Dramatists -- Fiction; Greenwich Village (New York, N.Y.) -- Fiction; Man-woman relationships -- Fiction
“I'll tell you my main errand, Sue. I've got an enormous new production
on. It's in my hands, too, as director. Silverstone gives me carte
blanche--that's his way. Big man. Now I've got an eye in my head. I've
seen our _Nature_ run off. And I happen to know that the big movie star
of to-morrow, the sensation of them all, is Miss Sue Wilde. You don't
realize that, of course. All right! Don't try to. But do try to get
_this_. I want you for my new production. And I can offer you more money
than you ever saw in all your life. Not two thousand a week, like Mabel
Wakeford, but a lot. And still you'll be cheaper to my company than
women not half so good who have built up a market value in the film
business. It will be a bargain for us. I brought out a contract ready
for you to sign. Salary begins to-morrow if you say the word. Would you
like to read it over?”
Her hands were still over her eyes. She shook her head.
Instead of pressing his business he went on quietly studying her. He
studied the house, too; and the street. After a time he consulted a
time-table and his watch.
“Sue,” he said then, “I'm disappointed.”
“I'm sorry, Jacob.” She looked up now and threw out her hands. “But you
couldn't understand. I couldn't look at that film, at myself doing those
things. It's a thing that's--well, Jacob, it is repellent to me now.
It's a thing I wish I hadn't done. I thought I believed it--your theory
of freedom, naturalness, all that. I don't believe it. But all the
same I'm on record there. The most conspicuous girl in the United
States--from what you say--'
“Easily that, Sue. By to-morrow.”
“--picturing a philosophy I don't believe in. I've been daring almost
to forget it. Now you're bringing it home to me. It is branded on me
now. God knows what it is going to mean! Of course it will follow me
into my home here. And you know what people will think and say--these,
people”--she indicated the orderly street with a sweep of a fine arm
and hand--“they'll think and talk of me as a girl who has done what no
decent girl can do and stay decent--”
She stopped, choking. He was still coolly observing her.
“Yes,” he said again, “I'm disappointed. I'm afraid it's just as well
for you to give up. You've lost something, Sue.”
He rose. And she let him go in silence; stood looking after him until he
disappeared around the corner. Then she went up to her room.
The children were still there, serenely happy in unheard-of mischief.
They had all her dancing clothes spread out on the bed.
She closed the door. The girls giggled nervously; she hardly saw them.
She lifted up the Russian costume and fingered the bright-colored silk.
Dreams came to her mind's eye. She looked at the little boots of red
leather.
“I wonder,” she murmured.
“Please dance for us,” begged Miriam shyly, at her side. She hardly
heard.
She moved to the side of the room, then leaped out in that bounding,
crouching Russian step. She was stiff, awkward. She stepped back and
tried it again.
Public-domain text, read in full here on John Shaqi.
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