Linda Lee, Incorporated: A Novel. Vance Louis Joseph

closer if you want, I'll show you where to stay so's you won't be in the way."

      Guided by him, the exotics gingerly picked their way across the banks, coils, loops and strands of electric cable that ran in snaky confusion all over the floor, like exposed viscera of the cinema; and Lucinda presently found herself on the side lines of the living-room, between it and the dogged orchestra, and well out of range of the camera.

      She could now see three people on the set, two men with a girl whom, thanks to the wide circulation of the lady's photographs, she had no difficulty in identifying as Alma Daley herself – a prepossessing young person with bobbed hair, a boldly featured face, comely in the flesh rather than pretty, and a slight little body whose emaciation told a tale of too-rigorous dieting and which she used not unpleasingly but with a rather fetching effect of youthful gaucherie. Her make-up for the camera was much lighter and more deftly applied than seemed to be the rule. Gowned effectively if elaborately in a street dress hall-marked by the rue de la Paix, she was leaning against a table and lending close if fatigued attention to the quiet conversation of the two men.

      Of these one was tall and dark, with a thick mane of wavy black hair, a wide and mobile mouth, and great, melancholy eyes. His well-tailored morning-coat displayed to admiration a splendid torso. The other was a smaller, indeed an undersized man, who wore a braided smoking-jacket but no paint on his pinched, weather-worn face of an actor. His manner was intense and all his observations (and he was doing most of the talking) were illustrated by gesticulation almost Latin in its freedom and vividness.

      "King Laughlin," Mr. Culp's secretary informed Lucinda – "man in the smoking-jacket, he always wears one when he's working – greatest emotional director in the business, nobody can touch him. Why, alongside him, Griffith's a joke in a back number of Judge. You wouldn't guess what he gets: thirty-five hundred."

      "That's almost a thousand a week, isn't it?"

      "Thousand a week!" Mr. Lane suspiciously inspected Lucinda's profile. Could it be possible that this well-born lady was trying to kid him? But no; he could see she was quite guileless. In accents of some compassion he corrected: "Three-thousand five-hundred every week's what King Laughlin drags down in the little old pay envelope. But that's Mr. Culp all over; expense's no object when he's making an Alma Daley picture, nothing's too good."

      "I'm sure…" Lucinda agreed vaguely.

      Out of the corner of an eye the director had become aware of a new audience and one worthy of his mettle, and he was already preparing to play up to it. Dropping the easy, semi-confidential manner in which he had been advising the younger and taller man, with surprising animation Mr. King Laughlin snatched a silk hat and stick from the other's unresisting hands.

      "Right-O, Tommy!" he said in the nasal tone of the English Midlands. "I think you've got me now, but just to make sure I'll walk through it with Alma." He turned graciously to the woman: "Now, Alma dear…"

      Miss Daley, herself not unconscious of a fashionable gallery, shrugged slightly to signify that she didn't mind if Mr. Laughlin thought it really worth while, it was all in the day's drudgery, and made a leisurely exit from the set by way of a door in its right-hand wall. At the same time Mr. Laughlin walked off by a door approximately opposite, and the young man in the morning-coat strolled down to the front of the set and settled himself to observe and absorb the impending lesson.

      Mr. Laughlin then re-entered in character as a dégagé gentleman with an uneasy conscience, indicating this last by stealthily opening and peering round the edge of the door before coming in and closing it with caution, and gentility by holding hat and stick in one hand and carelessly trailing the ferrule of the stick behind him. Relieved to find the room untenanted, he moved up to the table, placed the hat on it crown-down, propped the stick against it, turned and gave the door in the right-hand wall a hard look, then bent over the table and pulled out and began to ransack one of its drawers. Thus engaged, he said clearly: "All right, Alma!" and immediately gave a start, whereby it appeared that he had heard footfalls off, and slammed the drawer. At this Miss Daley entered, a listless little figure so preoccupied with secret woe that she quite failed at first to see Mr. Laughlin, and when she did gave a start even more violent than his had been, clasping both hands to her bosom and crying out in a thrilling voice: "Egbert!"

