The Man Who Understood Women and Other Stories/Frankenstein II
FRANKENSTEIN II
I was at the Throne Theatre to see Orlando Lightfoot's comedy. Entering the buffet, in the first interval, I met Orlando Lightfoot.
"Hallo, old man!" I said. "Congratulations in large quantities."
"Thanks," said the new dramatist. "Have you seen it before?"
"No; but I saw in the papers that it was an 'emphatic success.' How beautiful Elsie Millar is in the part!"
We induced one of the personages behind the bar to notice that we were present, and removed our glasses to a table. Orlando sighed heavily.
"What's your trouble?" I inquired.
"My 'emphatic success,’" he said. "But it's too long a tale to tell you now—I suppose you want to see the second act?"
The vindictiveness with which he pronounced the last two words was startling. I stared at him. "My dear Orlando" I began, but he cut me short.
"Call me 'Frankenstein'!" he groaned. "Like Frankenstein, I've constructed a monster that's destroying me. Before I created this accursed comedy I was a happy man."
"It must have been a very long while before," I said. "When I had the misfortune to share your rooms, you used to remark casually at breakfast that you wished you were dead."
"Anyone is liable to express dissatisfaction in moments; but on the whole I was cheerful and buoyant, especially when you were out," he insisted. "I frequently had as much as five pounds at the time. I'm not boasting; you know it's true. Five pounds at the time is prosperity, if a fellow hasn't got a monster to support. Since I wrote the comedy, a five-pound note has been as ephemeral as a postage stamp. I pinched and pawned to start the monster in life. What it cost me in typewriting alone would have kept me for a month. It has gorged gold. It has devoured my All. And now, by a culminating stroke of diabolical malice, it's breaking my heart."
"There's nearly a quarter of an hour before the act," I said. "Give me a cigarette and the story—I want one badly; an appreciative editor is eager to send a cheque."
"Halves?" asked the author of the "emphatic success."
"Halves," I agreed.
"Well," said Orlando, "the devil tempted me in the pit of the Vaudeville one night. Elsie Millar was in the cast; she had very little to do, but, as usual, she did it exquisitely. I had always admired her, wished I knew her, and that night I thought, 'By Jove, wouldn't I like to write a big part for her! Wouldn't she make a hit if she only got the chance!' I came out after the performance imagining her in the sort of part she's playing in the monster. A plot was beginning to put its head round the corner, and I wandered out of the Strand on to the Embankment trying to get hold of it. The Embankment was deserted, and the river"
"Yes," I said. "Cut that kind of thing—I can put it in when I do the writing. I don't want to miss any of the second act."
"Well, I went to bed about three o'clock with a plot that enraptured me. When I woke up and saw it in the daylight, it didn't look quite so fetching—as is the way of plots et cetera; still, it had good features, if it wasn't a Venus, and I curled its hair, and titivated it generally, till it was fascinating again. The dialogue was the most interesting work—especially the love scene; I enjoyed that. It was like making love to a nice girl myself, and saying the right things at the time instead of thinking of 'em afterwards. I ought to have been turning out stuff for the papers, but I let them slide, and at last the play was finished. It sounds as rapid as filling your pipe, told like this; when you do the story you should stress the alternate ups and downs of the business: the nights when I wrote epigrams and felt like Pinero, and the mornings when I read 'em and felt like cutting my throat. Don't forget that. It's real."
"I'll remember," I said. "I'll have a paragraph on it."
"Well, I had two copies of the thing typewritten at Miss Beck's, in Rupert Street; and pretty they were, tied up with pink bows—till I put in all the improvements I had thought of after I posted to her. The improvements I had thought of after I posted to her made such a mess of the copies that I had to have two more typewritten. However, I couldn't pretend she was dear, and I paid and looked pleasant. Guilelessly, I imagined my expenses were over.
"Sonny, they were just beginning! Miss Beck's bill was only the preface. A man who knew the ropes told me I should be a fool to have the scrip hawked about before it had been copyrighted. 'How do you do it?' I said. 'Oh,' he said, 'it's very easy. You give a private performance of the piece in a building licensed for public entertainments. There are a few details to be observed.' When I grasped the details I knew I had committed a reckless extravagance in writing a play. I examined my belongings, and doubted if they would run to luxuries like this. Still I had constructed the monster, and it had its claims. I did my duty by it.
