"To begin with, look at that low-comedy face of his. And then--something peculiar--even while he's imitating a bad actor you feel somehow that it isn't all imitation. It's art, I grant you, but you feel he'd still be a bad actor if he'd try to imitate a good one. Somehow he found out his limits and decided to be what G.o.d meant him to be. Does that answer you?

It gives you acting-plus, and if that isn't the plus in this case I miss my guess."

"I suppose you're right--something like that. And of course the real pathos is there. It has to be. There never was a great comedian without it, and this one is great. I admit that, and I admit all you say about our audience. I suppose we can't ever sell to twenty million people a day pictures that make any demand on the human intelligence. But couldn't we sell something better to one million--or a few thousand?"

The Governor dropped his cigarette end into the dregs of his coffee. "We might," he said, "if we were endowed. As it is, to make pictures we must make money. To make money we must sell to the mob. And the mob reaches full mental bloom at the age of fifteen. It won't buy pictures the average child can't get."

"Of course the art is in its infancy," remarked Henshaw, discarding his own cigarette.

"Ours is the Peter Pan of the arts," announced the Governor, as he rose.

"The Peter Pan of the arts--"

"Yes. I trust you recall the outstanding biological freakishness of Peter."

"Oh!" replied Henshaw.

When Merton Gill dared to glance up a moment later the men were matching coins at the counter. When they went out he left a half-eaten meal and presently might have been observed on a swift-rolling street-car. He mumbled as he blankly surveyed palm-bordered building sites along the way. He was again rehearsing a tense scene with the Montague girl. In actor parlance he was giving himself all the best of it. But they were new lines he mumbled over and over. And he was no longer eluded by the t.i.tle of that book he remembered on the library shelf at Simsbury.

Sitting in the cafeteria listening to strange talk, lashed by cruel memories, it had flashed upon his vision with the stark definition of a screened subt.i.tle. He rang the Montague bell twice before he heard a faint summons to enter. Upon the parlour couch, under blankets that reached her pillowed head, lay Sarah. She was pale and seemed to suffer.

She greeted him in a feeble voice, lids fluttering over the fires of that mysterious fever burning far back in her eyes.

"Hullo, Kid," he began brightly. "Here's your watch." Her doubting glance hovered over him as he smiled down at her. "You giving it to me again, Merton?" She seemed unable to conquer a stubborn incredulity.

"Of course I'm giving it to you again. What'd you think I was going to do?"

She still surveyed him with little veiled glances. "You look so bright you give me Kleig eyes," she said. She managed a wan smile at this.

"Take it," he insisted, extending the package. "Of course it won't keep Western Union time, but it'll look good on you."

She appeared to be gaining on her incredulity, but a vestige of it remained. "I won't touch it," she declared with more spirit than could have been expected from the perishing, "I won't touch it till you give me a good big kiss."

"Sure," he said, and leaned down to brush her pale cheek with his lips.

He was cheerfully businesslike in this ceremony.

"Not till you do it right," she persisted. He knelt beside the couch and did it right. He lingered with a hand upon her pale brow.

"What you afraid of?" he demanded.

"You," she said, but now she again brought the watch to view, holding it away from her, studying its glitter from various angles. At last she turned her eyes up to his. They Were alive but unrevealing. "Well?"

"Well?" he repeated coolly.

"Oh, stop it!" Again there was more energy than the moribund are wont to manifest. There was even a vigorous impatience in her tone as she went on, "You know well enough what I was afraid of. And you know well enough what I want to hear right now. Shoot, can't you?"

He shot. He stood up, backed away from the couch to where he could conveniently regard its stricken occupant, and shot gaily.

"Well, it'll be a good lesson to you about me, this thing of your thinking I was fooled over that piece. I s'pose you and Baird had it between you all the time, right down to the very last, that I thought he was doin' a serious play. Ho, ho!" He laughed gibingly. It was a masterful laugh. "A serious play with a cross-eyed man doing funny stuff all through. I thought it was serious, did I? Yes, I did!" Again the dry, scornful laugh of superiority. "Didn't you people know that I knew what I could do and what I couldn't do? I should have thought that little thing would of occurred to you all the time. Didn't you s'pose I knew as well as any one that I got a low-comedy face and couldn't ever make the grade in a serious piece?

