OF SARAH NEVADA MONTAGUE
They were six long weeks doing the new piece. The weeks seemed long to Merton Gill because there were so many hours, even days, of enforced idleness. To pass an entire day, his face stiff with the make-up, without once confronting a camera in action, seemed to him a waste of his own time and a waste of Baird's money. Yet this appeared to be one of the unavoidable penalties incurred by those who engaged in the art of photodrama. Time was needed to create that world of painted shadows, so swift, so nicely consecutive when revealed, but so incoherent, so brokenly inconsequent, so meaningless in the recording.
How little an audience could suspect the vexatious delays ensuing between, say, a knock at a door and the admission of a visitor to a neat little home where a fond old mother was trying to pay off a mortgage with the help of her little ones. How could an audience divine that a wait of two hours had been caused because a polished city villain had forgotten his spats? Or that other long waits had been caused by other forgotten trifles, while an expensive company of artists lounged about in bored apathy, or smoked, gossiped, bantered?
Yet no one ever seemed to express concern about these waits. Rarely were their causes known, except by some frenzied assistant director, and he, after a little, would cease to be frenzied and fall to loafing calmly with the others. Merton Gill's education in his chosen art was progressing. He came to loaf with the unconcern, the
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