one time and that the inhabitants of Upper Burmah have quaint native pastimes. These things would stay with him, but they were unimportant. Even the prodigal fecundity of the conger eel left him cold.
He gripped the arms of his seat when the cast of Hearts on Fire was flung to the screen. He caught his own name instantly, and was puzzled. "Clifford Armytage—By Himself." Someone had bungled that, but no matter. Then at once he was seeing that first scene of his. As a popular screen idol he breakfasted in his apartment, served by a valet who was a hero worshipper.
He was momentarily disquieted by the frank adoration of the cross-eyed man in this part. While acting the scene, he remembered now that he had not always been able to observe his valet. There were moments when he seemed over-emphatic. The valet was laughed at. The watcher's sympathy went out to Baird, who must be seeing his serious effort taken too lightly.
There came the scene where he looked at the photograph album. But now his turning of the pages was interspersed with close-ups of the portraits he regarded so admiringly. And these astonishingly proved to be enlarged stills of Clifford Armytage, the art studies of Lowell Hardy. It was puzzling. On the screen he capably beamed the fondest admiration, almost reverent in its intensity—and there would appear the still of Merton bidding an emotional farewell to his horse. The very novelty of it held him for a moment—Gashwiler's Dexter actually on the screen! He was aroused by the hearty laughter of an immense audience.
"It's Parmalee," announced a hoarse neighbour on his right. "He's imitatin' Harold! Say, the kid's clever!"
The laughter continued during the album scene. He thought of Baird, somewhere in that audience, suffering because his play was made fun of. He wished he could remind him that scenes were to follow which would surely not be taken lightly. For himself, he was feeling that at least his strong likeness to Parmalee had been instantly admitted.
