The studio was a palace of industry. Many of the scenes were played on the great gla.s.s-covered roof. On bright days she would ride in a closed automobile to some street or some lonely glen or to the home of some wealthy person who had lent his house to the movies on the bribe of a gift to his favorite benevolence.

There was the thrill of sitting in the projection-room and watching herself scamper across the scene, or flirt or weep, look pretty or gorgeous, sad or gay.

One's own portrait is always a terribly fascinating thing, for it is always the inaccurate portrait of a stranger curiously akin to one and curiously alien. But to see one's portrait move and breathe and feel is magic unbelievable.

In the enlarged close-ups when Kedzie was a girl giantess, the effect was uncanny. She loved herself and was glad of the friendly dark that hid her own wild pride in her beauty, but did not prevent her from hearing the exclamations of Ferriday and the backers and the other actors who were admitted to the preliminary views.

There was a quality in her work that surpa.s.sed Ferriday's expectations and made her pantomime singularly legible. The modulations of her thought from one extreme mood to another were always traceable. This was true of the least feelings. Ferriday would say: "Now you decide to telephone your lover. You hesitate, you telephone, a girl answers, you wait, he speaks, you smile."

Kedzie would nod with impatient zest and one could read each gradation of thought. "I'd better telephone him. I will. No, I'd better not. Yes.

No. Shall I? Well, I will. h.e.l.lo! h.e.l.lo, Central! Hurry up! Gramercy 816. What takes so long? Is this Gramercy 816? Mr. Monteith. Oh, isn't she smart? What keeps him? Is he out? No, there he is! Oh, joy! I must be very severe. h.e.l.lo, Harry."

All these thoughts the spectator could follow. They ran, as it were, under her skin. There was no stolidity or phlegm. She was astoundingly alive and real. Unimportant, without sublimity of emotion or intellectual power, she was irresistibly real. The public understood all she told it, and adored her.

Her petulance, quick temper, pretty discontent, did not harm her on the screen, but helped immensely, for they gave her character. It was delicious to see her eyes narrow with sudden resentment or girlish malice and widen again with equally abrupt affection. She was so pretty that she could afford to act ugly.

It took time, however, to get Kedzie from the studio to the negative, then to the positive. There was editing to do, and it seemed to her that her most delicious bits had to be cut out, because Ferriday always took three or four thousand feet of film for every thousand he used. They had to cut out more Kedzie to let in the t.i.tles and subt.i.tles, and it angered her to see how much s.p.a.ce was given to other members of the cast. She simply loathed the scenes she was not the center of, and she developed an acerbity of protest against any "trespa.s.s" on her "rights"

that proved her a genuine business woman.

She learned the tricks of the trade with magnificent speed. She was never so meek and helpless of expression as when she slipped in front of another actor or actress and filled as much of the foreground as her slenderness permitted. When she was crowded into the background she knew how to divert attention to herself during the best moments of the other people in the scene. And she could most innocently spoil any bit that she did not like to do herself or have done by another.

In the studio she was speedily recognized as an ambitious young woman zealous for self-advancement. In fact, they called her a "reel hog" and a "glutton for footage." A number of minor feuds were turned into deep friendships through a common resentment at Kedzie's impartial robberies.

Ferriday did not object to these professional traits. They exist in all trades, and success is never won in large measure without them. Almost all businesses are little trusts, monopolies more or less tiny, more or less ruthless.

Ferriday delighted in Kedzie's battle for s.p.a.ce with the other members of the troupe. They kept everybody intense. The lover loved her better on the screen for hating her personal avarice. Her mother in the picture was more meltingly tender in her caresses for wanting to scratch the little cat's eyes out. The clergyman who pointed her the way to heaven grew more ardently devout for having to grip the floor with his feet to keep the adoring Kedzie from edging him off his own pulpit.

This rivalry is better than any number of chaperons, and Kedzie was saved from any danger of falling in love with the unspeakably beautiful leading man by the ferocity of her jealousy of him. She had once, as a little girl in Nimrim, Missouri, nearly swooned at the glory of this Lorraine Melnotte, and she had written him a little letter of adoration, one of some nineteen he received that day from lovelorn girls about the globe.

