Linda Lee, Incorporated: A Novel

"All right. Producer hands this, now, Paradise Lost to his scenario editor. She reads it, turns pale around the gills, sends out an emergency call for the director-general, says to him, says she: 'Listen, sweetheart, this'll be a knock-out if it ever gets on the screen the way it's wrote. The guy what wrote this knew pictures before they was invented.' Director-general says: 'Gosh! that won't never do, or first thing you know we'll have this boob Milton on the lot telling us our business. Stew up the continuity to suit yourself, pet, and leave the rest to me.' Fin'ly Paradise Lost gets on the screen as 'A Cyril de Menthe Production entitled Sex Against Sex, by Queenie Hoozis, featuring Hope Honeybunch with bathroom fixtures by Joseph Urban and telephones hidden by Sherlock Holmes, suggested by a magazine story by J. Milton.' If it gets by, Queenie and Cyril cop the credit. If it falls down they tell the producer they done their best, but he'd ought to of known better, it ain't no use trying to make pictures only from stories framed special for the screen by somebody who cut their eye-teeth on a strip of celluloid – like Queenie. Every time anything like that happens the fillum business takes a long stride forward – towards the end of its rope."

"Still, I don't quite see – "

"It comes down to this, Miss Lee: nothing short of an earthquake's ever going to jar the Queenies and Cyrils loose from their jobs and give brains a chanst to horn in."

"But if you see all this so clearly, Mr. Zinn, why don't you start the indicated reforms yourself?"

"Who, me? Naw, naw, little lady; quit your kidding. I don't know enough. Me try to sit in with sure-enough brains? Say! I seen the way you looked when I wanted to know who wrote Paradise Lost. No: Isadore Zinn belongs in with the rest of the bunch that's been good enough up to about now but's got to be junked before pictures will get a chanst to be any better'n they ought to be. Oh, I ain't got no kick coming; I've made mine and put it away where nothing real mean's ever going to happen to it; and when the sky falls on Hollywood it'll find me some other place, playing pinochle and absolutely innocent of the entire fillum business."

"You don't seriously believe that will ever happen."

"It'll happen just as quick's Wall Street wakes up to the way it's been gypped – and it's moaning and tossing in its sleep right now. Wall Street put up its good money because pictures made half-way on the level earned more and earned it quicker'n any other investment they could find. Wall Street didn't worry none about what graft was being gotten away with as long's they thought they was going to get their money back and a hundred per cent. profit every so often. But that was yesterday, when audiences would shell out cheerful and sit through anything because pictures moved. Today they're still lining up at the box-office, but only because they can't believe the day won't never come when they'll maybe see something worth their time and coin. Tomorrow they'll be saying, 'Show me!' before they'll dig up as much's a thin dime. And that's when Wall Street's due to tumble to it, they's only one way for it to save its investments in the fillum game, and that is take hold of it and run it like a honest-to-goodness business. And when that happens, when the fancy salaries get pared down to the quick, and the good graft's all gone, and there ain't no way no more for the assistant property-man to charge the upkeep of his lady-friend's limousine to overhead, and the director what wants money to build ancient Rome with and burn it down for a showy interlude to a society comedy will only get the hearty laugh – why, along about that time a terrible lot of people are going to find out California's a cold, hard place, spite of the climate and all, and a heap of highly hand-painted automobiles is going to be dumped on the used-car market in Los Angeles."

Some disturbing mental echo of this screed one day inspired Lucinda to devote several painful hours to totting up her bank account, a duty which she had been religiously forgetting for months, and whose performance brought to light the fact that she had already given Harry Lontaine cheques to his order in the sum of two-hundred and ten thousand dollars, to be cashed by him and deposited to the credit of Linda Lee Inc.

If she felt slightly dashed by this discovery, it was less because of the money involved – for she had from the first been prepared to pay more dearly for her whistle than Lontaine had declared it would cost – than because the end was not yet, the first picture remained unfinished, many heavy payments on account of it were still to be met, and her private extravagances, added to the financing of Linda Lee Inc., had left little worth mentioning of the money which Harford Willis, at her requisition, had paid into her drawing account in New York.

