But the morning that took her back to rehearsals14 found her in a mood of dire16 misgivings17. She would have forfeited18 much—anything other than their further association—to have been spared the impending19 encounter with Matthias. And although the author was not present when she reached the theatre, her embarrassment20 hampered21 her to a degree that rendered her attempts to act more than ever farcical.
Wilbrow, seated in a chair on the "apron22" of the stage, his back to the lifeless footlights, did not interrupt her once; but despair was patent in his attitude, and despair informed his eyes, and not long after her scene was finished the producer for the first time betrayed indications of temper.
"Blaine!" he said abruptly23 in a chilling voice to one of the minor24 actors—"don't you know there's a window over there—up left centre?"
The player thus addressed, who had been idling purposelessly near the centre of the stage, looked up with a face of blank surprise.
"Sure," he said—"sure I know it."
"That's something, at least!" Wilbrow commented acidly. "I'm glad you remember it. If I'm not mistaken, I've reminded you of that window twice every day since Monday."
"Yes," agreed the other with a look of painful concentration; "I guess that's right, too."
"And yet you can't remember what I've told you just as often—that I want you to be up there, looking out of the window, when Sylvia enters!"
The actor turned out expostulatory palms. "But, Mr. Wilbrow, what for? I don't see—"
"Because," the producer interrupted incisively25, "the stage directions indicate it; because the significance of this scene requires you to be there, looking out, unaware26 of Sylvia's entrance; because you look better there; because it dresses the stage; because you're in the way anywhere else; because I—God help me!—because I—want—you—to—be—there!"
A smothered27 giggle28 broke from a group of players technically29 off-stage. Wilbrow glared icily toward that quarter.
"Yes, I know," Blaine agreed intelligently. "But how do I get there?"
The front legs of Wilbrow's chair rapped the boards smartly as he jumped up. In silence, he grasped Blaine's arm and with a slightly exaggerated melodramatic stride propelled him to the indicated spot, released him, and stood back.
"Walk!" he announced with an inimitable gesture of tolerant contempt; and went back to his chair. Not a line of his face had changed. He sat down, nodded to the leading woman.
"All right, Mary," he said; and to another actor: "Now, the cue for Sylvia, please!"
Joan shivered a little.
Matthias did not come in until after the girl had finished her part in the afternoon rehearsal15. She caught sight of him in the darkened auditorium30 just as she went off; and hurried from the house in tremulous dread31.
But a meeting was inevitable32; and that evening, just before the dinner hour, found her reluctantly knuckling33 the door of the back-parlour. The voice of Matthias bade her enter, and she drew upon all her scant34 store of courage as she turned the knob. To her immense relief he was not alone. Rideout and Moran, the scene painter, were in consultation35 with Matthias over two small model stages set with painted pasteboard scenery.
Matthias greeted her with a preoccupied36 smile and nod.
"Oh, good evening, Miss Thursday. More 'script, eh? Thank you."
Silently Joan gave him the manuscript and left the room. But the door had no sooner closed than it was re-opened and again closed. She turned to face this dreaded37 crisis.
His smile was friendly and pleasant if a trace uncertain. He made as if to offer his hand, and thought better of it.
"Oh, Miss Thursday.... I sent you a note...."
She nodded, timid eyes avoiding his.
"Am I forgiven?"
"I—I—if you'll forgive me—" she faltered38.
"Then that's all right!" he cried heartily39. "I'm glad," he added with unquestionable sincerity—"and sorry I was such a brute40. I ought to have understood what a strain you'd been under. Shall we say no more about it?"
She nodded again: "Please...."
"Good!" He offered his hand frankly41, subjected hers to a firm, cool pressure, and moved back to his study door. "Good night."
She whispered her response, and ran upstairs to her room, almost beside herself with delight.
It was all right!
Best of all, the advances had come from him; he it was who had sued for pardon where the fault was hers—clear proof that he thought enough of her to wish to retain her friendship!