When she met him first in the studio he was painted as delicately as a barber-pole, and he stood sweating in a scene under the full blast of a battery of sick green Cooper-Hewitt lights. He looked about three days dead and loathsome as an iguana. He was in full evening dress, and Kedzie had always marveled at the snowiness of his linen.

Now she saw how he got the effect. He wore a yellow shirt, collar, tie, and waistcoat in order that the photographic result should be the purest white. The yellow linen was the completing horror under the spoiled mustard color of his face with its mouth the color of an overripe plum.

His expression did not redeem his appalling features that day, nor did his language help. While the cameraman leaned on his idle machine and looked weary Lorraine Melnotte was having a sweet little row with the actress playing his sainted mother. He was threatening to have her fired if she didn't keep her place.

That finished him for Kedzie. She could not tolerate professional jealousy. She never could. Her own was merely a defense of her dignity and her rights against the peculiarly impossible people who infested the studio. That was Kedzie's own phrase, for she had not lived with a poet long before she began to experiment with large words. She practised before a mirror any phrases she particularly liked. She had probably heard Ferriday use the expression and she got herself up on it till she was glib. Anybody who can be glib with "peculiarly impossible" is in a fair way to be articulate. All Kedzie needed was a little more certainty on her grammar; and her ear was giving her that.

Her contempt for Lorraine Melnotte culminated in a dark suspicion that that was not his real born name. If Anita Adair was Kedzie Thropp what would Lorraine Melnotte have been? It was a pretty problem in algebra.

But Kedzie despised a man that would take another name. And such a name--as unworthy of a man as a box of chocolate fudge.

So the image of Mr. Melnotte fell out of the niche in her heart and went over into the gallery of her hates. She fought him with every weapon and every foul thrust known to shy little women in dealing with big, bl.u.s.tering men. She loved to call him "Melnit" or "naughty Mel."

He was lost from the start and was soon begging to be released from his contract. The backers were too sure of his vogue, however, to let him go, and it was none of their affair how fiercely Adair and Melnotte indulged in mutual loathing, so long as their screen-love was so wholesomely sweet.

With Ferriday Kedzie's relations were more perilous. He had invented her and was patenting her. She dreaded his wisdom and accepted his least theory as gospel--at first. He combined a remote and G.o.dlike intellect with a bending and fatherly grace. And now and then, like the other G.o.ds of all the mythologies, he came down to earth in an amorous mood.

Now Kedzie's surety was her canny realization of the value of tantalism.

She was not long left in ignorance of his record for flitting fancy and she felt that he would flit from her as soon as he conquered her. Her duty was plain.

She played him well and drove him frantic. It would have been hard to say whether he hated her or loved her more when he found her always just a little beyond. He had begun with the greatest gift in his power. He had promised her world-wide fame, and no other gift could count till he had made that good. And it would take a long, long while of incessant labor to build.

Ferriday belittled himself in Kedzie's eyes by his groans of baffled egotism. She could read his plots on his countenance, and thwart him in advance. But this was not always easy for her, and again and again he had only himself to blame for his non-success with Kedzie's heart. With Kedzie's fame he was having a very sudden and phenomenal triumph--if anything could be called phenomenal in a field which itself was phenomenal always.

CHAPTER XVI

Ferriday did not know, of course, that Kedzie was married. She hardly knew it herself now. Gilfoyle had been three weeks late in sending her the thirty dollars' fare to Chicago. Then she wrote him that she was doing fairly well at the studio and she would stick to her work. She sent him oceans of love, but she did not send him the thirty dollars.

Besides, he had borrowed it of her in the first place, and she had had to borrow more of Ferriday. She had neglected to pay him back.

She needed so much for her new clothes and new expenses innumerable inflicted on her by her improved estate.

And, of course, she left the miserable little flat on the landlord's hands. He wasted a good deal of time trying to get the rent paid.

