Lizzie'd told you. Not that I mind _you_ or Hinde knowing ... you're writers ... but music-hall people are so particular about things of that sort. You wouldn't believe how narrow-minded and old-fashioned they are about marriage ... not like actors. That's really why I mentioned the matter. I don't want you to think I'm bragging about it or anything!"

"Oh, no, no," said John. "No, of course not. I wouldn't dream of saying a word to anybody!"

"Thanks, Mac, old chap!" Cream extended his hand to John, and John, wondering why it was offered to him, shook it. "Now about this idea of mine for a play!"

"Play?"

"Yes, for me and Dolly. Why shouldn't you do one for us? The minute I heard you were a writer, I turned to Dolly and I said, 'Dolly, darling, let's get him to do a play for us!' And she agreed at once. She said, 'Do what you like, darling, but don't worry me about it!' You see, Mac, we're getting a bit tired of this piece we're doing now ... we've been doing it twice-nightly for four years ... _The Girl Gets Left_, we call it ... and we want new stuff. See? We'd like a good dramatic piece ... a little bit of high-cla.s.s in it ... for Dolly ... if you like, only not too much. Cla.s.sy stuff wants living up to it, and I haven't got it in me, and people aren't always in the mood for it either. In the music-halls, anyway. See?"

"But!..."

"Dramatic stuff ... that's what we want. Go! Snap! Plenty of ginger!

Raise h.e.l.l's delight and then haul down the curtain quick before the audience has had time to pull itself together. See? We'd treat the author very handsome if we could get hold of a good piece with a big emotional part for the wife ... and although I'm her husband ... in the sight of G.o.d, anyway ... I will say this for her, Mac, there's not another woman on the stage ... Ellen Terry, Mrs. Pat or Sarah Bernhardt herself ... can hold a candle to Dolly for emotional parts. Of course, there'd have to be a comic part for me, too, but you needn't worry much about that. I always make up my own part to a certain extent. Just give me the bare outline: I'll do the rest. You see, I understand the public ... it's a knack, of course ... and I can always improve the author's stuff easy. What do you say?"

"I don't know," said John.

"You needn't put your name to it, if you don't want to. Use a nom de plume or leave the name out altogether. _Our_ audience doesn't pay any attention to authors, so that won't matter. And it'll be a start for you, Mac!"

"Oh, yes!"

"Any little bit of success, even if you're half ashamed of it, bucks you wonderful, Mac ... I say, you don't mind me calling you Mac, do you?..."

"No," John replied.

"Somehow it's homely when you can call a chap Mac, somehow! Now, if you was to do a play for us, and it went well, it'd put heart into you for something better. If you can find your way to the heart of a music-hall audience, Mac, my boy, you can find your way anywhere. Now, what about it, eh! Will you try to do a piece for us?"

"I'll try, but!..."

"That's all right," said Cream, again extending his hand to John.

"Dolly'll be very pleased to hear we've settled it!"

"But I've never seen a music-hall play!" John exclaimed, "and you haven't said how much you'll pay me for it!"

"Never been in a music-hall!... Where was you brought up, Mac!"

"In Ballyards," John replied seriously.

"Where's that?"

"Have you never heard of Ballyards, Mr. Cream?"

"No," the comedian replied.

"Well, where were you brought up then?"

Cream regarded him closely for a few moments. Then he burst into laughter and again shook John fervently by the hand.

"That's one up for you, Mac!" he said genially. "Quite a repartee.

Well, come with us to-night and see _The Girl Gets Left_. That'll give you a notion of the sort of stuff we want. See?"

"How much will you pay me for it?"

"Well, we gave the chap that wrote _The Girl Gets Left_ ... poor chap, he died of drink about six weeks ago ... couldn't keep away from it ... signed the pledge ... ate sweets ... did everything ... no good ... always thought out his best jokes when he was drunk ... well, we gave him thirty bob a week for _The Girl Gets Left_ ... and mind you he was an experienced chap, too ... but Dolly and me, we've decided you have to pay a bit extra for cla.s.sy stuff, and we'll give you two quid a week for the piece if it suits us. Two quid a week as long as the play runs, Mac. _The Girl Gets Left_ has been played for four years ... four years, Mac ... all over the civilised globe. If your piece was to run that long, you'd get Four Hundred and Sixteen Quid.

Four Hundred and Sixteen shiny Jimmy o' Goblins, Mac! Think of it! And all for a couple of afternoons' work!..."

"And how much will you get out of it?" John asked.

