Kitabı oku: «Linda Lee, Incorporated: A Novel», sayfa 4

VII

Lontaine brought back a gratified countenance from the telephone booths. As he had promised, so had he performed. This cinema chap he knew, Culp, had professed himself only too delighted. Rum name, what? A rum customer, if you asked Lontaine, diamond in the rough and all that sort of thing, one of the biggest guns in the American cinema to boot.

Dobbin wanted to know if Mr. Culp wasn't the husband of Alma Daley, the motion-picture actress. Lontaine said he was. Extraordinary pair. Married a few years ago when they were both stoney, absolutely. Now look at them; Culp a millionaire and better, Miss Daley one of the most popular stars. You might say he'd made her and she'd made him. Showed the value of team-work in marriage, what? You pulled together, and nothing could stop you. You pulled in opposite directions, and what happened? You stood still! What?

(Lucinda remarked the patient smile with which Fanny listened. But repetition is, after all, a notorious idiosyncrasy of the married male.)

Charming little woman, Miss Daley. As it happened, she was working in a picture at the studio now. Rare luck; they'd get a look in at practical producing methods in addition to getting shot for their tests. Not bad, what?

Somebody echoed "shot" with a puzzled inflection. But that term, it appeared, was studio slang; one was shot when one was photographed by a motion-picture camera. No doubt because they first aimed the camera at one, then turned the crank – like a machine-gun, Lontaine meant to say.

Lucinda discovered that it was already three o'clock, and wondered how long they would need to get properly shot. Lontaine protested it would take no time at all. Astonishing chaps, these American cinema people, absolutely full of push and bounce, did everything in jig-time, if you knew what he meant.

With two cars at its disposal, the party split up into threes, Mrs. Sedley, Mrs. Guest, and Lontaine leading the way. On the point of entering her own car after Fanny, however, Lucinda recalled her promise to look in at the bridge-tea for the Italian Milk Fund, and bidding Dobbin keep Fanny amused while they waited for her, turned back into the hotel to telephone Mrs. Wade that she would be a little late.

Having seen no more of Bellamy since their encounter near the cloak-room, she had assumed that he had taken her at her word, and had dismissed from her calculations the possibility of his returning. The surprise was so much the more unwelcome, consequently, when on leaving the telephone booth she saw her husband with his hat on the back of his head and his arms full of lavender orchids, wavering irresolutely in the entrance to the Palm Room, surveying with a dashed expression its now all but deserted spaces; a festive spectacle that left no room for surmise as to what he had been up to. And with sickening contempt added to the bitterness already rankling in her heart, Lucinda made hastily for the revolving door.

Simultaneously Bel caught sight of her and, with a blurred travesty of his really charming smile, and a faltering parody of that air of gallant alacrity which she had once thought so engaging, moved to intercept Lucinda. And finding her escape cut off, she paused and awaited him with a stony countenance.

"Ah! there you are, eh, Linda! 'Fraid I'd missed you. Sorry couldn't get back sooner, but – "

"I'm not," Lucinda interrupted.

"Had to go over to Thorley's to find these orchids…" Bel extended his burden as if to transfer it to Lucinda's arms and, when she prevented this by falling back a pace, looked both pained and puzzled. "Ah – what say? What's matter?"

"I said," Lucinda replied icily, "I'm not sorry you couldn't get here sooner. Surely you can't imagine I'd care to have my friends see you as you are, in the middle of the afternoon. It's bad enough to have them know you get in this condition nearly every night."

"But – look here, Linda: be reasonable – "

"I think I have been – what you call reasonable – long enough – too long!"

Bellamy hesitated, nervously moistening his lips, glancing sidelong this way and that. But there was nobody in the foyer at the moment but themselves; even the coatroom girls had retired to their office and were well out of ear-shot of the quiet conversational key which, for all her indignation, Lucinda had adopted. For all of which the man should have been abjectly grateful. Instead of which (such is the wicked way of drink) Bellamy took heart of these circumstances, their temporary isolation and Lucinda's calculated quietness, and offered to bluster it out.

"Here – take these flowers, won't you? Plenty for you and all your friends. Tha's what kept me so long – had to go all over to find enough."

Again Lucinda defeated his attempt to disburden himself. "Oh, Bel!" she cried sadly – "how can you be such a fool?"

"How'm I a fool? Like flowers, don't you? Thought I was going to please you… And this is what I get!"

"You know all the orchids in New York couldn't make up for your drinking."