Besides, it was rented in Gilfoyle's name and he was safe in Chicago.

And yet not very safe, for Chicago has also its Bohemia, its cl.u.s.ters of real and imitation artists, its talkers and dabblers, as well as its toilers and achievers.

Gilfoyle found some wonderful Western sirens who listened to his poetry. They were new to him and he to them. His Eastern p.r.o.nunciations fascinated them as they had fascinated Kedzie, and he soon found in them all the breeziness and wholesomeness of the great prairies which are found in the mid-Western women of literature.

Gilfoyle had apparently forgotten that his own wife was a mid-Westerness, and the least breezy, wholesome, prairian thing imaginable. He saw mid-Western women of all sorts about him, but he was of those who must have a type for every section of humanity and who will not be shaken in their belief by any majority of exceptions.

When Gilfoyle got Kedzie's letter saying that she would not join him yet awhile he wrote her a letter of poetic grief at the separation. But poets, like the rest of us, are the better for getting a grief on paper and out of the system.

Kedzie did not answer his letter for a long while and he did not miss her answer much, for he was having his own little triumphs. The advertis.e.m.e.nts he wrote were receiving honorable mention at the office and he was having success with his poetry and his flirtations of evenings.

He returned to his boarding-house one night and looked at his face in the mirror, stared into the eyes that stared back. A certain melting and molten and molting lady had told him that he had poet's eyes like Julian Street's and was almost as witty. Gilfoyle tried with his shaving-gla.s.s and the bureau mirror to study the profile that someone else had compared to the cameonic visage of Richard Le Gallienne.

Gilfoyle was gloriously ashamed of himself. In the voice that someone else had compared to Charlie Towne's reading his own verses he addressed his reflection with scorn:

"You heartless dog! You ought to be shot--forgetting that you have a poor little deserted wife toiling in the great city. You're as bad as Lord Byron ever was."

Then he wrote a sonnet against his own perfidy and accepted confession as atonement and plenary indulgence.

He was one of those who, when they have cried, "I have sinned," hear a mysterious voice saying, "Poor sufferer, go and sin some more."

So he did, and he went the way of millions of lazy-minded, lazy-moraled husbands while Kedzie went the way of men and women who succeed by self-exploitation and count only that bad morals which is also bad business. And that was the status of the matrimonial adventure of the Gilfoyles for the present. It made no perceptible difference to anybody that they were married--least of all to themselves--for the present. But of course Kedzie was obscurely preparing all this while for a tremendous explosion into publicity and into what is known as "the big money." And that was bound to make a vast difference to Gilfoyle as well as to Mrs.

Gilfoyle.

In these all-revolutionary days a man had better be a little polite always to his wife, for in some totally unexpectable way she may suddenly prove to be a bigger man than he is, a money-getter, a fame or shame acquirer--if only by way of becoming the president of a suffrage a.s.sociation or a best-seller or an inventor of a popular doll.

And again, all this time--a very short time, considering the changes it made in everybody concerned--Ferriday was Kedzie's alternate hope and despair, good angel and bad, uplifter and down-yanker.

Sometimes he threatened to stop the picture and destroy it unless she kissed him. And she knew that he could and would do almost anything of that sort. Had not his backers threatened to murder him or sue him if he did not finish the big feature? At such times Kedzie usually kissed Ferriday to keep him quiet. But she was as careful not to give too many kisses as she had been not to put too many caramels in half a pound when she had clerked in the little candy-store. Nowadays she would pause and watch the quivering scale of policy intently with one more sweet poised as if it were worth its weight in gold. The ability to stop while the scale wavers in the tiny zone of just-a-little-too-little and just-a-little-too-much is what makes success in any business of man--or woman-kind.

It was not always easy for Kedzie to withhold that extra bonbon. There were times when Ferriday raised her hopes and her pride so high that she fairly squealed with love of him and hugged him. That would have been the destruction of Kedzie if there had not been the counter-weight of conceit in Ferriday's soul, for at those times he would sigh to himself or aloud:

"You are loving me only because I am useful to you."