"I hired a hall in Walthamstow for an afternoon. I invented two columns of Fashions for Men to pay for the hall in Walthamstow. Whipping a tired brain, I invented them—and then they fetched eighteenpence short of the rent. I posted one of the nice, clean copies of the monster to the Lord Chamberlain to read. I didn't want him to read it—especially since I had learnt the compliment was to cost me guineas—but that was one of the 'details to be observed.' I had to pawn my watch for the Lord Chamberlain. And he didn't even send the nice clean copy back—he buried it in archives. More typewriting expenses! After that I had to have the parts typewritten. My dress clothes paid for the parts. Then I had to advertise for artists to read them. I got my 'artists' cheap—a half-crown a head, but my watch-chain went after my watch, and the monster began to attack my library. 'Any more "details"?' I asked. 'One or two,' said the man; 'you must have a couple of playbills printed, and don't forget to register your title.' Well, I won't dwell on the drinks, but by the time I was through with the Walthamstow hall, and Stationers' Hall, the monster had left nothing in my wardrobe except a mackintosh, and had consumed a complete set of Thackeray bound in calf!"
Orlando groaned again, and I murmured sympathy. I also reminded him that the second act must be drawing near.
"All right!" he said testily. "Listen. The monster was now my legal property—it was about the only property I did have now, but anyhow, the monster was mine. I was informed that an official licence for it would reach me in due course. Admire my next move! An average intellect might have been shattered by the sacrifices I had made for the beast; I was still brilliant. Did I send the thing to a theatre uninvited and wait six months to see it expelled? Not Orlando! I realised that I was an outsider. I realised that I needed someone to take me in. Elsie Millar was playing at the St. James's then. She had never heard of me, but I wrote to her; I said I had written a comedy with her in my mind, and that I'd like her to read it before I offered it to a management."
"What for?"
"‘What for'? Because I thought she might be so enamoured of her part that she'd move mountains to get the piece produced."
"My prolix friend," I said, "I perfectly understand your inward reason; but what was the reason you gave to the lady?"
"Oh!" said Orlando, "I borrowed from a letter that I once knew an actress receive from a full-blown dramatist; I wrote that I was 'desirous of hearing whether she would care to play the part if an opportunity arose.' Suggestive?"
"For an amateur who had never been through a stage-door it was consummate impudence," I admitted. "And she replied?"
"She replied that she would be pleased to read the piece if I sent it to her private address. It departed to her, registered, the same day. And I wish you wouldn't keep interrupting me! … Well, a fortnight went by, a fortnight of suspense that I can't describe to you."
"I don't want you to describe it!" I exclaimed. "For heaven's sake, remember that the act'll be starting directly. I'll describe your feelings when I write the story."
"If you don't write it better than you listen to it, there's a poor show of a cheque," he complained. "I say a fortnight went by. Then she wrote that she had i read my comedy and was 'delighted with it.' Look here! if you don't undertake not to speak another word till I've finished, I shan't tell you any more. Is it understood?"
I nodded. And for a spell Orlando had it all his own way.
"She wrote that she was 'delighted with it and asked me to call on her one day about half-past four. I could hardly believe my eyes. Really, it looked as if the monster's rancour had worn itself out. I felt tender towards the beast again, my affection revived. I said that it was like a monster in a fairy tale, transformed to a benevolent presence by the heroine. I thought that a pretty idea; I hoped I should get a chance to mention it to Miss Millar when I went.
"Of course, I meant to go the next afternoon—weather permitting—and I was so eager to see what sort of weather it was in the morning that I trembled when I pulled up the blind. Thank Heaven! it was raining. I breakfasted gratefully, and my only fear was that the sun might come out later on. Fortunately it didn't. The drizzle continued, and all was well. By your idiotic expression it's evident you've forgotten that the only decent garment remaining to me was a mackintosh. My suit was socially impossible; if it had been a fine day I couldn't have gone.
"She lives with her mother in a top flat in Chelsea. When I was shown in, she was alone. Her voice was just as sweet as it was on the stage. She isn't a bit like any other actress I've met; she talks rather slowly, and she's very quiet. Even when she enthused about the piece she spoke quietly.
"‘I think it's beautiful,' she said. 'I'm glad I asked you to let me read it. I nearly didn't, because'
"‘Because you didn't know my name?' I said.
"‘Well, yes,' she said. 'So many people write to one, and their pieces are generally so impossible. Is this your first, Mr. Lightfoot?'
"‘My first, and it has threatened to be my last,' I said. 'I've been copyrighting it, and the complications have nearly ruined me. I had begun to feel myself another Frankenstein with a monster—and then you turned the monster into a prince of light, like Beauty in the fairy tale.'
"It didn't 'go' so well as I had expected, but she smiled a little. 'You'll let me give you some tea?' she said. 'Won't you take off your mackintosh?'