It was now necessary to write Willis and ask him to find her more money; and that involved, as a matter of simple courtesy to that old friend and a devoted steward of her interests, explanations which she would much rather not make just yet.

But her only other course was to consult Lontaine in the faint hope that out of the sums entrusted to him there might be enough left in the company's treasury to see it through the present production. And this she hesitated to do because of an intuitive feeling that he would take this as directly challenging his competency to handle her money if not his good faith. Lontaine was such a sensitive soul… However, he spared her the pain of deciding to do nothing, for the next time they met he blandly advised Lucinda that the company could do with another twenty thousand as soon as she could find time to draw the cheque; and on learning that it would have to wait a few days, or until she could hear from Willis, seemed considerably discountenanced; or else fancy misled her.

As for that, it might have been merely her fancy that Lontaine thenceforward betrayed a disposition to keep out of her way, and when he couldn't was at pains to iron out the wrinkles in his temper before venturing to respond to her always friendly advances; that perceptible hesitation prefaced the utterances Lontaine addressed to her, constraint had crept into their relations, till then so easy and cordial, and added opacity was to be remarked in the stare of those introspective blue eyes.

Since it was unthinkable that she should be long embarrassed, for want of ready money, or that Lontaine should believe she could be, Lucinda couldn't imagine why he should show such signals of a mind perturbed, and could only do her best to dwell upon the matter not at all. Heaven knew she had other worries a-plenty to cope with!

It was annoying, for example, to feel that one was expected to feign blindness to what was going on under one's very nose, namely Fanny's essays in the ancient and vulgar art of vamping, with Bel in the rôle of voluntary victim – or a vastly better actor than he had ever before shown himself to be. Nor did the quite transparent naivete of Fanny's methods, as Lucinda viewed them, cause patience to be any the less a labored virtue. If you asked Lucinda, Hollywood had added no finish to Fanny's cosmopolitan technique of flirtation, but rather the reverse; in this respect, as in too many others, Fanny seemed to have taken on a shade too much the colour of her environment. One looked and made allowances for the crudely obvious in women educated by directors to believe that certain elementary gestures (for which see any screen) were surely efficacious with men of every class alike. But Fanny knew better than to make herself grotesque.

Such, however, was the one word that seemed to suit the way she went with Bellamy. And when one had watched her practise and repeat without end the trick of the upward, sham-timid glance of eyes demurely wise, accompanied by the provocative pout of aggressively kissable life, the look that said openly: I think you're rather nice and I know I am; so why are we wasting time? – and had seen it work an apparently invariable effect upon one who called himself a man of the world, who should long since have graduated from the social kindergartens where such tactics are vogue – well, one simply longed to cuff his ears and tell him to quit being such a silly fool. It gave one furiously to repent having relinquished the right to bestow upon Bel gratuitous advice for his own good.

Wherefore it came to pass that, as a general thing, whenever Fanny was wanted for a scene and was not to be found in the neighbourhood of the set, she would ultimately be discovered somewhere on the lot, more often than not in the most public corner of it, industriously rehearsing her wiles for the debatable benefit of Bellamy.

And this the man who had declared that his besetting sin had lost all savour for him since it had done its part to alienate his wife!

Lucinda nevertheless assured herself that she didn't so much mind Bel's inconsistency – for what were his protestations to her today? – or even Fanny's commonplace coquetries; it was the surreptitious airs with which Fanny sought to envelop these goings-on, the reticence which she persisted in observing in respect of their effect, that made their joint stupidity maddening. For never since that afternoon when Bel had caught Lucinda in the act of kissing Summerlad before a camera, and Fanny had playfully announced her intention of vamping him to a fare-ye-well, had she chosen to mention his name in any relation to herself. In the local vernacular which she had been so quick to pick up, Fanny seemed to think she was getting away with something.