"Oh, I dunno. Enough to pay the rent anyhow. You know, Mac, these high-cla.s.s chaps like Barrie and Bernard Shaw, they've never had a play run for four years anywhere, and yet old Hookings, that n.o.body never knew nothing about and died of drink, his play was performed all over the civilised world for four years. That's something to be proud of, that is. Four solid years! But there was nothing in the papers about him, when he died ... nothing ... not a word. And if Barrie was to die, or Bernard Shaw ... columns, pages! Barrie ... well, he's all right, of course ... not bad ... but compare him with Hookings. Why, he doesn't know the outside of the human heart, not the outside of it he doesn't, and Hookings knew what the inside of it's like. You take that play of Barrie's, _The Twelve Pound Look_. Not bad...not a bad play, at all ... but where's the feeling heart in it? Play that piece in front of an audience of coalminers and what 'ud you get? The bird, my boy!

That sort of stuff is all right for the West End ... but the people, Mac, want something that hits 'em straight between the eyes and gives 'em a kick in the stomach as well. The best way to make a man sit up and take a bit of notice is to hit him a punch on the jaw, and the best way to make the public feel sympathetic is to hit it a punch in the heart!..."

The little man broke off suddenly and glanced towards the door. "I must toddle down to Dolly now. She gets fretful if I'm out of her sight for long. I'll see you later on ... seven o 'clock, old chap!"

"Very good," John answered.

"Aw reservoir, then!" said Cream, as he left the room and hurried downstairs.

II

He told himself that he ought to do some work, but the desire to see more of London overcame his good resolution, and so he left the house and set out again for the town. He hoped that he might see Eleanor Moore. If he were to go to the tea-shop at the same hour as she had entered it yesterday, he might contrive to seat himself at her table again, and this time perhaps she would listen to him. When he reached the City, he found that he was too early for the mid-day meal, and so he resolved to go and stand about the entrance to the office where Eleanor Moore was employed. He would see her coming out of it and could follow discreetly after her.... But although he waited for an hour, she did not appear, nor was she to be seen in the tea-shop, when, tired and disappointed, he took his place in it. He dallied over his meal, hoping every moment that she would turn up, but at length he had to go away without seeing her. At teatime, he told himself, he would come again and wait for her. He climbed on to a 'bus and let himself be taken to Charing Cross, where he enquired the way to the National Gallery. He wandered through the rooms until his eyes ached with looking at the pictures and his feet were sore with walking on the polished floors. He felt self-conscious when he looked at the nudes, and he blushed when he found a woman standing by his side as he looked at the portrait of Jean Arnolfini and Jeanne his wife by van Eyck. He turned hotly away, and wondered that there was no blush on the face of the woman. In Ballyards, a man always pretended not to see a woman about to have a child ... unless, of course, he was with other men and the woman could not see him, when he would crack jokes about her condition!... Here, however, people actually exhibited pictures of pregnant women in a public place where all sorts, old and young, male and female, could look at them ... and no one appeared to mind. It might be all right, of course, and after all a woman in that way was natural enough ... but he had been brought up to be ashamed of seeing such things, and he could not very well become easy about them in a moment.... And he became very tired of Holy Families and Crucifixions!...

"I'll walk back to the place," he said to himself as he left the Gallery and crossed Trafalgar Square. He dappled his fingers in the water of one of the fountains, and listened to two little c.o.c.knies wrangling together....

"They've a queer way of talking," he said to himself.

...and then he started off down the Strand towards Fleet Street and the City. Eleanor Moore was not in the tea-shop when he entered it, nor did she come into it while he remained there. He finished his meal and walked in the direction of the Royal Exchange and just as he was running out of the way of a 'bus, he saw her going towards the stairs leading into the Tube.

"There she is," he murmured and hurried after her.

She was at the foot of the stairs when he reached the top of them, and when he had got to the foot of them, she was almost at the entrance to the booking-office of the Tube. He tried to get near her so that he might speak to her, but the press of people going home prevented him from doing so. He saw her go down the steps and take her place in the queue of people purchasing tickets, and he walked across to the bookstall and stood there until she had obtained her ticket. Then as she walked to the lift, he moved towards her. She was examining her change as she walked along, and did not see him until he was close to her. He meant to say, "Oh, Miss Moore, may I speak to you for a moment!" but suddenly he became totally inarticulate, and while he was struggling to say something, she looked up and saw him. She started slightly, then her face became flushed, and she hurried forward and joined the group of wedged people in the lift. He determined to follow her, but while he was resolving to do so, the lift attendant shouted, "Next lift, please!" and pulled the gates together. He watched the light disappear from the little windows at the top of the gates!...

"I've missed her again," he said.

III

He was just in time to swallow a hurried meal and set off to the theatre with the Creams. Mrs. Cream, recovered from the devastating effects of a tragical temperament, was very vivacious as they sat in the brougham; and she rallied him on his authorship. She told him that when he was a celebrated writer, she would be able to say that she had discovered him....