"‘No, thanks,' I said; 'it isn't very wet.'
"Then we had tea and cake, and got a bit forrader. She said she wished she had a theatre to produce the thing, and I said I wished I had an agent to place it for me. She asked me if I'd like her to show it to Alexander, and I said the English language would be inadequate to express the gratitude I'd feel. Of course, I added, she mustn't do all that for nothing, and she said she'd find it reward enough to play the part. I said 'Pickles!' then, quite naturally, because she was an exceedingly nice girl, and I liked her. I told her she should have any share of the fees she chose to ask for. 'Oh, nonsense!' she said. 'No, it isn't nonsense!' I said; 'it's only fair.' 'Oh, well, then,' she said, 'if I get the piece done for you anywhere, you shall give me the usual agent's commission. Does that satisfy you?' We were talking quite chummily by this time. And I had another cup of tea.
"Before I went, her mother came in. Her mother didn't treat the commission so airily—her mother wanted the girl to have a contract. But that was all right; I put it on paper for her when I got home.
"There was nothing for me to see her about again for two or three months. I had heard from her that Alexander had no use for the piece, and that 'Sir Charles Wyndham had promised to read it on Sunday.' Then she wrote that she was going on tour—and I called to say good-bye to her. There wasn't a cloud in the heavens, and I was still dependent on the mackintosh, but it couldn't be helped. I stayed longer that time. I could have stayed to supper if it hadn't been for the mackintosh!
"Of course she went on working at the business while she was away, and she used to write me what she was doing about it. She was a regular trump, and I liked getting her letters and answering them, though the prospects never came to anything. At last she wrote that she was coming back—and I called to say 'how do you do' to her. It still hadn't run to a new suit, and—I attribute a great deal to that mackintosh! it curtailed all my visits, I haven't had a fair chance with the girl.
"I had never loved before—so quickly; I was fond of her already. I hope, when you write the story, you'll bring her charm out strong; you had better send the manuscript to me, and I'll put in some of the things she has said—loyal, womanly things, without any grease paint on 'em. As I sat there that afternoon, sweltering in the infernal mackintosh, I knew I'd like to marry her; I knew that if the comedy ever caught on, I'd try to make my agent my wife.
"Well, when a production looked as far off as Klondyke, there came this offer for the piece from Cameron, who had just taken the Throne. She was as excited about it as I was.
"‘The Throne isn't quite the house I'd have chosen,' she said, 'but you'll get a beautiful cast; Cameron will take pains with the smallest detail, you'll be pleased with everything Oh! I mustn't answer for your leading lady.'
"I laughed. There was no need for me to tell her I had faith in my leading lady.
"‘You have given me a chance!' she said. 'It'll be the best part I ever played. If this engagement makes me, I shall owe it to you. There was one of the things without any grease paint on 'em. Wasn't it sweet? She'd have had every excuse for reminding me all the time what a service she had done me.
"We talked it over like pals. She said that, of course, Cameron would play the Colonel himself, and that he wanted to get Fairfax for the lover.
"‘Who's Fairfax?' I said; 'I don't know him. The lover is an important part—all that pretty scene of yours in the Orchard Act will go for nothing if your lover's not good.'
"‘Oh, Fairfax is a very clever young actor!' she said; 'we've never played together, but he has just made a great hit at the Imperial; I saw him there; he was very good indeed.'
"Well, things couldn't have looked more promising. Cameron was enthusiastic—he didn't pay any money on account, but he gave me a cigar—the percentage he agreed to was satisfactory, and the girl I loved considered me her benefactor. Making a discount for disappointment, I hoped for a hundred a week from the Throne; besides that, there' d be the provincial tours, and there were the American and Colonial rights. I had visions of a house in Sloane Street, and a motor car.
"Then the expenses began again. I couldn't attend daily rehearsals through August in the mackintosh, so I managed to raise a pony on the agreement. The interest was iniquitous, but I was bound to have decent clothes, and on the threshold of a fortune I didn't fuss. I went to a tailor, and I bought a two-guinea panama, and had eighteen pounds left.
"Fairfax turned out to be a plain young man with a big head, and I didn't think so much of his reading as Miss Millar seemed to do. However, he improved. She, of course, was divine, and Cameron was all right. On the whole, I was satisfied with the rehearsals—dramatically; financially they were a shock. The luncheon adjournments upset my calculations. I always had to adjourn with Cameron—though I'd rather have taken Miss Millar—and Cameron lunched extensively. If a man stands you Bollinger one day, you can't offer him Bass the next. I had expected to enjoy the rehearsals, but the eighteen pounds were vanishing at such a rate that I thanked Providence when the last week came.