Lucinda resisted the temptation to disillusion her friend mostly because of a faint-hearted hope that Fanny might at any moment redeem herself with a scornful report of Bel's gullibility, but in part because of doubt whether Bel were being taken in as completely as he appeared to be. It was just possible that this old hand at philandering was simply playing Fanny's game to find out what she meant by it. Certainly he showed no propensity to favouritism. The path of his amourette with the Marquis girl ran parallel to that which he pursued with Fanny, perhaps ran faster, but strangely proved not half so tiresome to the spectator. In spite of all that Summerlad had said of her, Lucinda entertained an honest admiration for the Marquis as she was today, considered her physically quite a fascinating creature, which she unquestionably was in this revised phase, and found what Bel saw in her far more easy to understand than what he saw in Fanny. This was something partly to be accounted for by the circumstance that Lucinda saw comparatively so little of Miss Marquis, saw her so seldom save at a distance and when she was on her dignity – when, as Summerlad had it, she had slapped on thick the make-up of a lady. That it was in good measure make-up merely Lucinda had memories to testify. For all that, she saw the girl comporting herself toward Bellamy with a manner which she thought Fanny might have copied to good profit. But when she confided as much to Summerlad she found him darkly suspicious of Nelly's present good behaviour.

"Don't worry," he advised: "That young woman will surprise you yet. She's being nice now and enjoying the novelty. Chances are she took the cure, that time she disappeared. But it never lasts. Once the old hop gets its hooks into anybody it never lets go, really. It may seem to be licked for a while, but it's only waiting for a moment of weakness. Wait till Nelly gets bored playing up to the gentlemanly attentions of your friend, Mr. Druce, wait till she wants him to do something he doesn't want to. Just wait. If you admire fireworks, believe me, Linda, your waiting won't be wasted."

Having said which, Summerlad made haste to change the subject. But Lucinda had already learned that any reference to Nelly Marquis was calculated to make him restive. A circumstance in itself not the least irksome of the many which she counted as afflictions. She needed badly a congenial confidant, and Lynn was newly become anything but that, had, indeed, never seemed quite the same since the first night of his return. Another black mark to add to Bellamy's score. For Lynn was inevitably and pardonably disgusted with the situation at the studio, where he couldn't turn around without running into either the Marquis girl or the husband of the woman he loved. Then much of the old delight in sharing working-quarters had been lost through their tacit agreement that, under these changed conditions, a trifle more reserve wouldn't come amiss when they met under the public eye. But now, even when they were alone, the old-time spontaneity was missing, and, Lucinda was sure, through no fault of hers. It was in Lynn that she thought to detect a strange new absence of ease, what she could almost have termed a hang-dog air, a furtive fashion of watching her, if he thought she wasn't aware, that was swift to change, as soon as he found she was, to a species of feeble bravado distastefully reminiscent of Bel when Bel had been drinking just enough to feel it and not enough to have become callous; an air of having done something he oughtn't and living in instant dread of being found out.

Lynn had such an air with her, that is, if Lucinda were not self-deceived, if she didn't imagine it all, if it were anything but an hallucination conjured up by a mind morbidly conscious of Bel's shadow in the offing, the shadow of that relationship which, while unresolved, must ever rest between the lover and the wife.

XXXIV

But these peculiar tribulations rankled neither severally nor even in their sum more distressfully than did the trouble at the studio, where daily the tension of ill-feeling between actress and director grew more taut, as Lucinda's earlier misgivings ripened into articulate dissatisfaction with Nolan's methods and their fruits, and as that sensitive artistic soul reacted deplorably, in terms of begrudged civility at best, and at other times of stubborn Celtic oppugnancy.

Dilatory tactics in directing had become too fast a habit with Nolan to be broken at will, and had forced him to forego his chance at that attractive job in the East. For which, of course, he would never forgive Lucinda. And he was otherwise so fed up with the feeling that he was unappreciated, that he had taken to fuming nastily over every set-back which put off the final "take" by so much as an hour, and indeed was more than once only restrained from "walking off the lot and leaving the picture flat" by the consideration that he had as yet been able to wheedle out of Lontaine a mere niggardly half of his contract fee in advance.