"Why cut up so nasty about a little drink or two? Way you talk, anyone'd think I was reeling."

"You will be before night, if you keep this up."

"Well, I'm not going to keep it up. I've made arrangements to have the afternoon free, just to be with you. We'll go somewhere – do something – "

"Thank you: I'd rather not."

"Don't talk rot." Most unwisely, Bellamy essayed the masterful method. "Of course we'll go some place – "

"We will not," Lucinda told him inflexibly. "My afternoon is booked full up already, and – "

"Where you going? I don't mind tagging along – "

"Sorry, but I don't want you."

Injudiciously again, Bellamy elected to show his teeth, stepped closer to Lucinda and with ugly deliberation demanded: "See here: where you going? I've got a right to know – "

"Have you, Bel? Think again. I never ask you such questions. If I did, you'd either lose your temper or lie to me, and justify yourself by asserting that no man ought to be asked to stand prying into his affairs. So – I leave you to your affairs – and only ask that you leave me to mine."

"Meaning you won't tell me where you're going?"

Lucinda shrugged and turned away; but Bellamy swung in between her and the exit.

"See here, Linda! there are limits to my patience."

"And to mine – and you have found them. Let me go."

She didn't move, but her face had lost colour, her eyes had grown dangerous. Neither spoke in that clash of wills until Bellamy's weakened, his eyes shifted, and he stepped aside, slightly sobered.

"Please!" he begged in a turn of penitence. "Didn't mean… Frightfully sorry if I've been an ass; but – you know – pretty well shot to pieces last night – had to pull myself together somehow to talk business at luncheon – "

"Oh! it was a business luncheon, then?" asked Lucinda sweetly, pausing.

"Of course."

With an ominous smile she commented: "It has come to that already, has it?"

"Ah – what d'you mean?"

"Since you tell me it was a business luncheon, you leave me to infer that your affair with Amelie has reached the point where you take her to the Clique Club to talk terms." Bellamy's jaw sagged, his eyes were dashed with consternation. "What else do you wish me to think, Bellamy?"

He made a pitiable effort to pull himself together. "Look here, Linda: you're all wrong about this – misinformed. I can explain – "

"You forget I know all your explanations, Bel; I've heard them all too often!"

"But – but you must give me a chance! Damn it, you can't refuse – !"

"Can't I? Go home, Bel, get some sleep. When you wake up, if you still think you have anything to say – consider it carefully before you ask me to listen. Remember what I tell you now: you've lied to me for the last time, one more lie will end everything between us, finally and for all time!"

Conscious though she was that her wrath was righteous, she experienced an instant of irresolution, of yielding and pity excited by the almost dog-like appeal in his eyes. But immediately she remembered Amelie, hardened her heart and, leaving him agape, pushed through the door to the street.

And instantly she effected one of those shifts of which few but the sensitive know the secret, who must hide their hurts from alien eyes though they spend all their strength in the effort; instantly she sloughed every sign of her anger and with smiling face went to rejoin Fanny and Dobbin.

As soon as she appeared the latter jumped out of the car and offered his hand. He said something in a jocular vein, and Lucinda must have replied to the point, for she heard him chuckle; but she could not, a minute later, recollect one word of what had passed between them.

With her hand resting on Dobbin's she glanced back and saw Bellamy – still with his armful of orchids – emerge from the hotel. He halted, his face darkening as he watched Daubeney follow Lucinda into the car. It drew away quickly, giving him no chance to see for himself that it held another passenger.

He stood still upon the steps, deep in sombre and chagrined reflection, till a touch on his arm and a civil "Pardon!" roused him to the fact that he was obstructing the fairway. As he moved aside he was hailed by name.

"Well, I'm damned! Bellamy Druce drunk, dressed up, and highly perfumed."

In his turn, he recognized the speaker, a personage of the theatrical world with modest social aspirations and a noble cellar.

"Why, hello, Whittington!" said Bellamy, smiling in spite of his disgruntlement, to see that carved mask of a wise clown upturned to his. "All by yourself? What's happened to the girl crop you should be so lonesome?"

Without direct reply, Mr. Freddie Whittington linked his arm and began to walk toward Fifth avenue.

"Just the man I'm looking for," he declared without a smile. "Come along. Got a thousand women I want you to meet 'safternoon. They'll take care of your orchids."

"Well," Bellamy conceded, "that sounds reasonable. But what do you say, we drop in at the Club? Got something there won't do us any good – in my locker."

