came of Miss Daley's wrath, at least publicly, than a shrewish retort inaudible to bystanders, a toss of her head, and a sudden, stormy flight from the scene.
Mr. Culp followed with thoughtful gaze her retreat toward her dressing-room, then looked a question to the cameraman.
"'Sallright," said that one, imperturbable. "Got enough of it."
Mr. Culp nodded in relief, and signed to the electricians. As he made his way back to Lucinda's side the lights sputtered out. And as soon as this happened Mr. King Laughlin, cruelly wrenched out of his dream-land of melody, came down to an earth dangerous with the harsh dissonances of reality.
"What the – where the – what – !" he stammered, looking in vain for the little woman whom he had so heartlessly abandoned in her woe on the living-room set. Then, catching sight of her half-way across the studio, he bleated "Alma!" once in remonstrance, and again in consternation, and set out in panic pursuit.
Before he could overtake her, Miss Daley disappeared round one side of the Palm Room, at which point, beating the air with suppliant hands, Mr. Laughlin disappeared in turn.
"That's the sort of thing you're up against all a time in the fillum business, d'y'see," sighed Mr. Culp with a rueful grin. "A lot of kids, that's what we got to make pitchers with. And audiences all a time kickin' because we don't make 'em better… A lot of kids!"
He did not, however, appear greatly disheartened, but recounted his tribulations rather as a matter of course, appealing informally to the sympathies of his guests.
"King Laughlin all over, nice a little feller's anybody'd want to work with, but temp'amental, d'y'see, got to show off like a kid every time he gets a chance. And what's the answer? Mrs. Culp gets sore, says she won't do another stroke of work s'long's King's directin'. And here we was tryin' to finish shootin' today, behind on our release date and all, and thirty extra people, d'y'see, gettin' five and seven and maybe ten dollars, been waitin' all day to work on the big set and got to be paid whether they work or not…"
Mr. Culp broke off suddenly, singled out from the attendant cloud of retainers a young man wearing an eyeshade and a badgered expression, and instructed him to send the extra people packing, but to tell them to report for work at eight o'clock the next day.
"'Sno use keepin' 'em any longer, 'safternoon," he explained confidentially. "When that little woman says a thing she means it, d'y'see, so chances are it'll be mornin' before she changes her mind. And if you ladies'll excuse me, I guess I ought to be sittin' in with her and King now. The only things they think I'm any good for, in this studio, is pay salaries and referee battles."
He was affably disposed to waive ceremony under the circumstances, but gave in with good grace when Lontaine insisted on formally presenting him to each of his guests; and thus reminded of the first purpose of their visit, which he seemed to have forgotten altogether, Mr. Culp delayed long enough to recall the worried young man with the eyeshade, whom he made known as Mr. Willing, the assistant director, and charged with supervision of the proposed tests.
And Mr. Willing was to understand that these were to be regular tests and no monkey business; he was to see that someone with plenty of know-how helped the ladies make up; after which he was to shoot the party as a whole in some little scene or other, in addition to making individual close-ups.
If Mr. Willing accepted this commission with more resignation than enthusiasm, he proved to be a modest person with pleasing manners and no perceptible symptoms of temperament. And he was as good as his name. It was his suggestion that a corner of the Palm Room be utilized, as most suitable for the group scene. And while the cameraman was amiably setting up his instrument to command this new location and superintending the moving of the lights, it was Mr. Willing who conducted Lucinda, Nelly, Jean and Fanny to a barn-like dressing-room and hunted up a matronly actress, a recruit from the legitimate theatre, to advise and assist them with their respective make-ups.
Lucinda killed time while waiting for her turn by trying her own hand with grease-paint, powder, and mascaro, with the upshot that, when she presented her face for inspection and revision, the actress refused to change the effect by the addition or subtraction of a single touch, and laughingly declined to believe it had been achieved without experience.
"It's no use, Mrs. Druce, don't tell me you haven't been in the business!"
"On the stage, you mean? But only in the most amateurish way, schoolgirl theatricals."
"No," the woman insisted – "they don't make up like that for a test unless they're camera-wise."
To this she stuck stubbornly; and Lucinda found herself curiously pleased, though she had done no more to deserve commendation than supplement native good taste and an eye for colour with close observation of the Daley make-up and how it had fared under the lights.
Another compliment signalized their return to the studio; nothing less than the presence of Miss Daley – "in person" – composed, agreeable, hospitable, showing every anxiety to make their tests successful and never a sign of the storm that had presumably broken behind the scenes.
But Lucinda reckoned it significant that Mr. King Laughlin was nowhere visible.
"I thought it would be nice if we could all have tea in my dressing-room," Miss Daley explained; "and then Daddy suggested we could have it served here, on the set – make a regular little scene of it, you know, for the camera."
"I'm sure that would be delightful," replied Lucinda, suspended judgment melting into liking even in those first few minutes.
"Oh, Daddy thinks of all the nice things!"
"And I'll see each you ladies gets a print," Culp volunteered benignly, "so's you can get it run through a projectin' machine any time you want, d'y'see, and show your friends how you once acted with Alma Daley."
"Daddy! don't be ridiculous."
Vivacious, by no means unintelligent, and either an excellent actress in private life or else an unpretending body, happy in her success and unashamed of humble beginnings, Miss Daley was tactful enough to make her guests forget themselves and the trial to come, as they took their places – with no prearrangement but much as if they were actually meeting at the Ritz – and were served with tea by actor-waiters in correct livery. All the same, Lucinda noticed that their hostess ingeniously maneuvered to a central position in the foreground, where she sat full-face to the camera; this being by far her best phase. And just before the lights blazed up, the girl launched into a spirited account of her passage-at-arms with King Laughlin, which, recited without malice but with keen flair for the incongruous, carried the amateur players easily over the first minutes, in which otherwise constraint must inevitably have attended camera-consciousness.
"I was so fussed," she concluded, "I swore I'd never act another scene for him. But when I remembered how foolish he looked, posing in front of that awful orchestra like a hypnotized rabbit, I just had to laugh; and I couldn't laugh and be mad at the same time, of course. And then I had to tell King what I was laughing at, and that made him so ashamed he's sulking in his office now and won't come out while any of you are here."
"Then all's serene-o once more, Miss Daley?"
"Oh, sure. You see, Mr. Lontaine, we've simply got to finish this picture tonight, somehow, even if we have to work on till morning; so I accepted his apology and made it up."
"But those extra people Mr. Culp let go – ?"
"That's all right," Culp responded from his place beside the camera. "When I see how things was goin', I sent down to the cashier and told him not to pay 'em off, so they didn't
