it? Didn't she talk about the risks she took and how the directors were always begging her to use a double and how her artistic convictions wouldn't let her do any such thing? You can bet the little girl is right there in every scene!"
They passed to the other billboard. This would be the comedy. A painfully cross-eyed man in misfitting clothes was doing something supposed to be funny—pushing a lawn mower over the carpet of a palatial home.
"How disgusting!" exclaimed Miss Kearns.
"Ain't it?" said Merton. "How they can have one of those terrible things on the same bill with Miss Baxter—I can't understand it."
"Those censors ought to suppress this sort of buffoonery instead of scenes of dignified passion like they did in Scarlet Sin," declared Tessie. "Did you read about that?"
"They sure ought," agreed Merton. "These comedies make me tired. I never see one if I can help it."
Walking on, they discussed the wretched public taste and the wretched actors that pandered to it. The slap-stick comedy, they held, degraded a fine and beautiful art. Merton was especially severe. He always felt uncomfortable at one of these regrettable exhibitions when people about him who knew no better laughed heartily. He had never seen anything to laugh at, and said as much.
They crossed the street and paused at the door of Miss Kearns' shop, behind which were her living rooms. She would to-night go over Passion's Perils once more and send it to another company.
"I wonder," she said to Merton, "if they keep sending it back because the sets are too expensive. Of course there's the one where the dissipated English nobleman, Count Blessingham, lures Valerie into Westminster Abbey for his own evil purposes on the night of the old earl's murder—that's expensive—but they get a chance to use it again when Valerie is led to the altar by young Lord Stonecliff, the rightful heir. And of course Stonecliff Manor, where Valerie is first seen as governess, would be expensive; but they use that in a lot