      Mr. Laughlin kept his temper admirably under the sting of this epithet; all the same, anyone could see he didn't fancy it a bit. However, first and always the gentleman, he offered Miss Daley a magnanimous gesture of outstretched hands. Instantly the poor girl's face brightened with a joyous smile, a happy cry trembled upon her lips as she ran to his arms. He enfolded her, with a fond hand ground her features into the shoulder of his smoking-jacket, and turned his own toward the camera, working them into a cast of bitter anguish.

      Gently rescuing herself, Miss Daley discovered Egbert's hat and stick, turned to him and looked him up and down with dawning horror, audibly protesting: "But Egbert! you are going out!" He attempted a disclaimer, but it wouldn't wash, the evidence of the top hat and the smoking-jacket was too damning; and in the end he had to give in and admit that, well, yes, he was going out, and what of it.

      Evidently Miss Daley knew any number of reasons why he ought to stay in, but she made the grave mistake of trying to hold him with affection's bonds, throwing herself upon his neck and winding her arms tightly round it. And that was too much: Egbert made it clear that, while he'd stand a lot from a woman to whom he was Everything, there was such a thing as piling it on too thick. And against her frenzied resistance he grasped her frail young wrists, brutally broke her embrace, and flung her from him. She fell against the table, threw back her head to show the pretty line of her throat, clutched convulsively at her collar-bone, and subsided upon the floor in a fit of heart-broken sobbing; while Egbert callously took his hat, clapped it on his head, and marched out by a door in the rear wall, his dignity but slightly impaired by the fact that the hat was several sizes too large and would have extinguished him completely if it hadn't been for his noble ears.

      Without pause Mr. Laughlin doubled round to the front of the set, threw the waiting actor a brusque "See, Tommy? Get what I mean?" and encouraged Miss Daley with "That's wonderful, Alma dear. Now go on, right through the scene."

      Miss Daley, lying in complete collapse, with her head to the camera, writhed up on an elbow, planted her hands upon the floor and by main strength pushed her heaving shoulders away from it, keeping a tortured face turned to the camera throughout. Then she got her second wind, caught hold of the edge of the table, pulled herself up, looked around wildly, realized that she was a deserted woman, saw her hat by Tappé hanging on the back of a morris-chair by Ludwig Baumann, seized it, rushed to the door by which Egbert had escaped, and threw herself out in pursuit.

      Mr. Laughlin clapped gleeful hands.

      "Fine, Alma, wonderful! You're simply marvelous today, dear. Now Tommy, run through it just once with Alma, and then we'll shoot."

      Mr. Lane bustled about and found chairs for Lucinda and her friends, upon which they composed themselves to watch Tommy interpret Mr. King Laughlin's tuition in the art of acting for the screen.

      To the best of Lucinda's judgment, however, the greater part of Mr. Laughlin's efforts had meant to Tommy precisely nothing at all. Beyond the rudimentary mechanics of the physical action sketched in by the director, Tommy made no perceptible attempt to follow pattern, and disregarding entirely its conventional but effective business, embellished the scene instead with business which was, such as it was, all his own, or more accurately that of a dead era of the speaking stage.

      Like a wraith of histrionism recalled from the theatre of East Lynne and The Silver King, Tommy carved out his effects with flowing, florid gestures, and revived the melodramatic stride and heroic attitudinizing; and though he wilfully made faces at the camera throughout, he demonstrated the deep veneration in which he really held it by never once showing it his back, until, having duly spurned the clinging caresses of Miss Daley, he was obliged to march to the door, and even then he made occasion to pause with a hand on the knob and, throwing out his chest and fretfully tossing rebellious black locks from tragic brows, granted the camera the boon of one last, long look at him ere making his exit.

      And when Mr. Laughlin tranquilly approved this performance and announced