The rehearsals of "Tomorrow's People" were arranged to begin on the twenty-third day of September; and since all the important roles had been filled before he left Town, and Wilbrow, whom he could trust, had charge of all other details, Matthias delayed his home-coming until the twenty-second.

Not until the twentieth did he emerge from the wilderness up back of the Allagash country into the comparative civilization of Moosehead Lake. In eight weeks he had not written a line, received a letter, or read a newspaper. But, as he telegraphed Helena from the Mt. Kineo House, he was so healthy that he was ashamed of it.

The day-letter telegram she sent in reply was delivered on the train.

Its news, though condensed, was rea.s.suring: Venetia was well and her boy developing into a famous ruffian; the two were making a visit at Tanglewood, and on the return of Marbridge from his summer in Europe would move back to New York, where Venetia was to rea.s.sume charge of his town-house.

Thus satisfied as to the welfare of the woman he loved, Matthias gave himself up completely to the production of his play; and through the following four weeks lived in the theatre by day, dreamed of it by night, thought, talked, and wrote only in its singular terminology.

Few facts unconnected with his own play penetrated his understanding, in all that period. But, dining with Wilbrow one night at the general table in the Players, he overheard Gloucester railing bitterly at the ill-fortune which had induced him to pledge himself to stage a modern satirical comedy for Arlington and to train for the leading part a raw and almost inexperienced stage-struck girl.

He detailed his trials in vivid phrases:

"As far as I know, she's never played in anything except a b.u.m vaudeville sketch, and I had h.e.l.l's own time making her fit to play _that_. And yet she's got the ineffable nerve to keep picking at my way of doing things on the general ground that it ain't Tom Wilbrow's. Seems he had the privilege of rehearsing her for a five-side part in that punk show of Jack Matthias', that went to pieces out on the Coast last Summer. If Wilbrow wasn't listening with all his ears, over there, I'd tell you what I said to the young woman the last time she threw him in my face.... What?... Oh, n.o.body you ever heard of. Calls herself Thursday--Joan Thursday.... Of course I rowed with Arlington about her, but he only shrugged and grinned and said she had to play it and I'd got to make her play it--offered to bet me a thousand over and above my fees I couldn't do it.... Sure, I took him up. Why not? I'll make her act it yet. I could make a Casino chorus boy act human if I wasn't so squeamish.... Oh, Marbridge--one of his discoveries. I saw him handing her gently into that big, brazen touring-car of his, in front of Rector's, night before last. Fragile's the word--'handle with care!'"

Wilbrow, interrogated, supplied the context. Arlington had bought up, through a third party, Mrs. Cardrow's interest in "Mrs. Mixer," advising her to sell out because the play had already scored one failure and promising her another play in which she would stand better chance to win New York audiences. This was an old comedy from the French, revamped, and was even then being rehea.r.s.ed with a scrub company and a scratch outfit of scenery, the production to be made on the same night that "Mrs. Mixer" was to tempt fate with Joan Thursday; the designated date being the twenty-fifth of October, a Wednesday.

Matthias promptly dismissed the matter from his mind: he speculated a little, hazily about Marbridge, in his const.i.tutional inability to understand that gentleman, felt more than ever sorry for Venetia and wondered how much longer she would stand it all--and plunged again into his preoccupation.

"Tomorrow's People" was announced for production on Monday, October the twenty-third. But after the dress-rehearsal on Sunday certain changes recommended themselves as advisable to the judgment of the author, who persuaded the management to postpone the opening night until Wednesday.

At ten minutes to twelve on that night the final curtain fell upon a successful representation; an audience in its wraps blocked the aisles until after midnight, applauding and demanding the author; who, however, was not in the theatre.

He had, in fact, not been near it since the curtain, falling on the first act, had persuaded him of the general friendliness of an audience and the competency of the company. This culmination of a nerve-racking strain which had endured without respite for over a month found him without courage to await the verdict. He took to the streets and walked himself weary in vain effort to refrain from circling back toward the building whose walls housed his fate.

At length, in desperation hoping to distract his thoughts from the supreme issue, he purchased a ticket of admission to another theatre, above whose entrance blazed the announcement "Mrs. Mixer," and stationed himself at the back of the orchestra to witness the last part of the performance.

He saw the self-confidence of Gloucester supremely justified: the satiric farce marched steadily, scene by scene, to a success that was to keep it on Broadway through the winter and make the name of Joan Thursday a house-hold word throughout the Union. Her personal success was as unquestionable as her beauty; she played with grace, vivacity, charm, and distinction; and only to the initiate of the theatre was it apparent that Gloucester had found in her the perfect medium for the transmission of his art. Matthias could see, in company with a few of the more discriminating and stage-wise, that she employed not a gesture, intonation or bit of business which had not originated with Gloucester; she brought to her role on her part nothing but beauty and an unshakable self-confidence so thoroughly ingrained that it escaped suggesting self-consciousness. The triumph was, rightly, first Gloucester's, then the play's; but the public acclaimed the actress, and the one acidulated critic who hailed her, the following morning, as "at last!--the perfect human kinetophone record!" was listened to by none, least of all by the subject of his sarcasm. Marbridge, in a stage box, led the applause at the conclusion of each act; and at the end of the play Arlington came in person before the curtain, leading by the hand the gracefully reluctant Joan, and in a few suave sentences thanked the audience for its appreciation and a beneficent Providence for granting him this opportunity of fixing a new star in the theatrical firmament: the name of "this little girl," he promised (bowing to Joan) would appear in letters of fire over the theatre, the next night....