"Well, by dint of missing a rehearsal or two, I had contrived to cling to a fiver; and I shook hands with myself. I counted on it to keep me going till I got the first fees. Vain dream! They decided to 'try the piece' in Worthing for three nights—and I had to pay fares and an hotel bill! Old chap, when I walked here to the Throne, on the night of the London production, I possessed one shilling—and that went on a drink for the acting manager. In the morning I hadn't the means to buy newspapers with the notices of my own play. Penniless, I read them in a public library among the Unemployed!
"Of course, the notices bucked me up. With an 'emphatic success,' I could smile at being stone-broke till the hundred a week came in. But it didn't come. The box-office sheets gave me the cold shivers when I saw them, and the queues at the pit and gallery doors were so short that the 'niggers' gave up playing outside. The piece always went very well, but there was never any money in the house; the audience always looked very nice, but none of them had ever paid. They look very nice this evening, don't they? Paper! Paper in rows! Paper in reams!
"A hundred a week? By the first Saturday night I reckoned my week's royalties would about cover the cost of my Worthing trip! And then I was optimistic.
"Cameron sent for me; he said:
"‘I'm afraid I must take this piece off at once.'
"The dressing-room reeled. I muttered that the notices had been good.
"‘It's more than the business is. Look at the booking!' he said.
"I hinted feebly that the best people hadn't come back to town yet.
"He said, 'Well, I'll give it a chance to pick up if in the meantime you like to waive fees.'
"I waived! I heard him in a kind of stupor. … I've never had a bob!"
Orlando paused; his head drooped sadly. I ascertained that the barmaids weren't looking, and pressed his hand.
"It's hard lines," I said. "We must have another talk after the show. You won't mind my bolting now? The bell rang ever so long ago; the second act must be half over."
"A curse upon the second act!" he burst out. "Why did I ever write the second act? Don't see it!"
"But I must see it," I urged. "I want to see it. What's the matter with it?"
The dramatist was silent again; I saw that he was struggling with strong emotion. At last he said in a low voice:
"The rest of the story—so far as it has gone—is more painful still. Perhaps you suppose that, now it had stripped me of all and involved me in the meshes of a money-lender, the monster's malignity was appeased? Not so! Pecuniarily it could harm me no more, but through my affections I was still vulnerable; the monster's most insidious injury you've yet to hear.
"I noticed during the rehearsals that Fairfax was struck with Miss Millar; and lately Miss Millar has shown an unaccountable interest in the big-headed Fairfax. I call it 'unaccountable' because Fairfax, in his proper person, can't be said to account for it. She's always saying how 'tender' he is in the part.' The part's tender! I own the man can act, but I gave him the lines to speak! I invented the tender things for him to do. She doesn't remember that.
"Consider what happened when I wrote the piece! I imagined a charming girl in an orchard; I imagined myself in love with her. She had Elsie Millar's face; she answered me with Elsie Millar's voice. With all the tenderness, all the wit, all the fancy I could command I tried to make this charming girl fond of me. Materially, I was producing half a dozen pages of dialogue; psychologically, I was lending my own character to any man who played the lover's part.
"It fell to Fairfax—and it's all 'Fairfax' with her. Oh, she has been very sympathetic about my failure, we're still friends, but—there's another man now! She talks more of his performance than of my comedy. It's natural, I suppose—she understands his work better than mine—but I desert the second act; you shan't see the second act, the second act's the other man's glamour to her! She's falling in love with the part, and thinks it's with him. The monster gave him his opportunity—and he's stealing her from me with my own words!"
"Talk to her as you've talked to me," I said, "and hope still."
"I can't help hoping," he answered, "but"
An attendant entered the buffet with a note: "Mr. Lightfoot, sir?"
Orlando tore it open—and passed it to me mutely. I read:
"Dear Mr. Lightfoot,—I hear you are in front to-night. I've been waiting to tell you something all the week. Mr. Fairfax and I are engaged to be married—and we owe our happiness to your play. Will you come round afterwards to let us thank you?—Yours always sincerely, "Elsie Millar."
"Poor devil!" I exclaimed. … "Well, the monster has finished with you now, at any rate! You know that you're disappointed in love, and you know that the last of the expenses is over."
"Y-e-s," he said. … "You think your editor will send a cheque for the story?"
"In overdue course," I told him. "Why?"
"Well," he moaned, "how am I to find the money to buy her a wedding present?"