We Can't Have Everything Part 28

But Ferriday was fretful and sarcastic about everything. Suddenly Miss Havender noted that he was interested, noted it by the negative proof of his sudden repose and silence. She could tell that he was leaning forward, taut with interest. She saw that Anita Adair was floating across the screen in the arms of Mr. Yoder.

There followed various scenes in which Kedzie did not appear, close-up pictures of other people. Ferriday fell back growling. Then he came bolt upright as the purring spinning-wheel of the projection machine poured out more of Kedzie.

Suddenly he shouted through the dark: "Stop! Wait! Go back! Give us the last twenty feet again. Who is that girl--that dream? Who is she, Garfinkel?"

"I don't know her name, sir."

"Don't know her name! You wouldn't! Well, the whole world will know her name before I get through with her. Who is she, anyway?"

Miss Havender spoke. "Her name is Adair--Anita Adair."

"Anita Adair, eh? Well, where did she come from? Who dug her up?"

"I did," said Miss Havender.

"Good for you, old girl! She's just what I need." And now he studied again the scene in which Kedzie took down the draught of bitter beer, and there was a superhuman vividness in the close-up, with its magnified details in which every tiny muscle revealed its soul.

"Look at her!" Ferriday cried. "She's perfect. The pathos of her! She wants training, like the devil, but, Lord, what material!"

He was as fanatic as a Michelangelo finding in a quarry a neglected block of marble and seeing through its hard edges the mellow contours of an ideal. He was as impatient to a.s.sail his task and beat off the enc.u.mbering weight.

CHAPTER VII

Kedzie wore her new frock when she reached the studio on Monday morning.

She greeted Mr. Garfinkel with an entreating smile, and was alarmed by the remoteness of his response. He was cold because she was not for him.

He led her respectfully to the anteroom of the sacred inclosure where Ferriday was behaving like a lion in a cage, belching his wrath at his keepers, ordering the fund-finders to find more funds for his great picture. It threatened to bankrupt them before it was finished, but he derided them as imbeciles, moneychangers, misers.

Garfinkel was manifestly afraid of Ferriday's very echo, and he cowered a little when Ferriday burst through the door with mane bristling and fangs bared.

"Well, well, well!" Ferriday stormed. "What do you want, Garfinkel? What do you want, Garfinkel? What do you want?"

"You told me to bring Miss Adair to you as soon as she arrived, and--"

The lion roared as gentle as a sucking dove.

"And this is Miss Adair, is it? Of course it is. Welcome to our little boiler-factory, my dear. Come in and sit down. Garfinkel, get her a chair and then get out. Sit down, child. I never bite pretty girls."

Kedzie was pleasantly terrified, and she wondered what would befall her next. She gave the retreating Garfinkel no further thought. She sat and trembled before the devouring gaze of the great Ferriday. He studied her professionally, but he was intensely, extravagantly human. That was why he appealed to the public so potently. He took their feelings and set them on fire and juggled with them flaming.

He had such caloric that he kindled actors and actresses to unsuspected brilliances. He made tinder of the dry-as-dusts, and he brought the warm-hearted to a white-hot glow.

He dealt with primary emotions crudely but vigorously. A soldier saluting an officer became in a Ferriday picture a zealot rendering a national homage. A maid watching her lover walk away angry became a Juliet letting Romeo go; a child weeping over a broken doll was an epitome of all regret. A mother putting a light in the window for an erring daughter's guidance was something new, an allegory as great as Bartholdi's Liberty putting her lamp in the window of the nation.

He was as intense with humor as with sorrow. A girl washing dishes brought shrieks of laughter at the little things she did--the struggle with the slippery soap, the recoil from the hot plate, the carelessness with the towel.

Ferriday had not talked to Kedzie two minutes before she was wringing her hands with excitement. He was discovering her to herself. He told her the story of a picture he wanted to put her in. He had withheld it for months, looking for the right interpreter. He resolved to postpone the completion of the big picture till he had finished a five-reel idyl for the apotheosis of Kedzie.

"The backers of the enterprise will have apoplexy when they hear of it,"

he laughed. "But what do I care?"

The whole army of the studio stood meanwhile at ease, drawing salary and waiting for Ferriday to remember his day's program and give the order to go ahead. But he was busy with his new story, in the throes of nympholepsy, seeing visions, hearing voices.

Kedzie sat in a marble expectancy, Galatea watching Pygmalion create her and prepare to bring her to life. She had never lived. She realized that. All her previous existence had been but blind gropings in the womb of time.