Aware of what was in the air, the supporting players held their collective breath against that explosion which all felt was due at any moment to hoist them into the same element and leave them there, belike, in indefinite suspense. Individually they went with a nice if naïve diplomacy in all their dealings with Miss Lee and Mr. Nolan individually; for who could foresay whose hands would hold the symbols of power when the dust had settled? But the sympathies of the producing staffs, to a man, Lucinda was sensible, were with Nolan; and though this nettled her at times, she consoled herself with the reflection that it was after all only natural, since the best directors, that is to say those with the most artful and resourceful press-agents, hand-pick their lieutenants as a general custom and carry them along as they lightly flit from berth to berth. And she derived a little comfort from the belief that the cameraman was on her side.

Cameramen, being highly trained specialists in an exacting art, are more often than not men of independent minds, iconoclastic in their attitude toward the directors with whom they work. Iturbide was of this tribe. He knew his trade, not Nolan or any other could instruct him in it. If he reckoned the light not right for any take, that scene would wait though Nolan raved and the heavens quaked. In the choice of the right angle for any shot his judgment was final, even Nolan learned in time not to dispute it. And he accomplished his will with a singular economy of words and emotion, the more remarkable in view of the mercurial temper with which tradition accredits the race from whom he sprang. He was Mexican, a tall and rangey body, with eyes as beautiful as a woman's, and much to the silken courtesy of the Spanish whose blood he shared. "No, Mr. Nolan," he would announce in a strongly accented and resonant voice, shaking his head sorrowfully after setting up his camera and assaying the light by peering through a strip of negative film exposed behind the lens – "no, I no take – light no good. Tomorrow we take, maybe light better then." And while Nolan, who as like as not had voluptuously kept a regiment of extra people waiting all day to work in this the last hour of the afternoon – while Nolan spluttered and swore and offered to go down on his knees if prayers would move Iturbide to change his mind, the cameraman would be placidly superintending the demounting of his camera, and pocketing the darling lens whose care he never would trust to hands other than his own. And that scene would not be taken until the next day – not then, if the light were not exactly to Iturbide's liking. Which was one among a number of reasons why his photography was credited with having saved many a picture otherwise without virtue.

Scrupulous always to avoid giving unprovoked offense, in the series of skirmishes which made the final two weeks of Nolan's engagement memorable, Iturbide played the part of benevolent neutral; but if Lucinda were not mistaken in her reading of his eyes, the best of his benevolence was reserved for her.

Historically – and setting aside minor clashes of opinion as mere affairs of outposts – the private war progressed to its conclusion in three stages, which for convenience may be named the Battle of the Supper Club Set, the Affair of the Comedy Feet, and the Last Stand in the Living-Room Doorway.

In the novel from which the picture in production took its name and little else, most of the plot development was worked out in a fashionable supper club, where Lucinda in the character of a professional dancer, figured nightly as what for some reason New York that stays up nights knows by the name of "hostess." The rooms of the club as described bore close resemblance to the premises for years tenanted by the Club de Vingt in East Fifty-eighth street, to whose general plan, however, fanciful embellishments had been added in an effort to make it a frame worthy of the dancer's charms.

Over the lay-out, or scheme, for this set, Lucinda had spent many hours and much thought – before Nolan found time to give the production any attention whatever – in consultation with Harry Lontaine and Mr. Coakley, the talented young man who served the Zinn Studios in the capacity of general technical director: an office which as organized by the motion-picture trade, comprehends those – among others – of architect, landscape-gardener, scene, house, sign and artist-painter, interior decorator, and amateur of the art of every era, from the Eolithic to that of East Aurora. And in the end Lucinda had turned to her work before the camera well-satisfied that Mr. Coakley knew what to do and how to do it, and would assemble an excellently suitable room if left to exercise his own good taste and ingenuity.

The most pretentious bit of building required by the production, the supper club was the last to be erected, and wasn't ready till the beginning of the fourth week of Nolan's reign; as Lucinda learned it was, one evening, when the assistant-director circulated a call for the entire company to work on it the next day.

Accordingly, Lucinda and Fanny strolled over to the main stage, where, behind a flimsy fence of sides – frames of wood and paint-smeared canvas held up by struts – the precincts of the supper-club basked in the cynical glare of Cooper-Hewitts overhead.