With a glad and comforted heart she settled down to attack anew the vexatious problem of her r?le in "The Jade42 God."
But for all her worry and good will, the next morning's rehearsal of her scenes passed off in the same terrible silence as had marked Monday's. And in the same afternoon the storm broke.
After plodding43 through her first scene, Joan was about to go off when Wilbrow called her.
"Miss Thursday," he said quietly, "one of three things has got to happen—now: either you'll follow my instructions, or you'll quit, or I will. I've told you what I want so many times that I'm tired repeating myself. Now we're going to go over that scene again and again, if it takes all afternoon to get what I'm after. But, before we start, I will ask you to bear one thing in mind: this isn't an ingénue part; there's no excuse for acting44 it like a petulant45 school-girl. Even pretty stenographers are business-like in real life—sometimes—and we're trying to secure some semblance46 of real life in this production. In other words, I want you to forget Billie Burke and try to act like a human being who's a little sore on her job and her employer, but not sore enough to chuck it just yet. Now, if you please—begin right at the beginning."
For an instant Joan stood hesitant, on the verge47 of refusing. There seemed to be no satisfying this man: he either didn't or wouldn't understand; she tried desperately48 to please him—and her sole reward was to be held up to the derision of the entire company! It was intolerable! And of a sudden she hated Wilbrow with every atom of her being. But ... if she were to talk back or refuse to go on, Matthias would be forfeited from her life.
She choked down her chagrin, resisted the temptation to wither49 Wilbrow with a glare, and sulkily resumed her place in the chair beside another chair that was politely presumed to be her typewriter desk.
At once the fat boy whom she detested50 crossed the indefinite line dividing the scene from "off-stage," and leering insolently51, spoke52 the opening line of the play. Seething53 with indignation, the girl looked up and in cutting accents shot her reply at him. She was pleased to surprise a look of dumb amazement54 in his eyes. At all events, she had succeeded in letting him know just how she felt toward him! And this success inspired her to further efforts. She rattled55 through the remainder of the scene with the manner of a youthful termagant.
When she had finished, Wilbrow said nothing beyond: "Again, please."
The demand served only to deepen her resentment56, and the second repetition differed not materially from the first.
Ceasing to speak, she flounced away, but Wilbrow's voice brought her back.
"Very good, Miss Thursday," he said mildly—"very good indeed. But why—in the name of Mike!—if you could do it—why wouldn't you until now?"
"Because," Joan stammered—"because—!"
But she didn't dare say what she wished to, and checked her tongue in a fit of sulks more eloquent57 than any words she could have found.
Wilbrow waited an instant, then laughed quite cheerfully.
"The usual reason, eh? I might have guessed you had a sure-'nough one concealed59 about you.... That's all for today. Tomorrow morning at nine."
Privately60 pondering this experience, Joan surprised its secret, and drew from it a conclusion that was to have an important influence upon her professional future: in order to act convincingly, she must herself feel the emotions accredited61 to her part. As applied62 to her individual temperament63, at that stage of its development, this rule had all the inflexibility64 of an axiom. Others might—as others do—act in obedience65 to the admonitions of their intelligence: Joan could at that stage act only according to the promptings of her emotional self.
So she encouraged herself to hate Wilbrow with all her heart, to despise him without ceasing night or day; no charitable thought of the manager was suffered to gain access to her humour at any hour. And so admirably did she succeed in impregnating her mind with virulent66 dislike of the man, that she afforded him no end of amusement. She made a point of coming to the rehearsals early enough to infuriate herself with contemplation of him in the flesh; and of walking up and down, before and between her scenes, thinking evil of him. The twinkle with which his eyes followed her, in place of their erstwhile calm indifference67 or resignation, worked only to intensify68 her rancour. Curiously69 enough, a clear comprehension of the illogical absurdity70 of it all made her temper even more bitter.
One day just before the final rehearsals, Wilbrow, meeting her at the stage-door, planted his slender body squarely in her way.