The backers came to remind Ferriday that there was waiting a costly mob of actors, wooed from the speaking drama by trebled salaries. Ferriday howled to them to get out. They did not respect his inspirations; they suspected his motives toward Kedzie.

But Ferriday was deep in love with his art; he was panting with the afflation of Apollo. Old motives, old scenes, old characters that had served as "sure-fire stuff" since the earliest Hindu drama now fell into their ancient places and he thought them new. Kedzie was sure she had never heard such original ideas. Her grat.i.tude to Ferriday was absolute.

And he was clever enough, or crazy enough, to say that he was grateful to her. He had been looking for just Her, and she had come to him just in time. He made her promises that Solomon could not have made to Sheba, or Shakespeare to the dark lady.

Solomon could offer to his visitor Ophirian wealth, and Shakespeare could guarantee with some show of success (up to date) that his words of praise would outlive all other monuments. But Ferriday did not offer Kedzie minerals or adjectives. He cried:

"Little girl, I'll put you on a girdle of films that will encircle the world. Your smile will run round the globe like the sun, and light up dark places in Africa. Your tears will shower the earth. People in thousands of towns will watch your least gesture with anxiety. Queens will have you brought to their palaces to make them laugh and cry. The soldiers of the world will call you their mascot and write love-letters to you from the trenches. I will have a billion pictures made of you, and you shall breathe and move in all of them. You shall live a million lives at once. I will have your other self placed in museums so that centuries from now they can take you out and bring you to life again."

It was a mighty good speech. It would be hard to find a serenade to beat it. And he read it superbly. He had sung it to every one of his only girls in the world, his eternal (pro tem.) pa.s.sions. He had had about nineteen muses already.

Kedzie did not know this, of course. And it would not have mattered much. Better the nine-and-ninetieth muse to such a man than the first and final gas-stove slave of a Tommie Gilfoyle.

Kedzie sat in the state of nerves of a little girl alone on a mountain-top with lightning shimmering and striking all round her.

She was so happy, so full of electrical sparks, that she was fairly incandescent. As she said afterward, she felt "all lit up."

Ferriday spun out the plot of his new five-reel scenario until he was like an unreeled spider. He was all out. The mechanical details interested and refreshed him now. He must order the studio scenery and select the outdoor "locations." He must pick the supporting cast and devise one or two blood-curdling moments of great peril.

Kedzie was too excited to note the ghoulish joy with which he planned to put her into the most perilous plights that had ever threatened even a movie star with death or crippledom.

"Do they scare you, my dear?" he asked.

"Scare me?" said Kedzie. "Why, Mr. Ferriday, if you told me to, I'd go out to the Bronx Zoo-ological Gardens and bite the ear off the biggest lion they got in the lion-house."

Ferriday reached out, put his arm about her farther shoulder, and squeezed her to him after the manner of dosing an accordeon. Kedzie emitted the same kind of squeak. But she was not unhappy, and she did not even say, "Sir!"

The plot of The Kedziad was to be based on the From-Rags-to-Riches _leitmotiv_, Kedzie was to be a cruelly treated waif brought up as a boy by a demoniac Italian padrone who made her steal. She was to be sent into a rich man's home to rob it. She would find the rich man about to commit suicide all over his sumptuous library. She would save him, and he would save her from the padrone's revenge, on condition that she should dress as a girl (he had not, of course, suspected that she really was one at the time--had always been one, in fact). She would dress as a girl and conduct a very delicate diplomatic mission with a foreign amba.s.sador, involving a submarine wrecked (in the studio tank) and a terrific ride across one of the deadliest battle-fields of Verdun (New Jersey) with a vast army of three hundred supers.

When Kedzie had saved two or three nations and kept the United States from war the millionaire would regret that she was, after all, only a boy and be overcome with rapture when she told him the truth. The three hundred supers would then serve as wedding-guests in the biggest church wedding ever pulled off.

Kedzie liked this last touch immensely. It would make up for that disgusting guestless ceremony in the Munic.i.p.al Building.

Ferriday got rid of her exquisitely by writing a note and saying to her:

"Now you run down and hop into my car and take this note to Lady Powell-Carewe--don't fail to call her 'Pole Cary.' She is to design your wealthy wardrobe, and I want her to study you and do something unheard of in novelty and beauty. Tell her that the more she spends the better I'll like it."

Kedzie was really a heroine. She did not swoon even at that.

When Ferriday dismissed her he enfolded her to his beautiful waistcoat, and then held her off by her two arms and said:

"Little girl, you've made me so happy! So happy! Ah! We'll do great things together! This is a red-letter day for the movie art."