Pausing in the lobby to light a cigarette before leaving, Matthias overheard one of Arlington's lieutenants confiding to another the news of the ruinous failure of the third initial production of that night.

Half an hour later he met Wilbrow by appointment in a quiet, non-theatrical club, and received from him confirmation of rumours which had already reached him of his own triumph with "Tomorrow's People."

"You're a made man now," Wilbrow told him with sincere good will and some little honest envy; "by tomorrow morning the pack will be at your heels, yapping for a chance to put on every old 'script in your trunk."

"I suppose so," Matthias nodded soberly.

"But there's one comfort about that," Wilbrow pursued cheerfully: "whatever the temptation, you won't give 'em anything but sound, sane, workmanlike stuff. You've proved yourself one of the two or three, at most, playwrights in this country who are able to think and to make an audience think without losing sight of the fact that, in the last a.n.a.lysis, 'the play's the thing.' We've got plenty of authors nowadays who can turn out first-chop melodrama, and we've got a respectable percentage of 'em who write plays so full of honest and intelligent thought that it gives the average manager a headache to look at the 'script; but the men who can give us the sort of drama that not only makes you think but holds you on the front edge of your seat waiting to see what's coming next.... Well, they're few and far between, and you're one of 'em, and I'm proud to have had a hand in putting you before the public!"

"You've got nothing on me, there," Matthias grinned: "I'm proud you had.

And if I can get my own way after this--"

"You don't need to join the I-Should-Worries on account of that!"

"You'll be the only man who will ever produce one of my plays."

Between one o'clock and two they parted. Matthias trudged home, completely f.a.gged in body, but with a buoyant heart to sustain him.

Venetia would be glad for him....

He was ascending the steps of Number 289 when a heavy touring-car, coming from the direction of Longacre Square, swung in to the curb and stopped. Latch-key in hand, Matthias paused and looked back in some little surprise: the lodgers of Madame Duprat were a motley lot, but as far as he knew none of them were of the cla.s.s that maintains expensive automobiles. But this car, upon inspection, proved to be tenanted by the chauffeur alone; who, leaving the motor purring, jumped smartly from his seat and ran up the steps.

"I beg your pardon, sir," he said, touching his cap, "but I'm looking for a gentleman named Matthias--"

"I am Mr. Matthias."

"Thank you, sir. I've been sent to fetch you. It's--er--important, I fancy," the man added, eyeing Matthias curiously.

"You've been sent to fetch me? But who sent you?"

"My employer, sir--Mr. Marbridge."

"Marbridge!" Matthias echoed, startled. Without definite decision, he turned and ran down the steps in company with the chauffeur: Venetia in need of him, perhaps.... "What's happened?" he demanded. "Is Mrs.

Marbridge--?"

"If you'll just get in, sir," the man replied, "I'll tell you--as much as I know--on the way. It'll save time."

He opened the door of the tonneau, but Matthias turned from it, walked round the car, and climbed into the seat beside the driver's. With a nod of satisfaction, the chauffeur joined him, threw in the power, and deftly swung the ponderous vehicle about.

"Well?" Matthias asked as the machine shot across-town.

"Beg pardon, sir," the man replied after a moment--"but I'd rather not say anything, if it's all the same to you."

"It isn't," Matthias insisted curtly. "I'm not on sufficiently friendly terms with Mr. Marbridge for him to send for me without explanation."

"Yes, sir; but you see, part of my job is to keep my mouth shut."

"I'm afraid I shall have to ask you to forget that duty to some extent, or else stop the car and let me out."

"Very good, sir. I don't suppose I can do any harm telling what little I know. After supper tonight, Mr. Marbridge told me to take the car to the garage and not to expect a call for it until sometime tomorrow morning; but when I got there, he was already wanting me on the telephone. He said there'd been an accident, and told me to find Mr. Arlington first and then you, and ask you to come immediately."

"But why me?" Matthias asked, more of himself than of the driver.

"He didn't say, sir."

"Did he state what sort of an accident?"

"No, sir."

"You found Mr. Arlington?"

"No, sir; he wasn't in when I asked at his hotel. But I left a message before coming on for you."

Matthias sat up with a start. Instead of turning up Broadway the man was steering his car straight across Longacre Square. Before he had time to comment on this fact they were speeding on toward Sixth Avenue.

"Look here," he cried, "you're not taking me to Mr. Marbridge's home!"

"No, sir."