"Good morning!" he said cheerfully, with a semi-malicious smile. "My congratulations, Miss Thursday! You're doing nobly."
"Thanks," Joan said curtly71, pausing perforce.
"You ought to be very grateful to me. Are you?"
"No."
"I wonder what you'd do under the direction of a man you happened to like?"
"I don't know." Joan gave him a sullen72 look. "Will you please let me pass."
"Delighted." He moved aside with mocking courtesy. "I ask only one thing of you: don't fall in love with me before our first night. I haven't got time to sour another sweet young thing's amiable73 disposition74.... Keep on hating me as hard as you like—and we'll make at least a half-portion actress of you yet...."
Toward the end of the second week, Joan began to notice that Rideout was growing less assiduous in attendance. At first inclined to lay this to his satisfaction with the progress—to her the production seemed to be taking on form and colour in a way to wonder at—she later overheard a chance remark of one of her associates, to the effect that Rideout was himself rehearsing with another company.
"Well," someone commented, "if it was my coin back of this show, I'd stick by it if I had to play the office-boy."
"I guess," was the reply, "Rideout ain't got any too much outside what he's sunk in this production. Shouldn't wonder if he needs what he's to get with Minnie Aspen."
"Mebbe. He's a good trouper. What does he drag down, anyway?"
"Four hundred a week."
"Nix with those Lambs' Club figures. I mean regular money."
"Oh, two hundred and fifty, sure."
"Now you've said something...."
During the third week it was announced that "The Jade God" would open in Altoona on the following Monday. And at the same time Joan discovered that she was expected to provide her own costume, a simple affair but unhappily beyond the resources of either her wardrobe or her pocket-book. In despair she took the advice of Mrs. Arnold (the sweet-faced lady of fifty, whom Joan counted her only friend on the company) and approached Rideout's personal representative, Druggett, with a demand for an advance. With considerable reluctance75 Druggett surrendered fifteen dollars, and promised her as much more on Monday, toward expenses on the road. And again on the advice and introduction of Mrs. Arnold, the girl succeeded in satisfying her needs at an instalment-plan clothing-house: paying eight dollars down on a bill of about forty and agreeing to remit76 the balance at the rate of four dollars each week.
The final dress-rehearsal was called for Saturday morning. They were to leave New York Sunday night. But on Friday afternoon a sense of uneasiness and uncertainty77 invaded the temper of the organization. Wilbrow neglected the players to engage in protracted78 conferences with Matthias, Rideout, Moran, and Druggett, out of earshot, at the back of the auditorium. One or two weather-wise "troupers" hazarded gloomy surmises79 as to the nature of the "snag": that most favoured involved a "shake-up with the Shuberts" over some change in their route. With a singular unanimity80 the prophets of disaster either avoided or overlooked the actual cause of the trouble.
At ten o'clock the next morning—a little late—Joan, with her costume in the dilapidated wicker suit-case, hurried into the theatre to find the company scattered81 about the stage in poses variously suggestive of restless dejection. Neither the star nor the leading woman was present, and there was no scenery in sight, other than that belonging to the production which occupied the same stage nightly. Rideout was nowhere to be seen, but the author, the producer, and Druggett were engaged in earnest but inaudible argument "out front." From their manner Joan inferred that Druggett was advocating some course actively83 opposed by Wilbrow and passively by Matthias. The group broke up before she found opportunity to question her associates. Druggett, in manifest dudgeon, turned sharply and marched out of the house, while Wilbrow strode purposefully back to the stage by way of the passage behind the boxes, Matthias following with an air of profound disgust and despondency.
From the centre of the stage the producer addressed the little gathering84.
"Ladies and gentlemen!" he said sharply; and waited until he had all their attention. "There'll be no rehearsal today, and—and unless something quite unexpected happens, we won't open Monday. The truth is, there isn't money enough behind this show to finance it beyond Altoona. Moran can't collect on his scenery, and won't deliver. Mr. Matthias has offered to fix Moran up if we agree to go out, but I can't see it that way. Mr. Rideout's proposition is that we go on the road and run our chances of making expenses—but I don't have to tell you people what a swell85 show we'd have of breaking even on a tank route at this season of the year—hot weather still with us, and all that. We might—but that's about all you can say. And I don't think any of us want to count ties from Altoona....
