beyond the gate. "Now, let me think." But this appeared to be without result. "Oh, I really don't know; I forget. I suppose so. Why not? She often is."
He would have asked more questions, but the telephone rang and she listened a long time, contributing a "yes, yes," of understanding at brief intervals. This talk ended, she briskly demanded a number and began to talk in her turn. Merton Gill saw that for the time he had passed from her life. She was calling an agency. She wanted people for a diplomatic reception in Washington. She must have a Bulgarian general, a Serbian diplomat, two French colonels, and a Belgian captain, all in uniform and all good types. She didn't want just anybody, but types that would stand out. Holden studios on Stage Number Two. Before noon, if possible. All right, then. Another bell rang, almost before she had hung up. "Hello, Grace. Nothing to-day, dear. They're out on location, down toward Venice, getting some desert stuff. Yes, I'll let you know."
Merton Gill had now to make way at the window for a youngish, weary-looking woman who had once been prettier, who led an elaborately dressed little girl of five. She lifted the child to the window. "Say good-morning to the beautiful lady, Toots. Good-morning, Countess. I'm sure you got something for Toots and me to-day because it's our birthday—both born on the same day—what do you think of that? Any little thing will help us out a lot—how about it?"
He went outside before the end of this colloquy, but presently saw the woman and her child emerge and walk on disconsolately toward the next studio. Thus began another period of waiting from which much of the glamour had gone. It was not so easy now to be excited by those glimpses of the street beyond the gate. A certain haze had vanished, leaving all too apparent the circumstance that others were working beyond the gate while Merton Gill loitered outside, his talent, his training, ignored. His early air of careless confidence had changed to one not at all careless or confident.