"Of course I know I got real pathos--look how I turned it on a couple o'

times in that piece last night--but even when I'm imitating a bad actor you can see it ain't all acting. You'd see soon enough I was a bad actor if I tried to imitate a good one. I guess you'd see that pretty quick.

Didn't you and Baird even s'pose I'd found out my limits and decided to be what G.o.d meant me to be?

"But I got the pathos all right, and you can't name one great comedian that don't need pathos more'n he needs anything else. He just has to have it--and I got it. I got acting-plus; that's what, I got. I knew it all the time; and a whole lot of other people knew it last night. You could hear fifty of 'em talking about it when I came out of the theatre, saying I was an artist and all like that, and a certain Los Angeles society woman that you can bet never says things she don't mean, she told me she saw lots of places in this piece that I was funnier than any cross-eyed man that ever lived. And what happens this morning?" Hands in pockets he swaggered to and fro past the couch.

"Well, nothing happens this morning except people coming around to sign me up for three hundred and fifty a week. One of 'em said not an hour ago--he's a big producer, too--that Baird ought to be paying me seven hundred and fifty because I earned every cent of it. Of course I didn't want to say anything the other day, with you pretending to know so much about contracts and all that--I just thought I'd let you go on, seeing you were so smart--and I signed what you told me to. But I know I should have held off--with this Bamberger coming over from the Bigart when I was hardly out of bed, and says will three hundred and fifty a week interest me and promising he'll give me a chance to do that spur act again that was the hit of the piece--"

He broke off, conscious suddenly that the girl had for some time been holding a most peculiar stare rigidly upon him. She had at first narrowed her right eye at a calculating angle as she listened; but for a long time now the eyes had been widened to this inexplicable stare eloquent of many hidden things.

As he stopped his speech, made ill at ease by the incessant pressing of the look, he was caught and held by it to a longer silence than he had meant to permit. He could now read meanings. That unflinching look incurred by his smooth bl.u.s.ter was a telling blend of pity and of wonder.

"So you know, do you," she demanded, "that you look just enough too much like Harold Parmalee so that you're funny? I mean." she amended, seeing him wince, "that you look the way Parmalee would look if he had brains?"

He faltered but made a desperate effort to recover his balance.

"And besides, what difference does it make? If we did good pictures we'd have to sell 'em to a mob. And what's a mob? It's fifteen years old and nothing but admirers, or something like that, like Muriel Mercer that wouldn't know how much are two times two if the neighbours didn't get it to her--"

Again he had run down under her level look. As he stopped, the girl on the couch who had lain with the blankets to her neck suddenly threw them aside and sat up. Surprisingly she was not garbed in sick-bed apparel.

She seemed to be fully dressed.

A long moment she sat thus, regarding him still with that slow look, unbelieving yet cherishing. His eyes fell at last.

"Merton!" he heard her say. He looked up but she did not speak. She merely gave a little knowing nod of the head and opened her arms to him.

Quickly he knelt beside her while the mothering arms enfolded him. A hand pulled his head to her breast and held it there. Thus she rocked gently, the hand gliding up to smooth his hair. Without words she cherished him thus a long time. The gentle rocking back and forth continued.

"It's--it's like that other time you found me--" His bl.u.s.ter had gone.

He was not sure of his voice. Even these few words had been hard. He did not try more.

"There, there, there!" she whispered. "It's all right, everything's all right. Your mother's got you right here and she ain't ever going to let you go--never going to let you go."

She was patting his head in rhythm with her rocking as she snuggled and soothed him. There was silence for another interval. Then she began to croon a song above him as she rocked, though the lyric was plainly an improvisation.

"Did he have his poor old mother going for a minute? Yes, he did. He had her going for a minute, for a minute. Yes, he had her going good for a minute.

"But oh, he won't ever fool her very long, very long, not very long, because he can't fool his dear old mother very long, very long; and he can bet on that, bet on that, so he can, bet a lot of money on that, that, that!" Her charge had grown still again, but she did not relax her tightened arms.

"Say," he said at last.

"Well, honey."

"You know those benches where we wait for the cars?"

"Do I know them?" The imperative inference was that she did.

"I looked at the store yesterday. The sign down there says 'Himebaugh's dignified system of deferred payments.'"

"Yes, yes, I know."

"Well, I saw another good place--it says 'The house of lucky rings'--you know--rings!"

"Sure, I know. That's all right."