"Mr. Druggett thinks that Mr. Rideout will be able to make a deal with the Shuberts, but I doubt it. Just now they're all tied up with their own productions and have no time to waste on a gambling86 risk like this. Of course, if I'm wrong, you'll all be notified. But I wouldn't, if I were you, pass up another engagement on the off-chance of this thing panning out after all.
"I'm sorry about this—we're all sorry, naturally. We all lose. Mr. Matthias here loses as much as any of us—the rights in a valuable property for several months, at the inside. I'm out fifteen hundred dollars I was to get for putting the show on. And Rideout's out the two thousand real coin he's invested in expectation of backing which failed to materialize. Personally I refused to shoulder the responsibility of letting you go out in ignorance of the real state of affairs. That's all."
He hesitated an instant, as if not satisfied that he had dealt fully58 with the situation, and glanced a little ruefully from face to face of the company. But for the moment none made any comment. And with an uncertain nod to the author, Wilbrow turned and disappeared through the stage-door.
Matthias waited a trifle longer, as though anticipating trouble with the disappointed players; but there was no feeling manifest in their attitude toward him other than sympathy for a fellow-sufferer. And presently he consulted his watch and followed the stage-director.
Those left in the theatre discussed the contretemps in subdued87 and regretful accents, betraying surprisingly little rancour toward anyone connected with it. Even Rideout escaped with slight censure88. He was, in the final analysis, one of them—an incurable89 optimist90 who had erred82 only in banking91 too heavily on hope and promises.
By twos and threes they gathered up their belongings92 and straggled off upon their various ways, a sorry, philosophic93 crew. Within ten minutes their dissociation was final and absolute.
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1
invaluable
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| adj.无价的，非常宝贵的，极为贵重的 | |
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distraction
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| n.精神涣散，精神不集中，消遣，娱乐 | |
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tormented
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| 饱受折磨的 | |
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chagrin
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| n.懊恼；气愤；委屈 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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gratitude
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| adj.感激，感谢 | |
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purblind
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| adj.半盲的；愚笨的 | |
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disinterestedness
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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generosity
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| n.大度，慷慨，慷慨的行为 | |
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regained
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| 复得( regain的过去式和过去分词 )； 赢回； 重回； 复至某地 | |
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poise
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| vt./vi. 平衡，保持平衡；n.泰然自若，自信 | |
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justify
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| vt.证明…正当(或有理)，为…辩护 | |
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rehearsals
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| n.练习( rehearsal的名词复数 )；排练；复述；重复 | |
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rehearsal
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| n.排练，排演；练习 | |
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dire
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| adj.可怕的，悲惨的，阴惨的，极端的 | |
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misgivings
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| n.疑虑，担忧，害怕；疑虑，担心，恐惧( misgiving的名词复数 )；疑惧 | |
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forfeited
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| （因违反协议、犯规、受罚等）丧失，失去( forfeit的过去式和过去分词 ) | |
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impending
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| a.imminent, about to come or happen | |
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embarrassment
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| n.尴尬；使人为难的人(事物)；障碍；窘迫 | |
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hampered
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| 妨碍，束缚，限制( hamper的过去式和过去分词 ) | |
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apron
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| n.围裙；工作裙 | |
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abruptly
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| adv.突然地，出其不意地 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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incisively
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| adv.敏锐地，激烈地 | |
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unaware
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| a.不知道的，未意识到的 | |
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smothered
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| （使）窒息， （使）透不过气( smother的过去式和过去分词 )； 覆盖； 忍住； 抑制 | |
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giggle
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| n.痴笑，咯咯地笑；v.咯咯地笑着说 | |
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technically
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| adv.专门地，技术上地 | |
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auditorium
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| n.观众席，听众席；会堂，礼堂 | |
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dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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knuckling
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| n.突球v.（指人）指关节( knuckle的现在分词 )；（指动物）膝关节，踝 | |
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scant
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| adj.不充分的，不足的；v.减缩，限制，忽略 | |
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consultation
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| n.咨询；商量；商议；会议 | |
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preoccupied
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| adj.全神贯注的，入神的；被抢先占有的；心事重重的v.占据（某人）思想，使对…全神贯注，使专心于( preoccupy的过去式) | |
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dreaded
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| adj.令人畏惧的；害怕的v.害怕，恐惧，担心( dread的过去式和过去分词) | |
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faltered
