in the white cotton wig would save somebody from something before the afternoon was over.
In was inevitable that as Josie grew older she should take part in home-talent plays. It was one of these tinsel affairs that had made clear to her just where her future lay. The Wapello Daily Courier helped her in her decision. She had taken the part of a gipsy queen, appropriately costumed in slightly soiled white satin slippers with four-inch heels, and a white satin dress enhanced by a red sash, a black velvet bolero, and large hoop earrings. She had danced and sung with a pert confidence, and the Courier had pronounced her talents not amateur, but professional, and had advised the managers (who, no doubt, read the Wapello Courier daily, along with their Morning Telegraph) to seek her out, and speedily.
Josie didn't wait for them to take the hint. She sought them out instead. There followed seven tawdry, hard-working, heartbreaking years. Supe, walk-on, stock, musical comedy—Josie went through them all. If any illusions about the stage had survived her Wapello days, they would have vanished in the first six months of her dramatic career. By the time she was twenty-four she had acquired the wisdom of fifty, a near-seal coat, a turquoise ring with a number of smoky-looking crushed diamonds surrounding it, and a reputation for wit and for decency. The last had cost the most.
During all these years of cheap theatrical boarding houses (the most soul-searing cheapness in the world), of one-night stands, of insult, disappointment, rebuff, and something that often came perilously near to want, Josie Fifer managed to retain a certain humorous outlook on life. There was something whimsical about it. She could even see a joke on herself. When she first signed her name José Fyfer, for example, she did it with, an appreciative giggle and a glint in her eye as she formed the accent mark over the e.
"They'll never stop me now," she said. "I'm made. But I wish I knew if that J was pronounced like H, in humbug. Are there any Spanish blondes?"
It used to be the habit of the other women in the company to say to her: "Jo, I'm blue as the devil to-day. Come on, give us a laugh."
She always obliged.
And then came a Sunday afternoon in late August when her laugh broke off short in the middle, and was forever after a stunted thing.
She was playing Atlantic City in a second-rate musical show. She had never seen the ocean before, and she viewed it now with an appreciation that still had in it something of a Wapello freshness.
They all planned to go in bathing that hot August afternoon after rehearsal. Josie had seen pictures of the beauteous bathing girl dashing into the foaming breakers. She ran across the stretch of glistening beach, paused and struck a pose, one toe pointed waterward, her arms extended affectedly.
"So!" she said mincingly. "So this is Paris!"
It was a new line in those days, and they all laughed, as she had meant they should. So she leaped into the water with bounds and shouts and much waving of white arms. A great floating derelict of a log struck her leg with its full weight, and with all the tremendous force of the breaker behind it. She doubled up ridiculously, and went down like a shot. Those on the beach laughed again. When she came up, and they saw her distorted face they stopped laughing, and fished her out. Her leg was broken in two places, and mashed in a dozen.
José Fyfer's dramatic career was over. (This is not the cheery portion of the story.)
When she came out of the hospital, three months later, she did very well indeed with her crutches. But the merry-eyed woman had vanished—she of the Wapello colouring that had persisted during all these years. In her place limped a wan, shrunken, tragic little figure whose humour had soured to a caustic wit. The near-seal coat and the turquoise-and-crushed-diamond ring had vanished too.
During those agonized months she had received from the others in the company such kindness and generosity as only stage folk can show—flowers, candy, dainties, magazines, sent by every one from the prima donna to the call boy. Then the show left town. There came a few letters of kind inquiry, then an occasional post card, signed by half a dozen members of the company. Then these ceased. Josie Fifer, in her cast and splints and bandages and pain, dragged out long hospital days and interminable hospital nights. She took a dreary pleasure in following the tour of her erstwhile company via the pages of the theatrical magazines.
"They're playing Detroit this week," she would announce to the aloof and spectacled nurse. Or: "One-night stands, and they're due in Muncie, Ind., to-night. I don't know which is worse—playing Muncie for one night or this moan factory for a three month's run."
When she was able to crawl out as far as the long corridor she spoke to every one she met. As she grew stronger she visited here and there, and on the slightest provocation she would give a scene ranging all the way from "Romeo and Juliet" to "The Black Crook." It was thus she first met Sid Hahn, and felt the warming, healing glow of his friendship.
Some said that Sid Hahn's brilliant success as a manager at thirty-five was due to his ability to pick winners. Others thought it was his refusal to be discouraged when he found he had picked a failure. Still others, who knew him better, were likely to say: "Why, I don't know. It's a sort of—well, you might call it charm—and yet—. Did you ever see him smile? He's got a million-dollar grin. You can't resist it."
None of them was right. Or all of them. Sid Hahn, erstwhile usher, call boy, press agent, advance man, had a genius for things theatrical. It was inborn. Dramatic, sensitive, artistic, intuitive, he was often rendered inarticulate by the very force and variety of his feelings. A little, rotund, ugly man, Sid Hahn, with the eyes of a dreamer, the wide, mobile mouth of a humourist, the ears of a comic ol'-clo'es man. His generosity was proverbial, and it amounted to a vice.
In September he had come to Atlantic City to try out "Splendour." It was a doubtful play, by a new author, starring Sarah Haddon for the first time. No one dreamed the play would run for years, make a fortune for Hahn, lift Haddon from obscurity to the dizziest heights of stardom, and become a classic of the stage.
Ten minutes before the curtain went up on the opening performance Hahn was stricken with appendicitis. There was not even time to rush him to New York. He was on the operating table before the second act was begun. When he came out of the ether he said: "How did it go?"
"Fine!" beamed the nurse. "You'll be out in two weeks."
"Oh, hell! I don't mean the operation. I mean the play."
He learned soon enough from the glowing, starry-eyed Sarah Haddon and from every one connected with the play. He insisted on seeing them all daily, against his doctor's orders, and succeeded in working up a temperature that made his hospital stay a four weeks' affair. He refused to take the tryout results as final.
"Don't be too bubbly about this thing," he cautioned Sarah Haddon. "I've seen too many plays that were skyrockets on the road come down like sticks when they struck New York."
The company stayed over in Atlantic City for a week, and Hahn held scraps of rehearsals in his room when he had a temperature of 102. Sarah Haddon worked like a slave. She seemed to realise that her great opportunity had come—the opportunity for which hundreds of gifted actresses wait a lifetime. Haddon was just twenty-eight then—a year younger than Josie Fifer. She had not yet blossomed into the full radiance of her beauty. She was too slender, and inclined to stoop a bit, but her eyes were glorious, her skin petal-smooth, her whole face reminding one, somehow, of an intelligent flower. Her voice was a golden, liquid delight.
Josie Fifer, dragging herself from bed to chair, and from chair to bed, used to watch for her. Hahn's room was on her floor. Sarah Haddon, in her youth and beauty and