Inside the barricade, Lucinda halted with a cry of shocked remonstrance.

In the middle of the floor, upon which she was to give the solo dance which she had been weeks rehearsing under a veteran professional, Nolan stood vivaciously lining out tomorrow's proposed campaign for the benefit of a group composed of his first assistant, Mr. Wells, Iturbide and the second cameraman, and Mr. Coakley.

There was nothing else to break the full force of the blow which fate had prepared for Lucinda's expectations.

Of the gay, exquisite scheme upon which she and Coakley had agreed, guided by the novel, there wasn't a sign. The main masses of woodwork were here all a dull, blank black. The panels, which were to have framed baskets of fruit and garlands of flowers, in low poly-chrome relief-work, had yielded place to paintings in the style of French posters, of women in antic postures and clothed only enough to accent their nakedness. The little tables that lined the walls were dressed with cloths checquered staringly in red and white. The imbecile geometry of the Cubists had patterned all the draperies and upholstery materials in weird juxtapositions of colour apparently intended to give away the grisly cosmic secret that there was something rotten in the solar spectrum. And at the far end of the room there was… Lucinda looked twice to make sure her eyes did not deceive her. But, no; there it was: a bar, a veritable zinc of the common Parisian cabaret.

And while she gaped aghast, hysterically torn by a desire to scream with lunatic laughter and an impulse to weep and dance with rage, Nolan spied her and, deserting his audience, tripped briskly over, beaming happily.

"Well, Miss Lee! how about it, eh? A little slice off the top of the real Bohemia, I'll tell the world. And wait till you see how she screens. O bay-bee! but this glad young set's gonna photograph like a million dollars."

Lucinda choked down the anger with which her lips were tremulous. For an instant she stared hopelessly at Nolan, comprehending that this vile parody of the design she had approved was due wholly to his arbitrary action in contradicting the plans without reference to her wishes. And she could have cried with disappointment and vexation. As a matter of simple fact, her eyes did fill in that bitter moment when she was made poignantly aware of how high her hopes had been and how heartlessly frustrated, and how helpless she was to express a tithe of her indignation without jeopardizing the good of the picture.

If she spoke her mind it were inconceivable that Nolan should consent to continue as director. And grave and well-grounded as was her dissatisfaction with him, Lucinda was not yet ready to believe it would benefit the picture to have it finished by another intelligence than that under whose guidance it had been so ill-begun.

And it is by this that the potential artistic stature of Linda Lee is to be reckoned, that in this the young beginning of her career she had already learned, what many who walk with the great ones of the screen have never learned and are incapable of learning, to think of her work before herself, to esteem her rôle as something less than the story which gave it excuse for being, to hold the welfare of the picture as a picture more important than her own.

While still she faltered, fearing to speak her mind, Coakley came up with the others. To him she turned reproachfully.

"Oh, Mr. Coakley! why did you do this?"

Before Coakley could reply Nolan cut in irritably: "Do what? What's the matter now?"

"I'm asking Mr. Coakley why he didn't carry out the design we agreed on for the supper club."

Coakley grinned and scratched an ear. "Mr. Nolan's ideas, Miss Lee," he drawled uncomfortably.

"Mr. Nolan ordered this change?"

Nolan brusquely interposed: "Of course, I did. What's wrong with the set?"

"And you didn't consult me, Mr. Coakley?"

"I supposed you knew, Miss Lee."

"Say, listen here!" Nolan snapped – "what's the grand idea? I said I was responsible for this set, didn't I? I gave Coakley's lay-out the once-over, saw it wouldn't do, and told him what I wanted. And why wouldn't I? Look't what we got. Not much like that glorified tea-room you were satisfied with, is it?"

"No, Mr. Nolan – not much. I grant you that."

"Well, then, what's the big objection?"

"Simply that the set is out of harmony with the rest of the picture – "

"Out of harmony! Why, it's going to make the picture! You ask Harry Iturbide here. He'll tell you, when that set's flashed on the screen it's going to knock your eye out."