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| （嗓音）颤抖( falter的过去式和过去分词 )； 支吾其词； 蹒跚； 摇晃 | |
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heartily
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| adv.衷心地，诚恳地，十分，很 | |
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brute
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| n.野兽，兽性 | |
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frankly
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| adv.坦白地，直率地；坦率地说 | |
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jade
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| n.玉石；碧玉；翡翠 | |
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plodding
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| a.proceeding in a slow or dull way | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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petulant
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| adj.性急的，暴躁的 | |
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semblance
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| n.外貌，外表 | |
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verge
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| n.边，边缘；v.接近，濒临 | |
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desperately
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| adv.极度渴望地，绝望地，孤注一掷地 | |
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wither
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| vt.使凋谢，使衰退，(用眼神气势等)使畏缩；vi.枯萎，衰退，消亡 | |
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50
detested
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| v.憎恶，嫌恶，痛恨( detest的过去式和过去分词 ) | |
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insolently
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| adv.自豪地，自傲地 | |
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52
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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53
seething
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| 沸腾的，火热的 | |
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amazement
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| n.惊奇，惊讶 | |
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rattled
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| 慌乱的，恼火的 | |
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56
resentment
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| n.怨愤，忿恨 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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privately
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| adv.以私人的身份，悄悄地，私下地 | |
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accredited
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| adj.可接受的；可信任的；公认的；质量合格的v.相信( accredit的过去式和过去分词 )；委托；委任；把…归结于 | |
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62
applied
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| adj.应用的；v.应用，适用 | |
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temperament
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| n.气质，性格，性情 | |
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64
inflexibility
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| n.不屈性，顽固，不变性；不可弯曲；非挠性；刚性 | |
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65
obedience
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| n.服从，顺从 | |
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virulent
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| adj.有毒的，有恶意的，充满敌意的 | |
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indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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intensify
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| vt.加强；变强；加剧 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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absurdity
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| n.荒谬，愚蠢；谬论 | |
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curtly
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| adv.简短地 | |
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sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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reluctance
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| n.厌恶，讨厌，勉强，不情愿 | |
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remit
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| v.汇款，汇寄；豁免（债务），免除（处罚等） | |
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uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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protracted
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| adj.拖延的；延长的v.拖延“protract”的过去式和过去分词 | |
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79
surmises
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| v.臆测，推断( surmise的第三人称单数 )；揣测；猜想 | |
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80
unanimity
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| n.全体一致，一致同意 | |
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81
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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erred
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| 犯错误，做错事( err的过去式和过去分词 ) | |
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actively
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| adv.积极地，勤奋地 | |
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84
gathering
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| n.集会，聚会，聚集 | |
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85
swell
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| vi.膨胀，肿胀；增长，增强 | |
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86
gambling
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| n.赌博；投机 | |
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87
subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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censure
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| v./n.责备；非难；责难 | |
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incurable
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| adj.不能医治的，不能矫正的，无救的；n.不治的病人，无救的人 | |
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optimist
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| n.乐观的人，乐观主义者 | |
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banking
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| n.银行业，银行学，金融业 | |
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belongings
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| n.私人物品，私人财物 | |
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philosophic
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| adj.哲学的，贤明的 | |
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