VIII

On the far West Side, well beyond the drab iron articulation of the Ninth Avenue Elevated, in a region of New York whose every aspect was foreign to Lucinda's eyes, the brougham drew to a shuddering stop, in thoroughbred aversion to such surroundings, before a row of blank-avised brick buildings whose façades of varying heights and widths showed them to have been originally designed for diverse uses. That they were today, however, united in one service was proved by the legend that linked them together, letters of black on a broad white band running from end to end of the row beneath its second-story windows:

ALMA DALEY STUDIOS – CULP CINEMAS INC. – BEN CULP, PRES'T

Across the way unsightly tenements grinned like a company of draggletail crones who had heard a rare lot about the goings-on of picture actors and, through this happy accident of propinquity, were in a position to tell the world it didn't know the half of it. Children liberally embellished with local colour swarmed on sidewalks where ash and garbage-cans flourished in subtropical luxuriance, and disputed the roadway with the ramshackle wagons and push-carts of peddlers, horse-drawn drays, and grinding, gargantuan motor-trucks that snarled ferociously at the aliens, the frail, pretty pleasure cars from Fifth avenue. Apparently an abattoir was languishing nearby, discouraged in its yearning to lose consciousness of self in the world's oblivion. At the end of the street the Hudson ran, a glimpse of incredible blue furrowed by snowy wakes.

Such the nursery in which what Mr. Culp (or his press agent) had brilliantly imaged as the youngest, fairest sister of the plastic arts was fostering the finest flower of its expression, to wit, the artistry of Alma Daley…

"Like a lily springing from the mire," Fanny Lontaine murmured.

Lucinda laughed and gave Fanny's arm a mock-pinch, grateful for any gleam of wit to lighten life's dull firmament. The temper in which she had left Bel at the Ritz had been quick to cool; and though its cooling had not affected her determination to brook no longer his misconduct, she was beginning to experience premonitions of that débâcle whose event was certain if this breach, so lately opened, were to widen.

If it should come to a break asunder, what would become of her? of the home she loved so well? and what of Bel, whom she loved best of all?

In the eyes of Dobbin, as he waited for her at the main entrance to the building, she read too shrewd a question; and understanding that she had for a moment let fall her mask, she hastily resumed that show of debonair amusement which was her heart's sole shield against the tearing beaks and talons of envy, malice and all manner of uncharitableness.

Fortunately there was something to jog her sense of humour in the utter absence of preparations to receive them, such as Lontaine had confidently promised.

A sense of hostility made itself felt even in the bare antechamber, a vestibule with makeshift walls of match-boarding, and for all features a wooden bench, a card-board sign, NO CASTING TODAY, a door of woven iron wire at the mouth of a forbidding tunnel, and a window which framed the head of a man with gimlet eyes, a permanent scowl, and a cauliflower ear.

Interviewed by Lontaine, this one grunted skeptically but consented to pass on the name and message to some person unseen, then resumed his louring and distrustful watch, while beyond the partition the professional sing-song of a telephone operator made itself heard: "Lis'n, sweetheart. Mista Fountain's here with a party, says he's got 'nappointmunt with Mista Culp… Wha' say?.. Oh, a'right, dearie. Say, Sam: tell that party Mista Culp's into a conf'rince, but they kin go up to the stage if they wanta an' stick around till he's dis'ngaged."

With every symptom of disgust the faithful watchdog pressed a button on the window ledge, a latch clicked, the wire door swung back, the party filed through and in twilight stumbled up two flights of creaking steps to a tiny landing upon which a number of doors stood all closed, and each sternly stencilled: PRIVATE.

After a moment of doubt during which even Lontaine began to show signs of failing patience, one of the doors opened hastily and ejected a well-groomed, nervously ingratiating young man, who introduced himself as Mr. Lane, secretary to Mr. Culp, and said he had been delegated to do the honours. A public-spirited soul, he shook each visitor warmly by the hand, protested that he was genuinely pleased to meet them all, then threw wide another of the PRIVATE doors.

"This is the main stage, ladies. Miss Daley is working on one of the sets now, making the final scenes for her latest picture, 'The Girl in the Dark'; so if you'll be kind enough not to talk out loud while she's before the camera… Miss Daley is very, er, temperamental, y'understand…"

Reverently the barbarians obeyed a persuasive wave of Mr. Lane's hand and tiptoed into the studio, to huddle in a considerately awe-stricken group on one side of an immense loft with a high roof of glass.

Stage, as the layman understands that term, there was none; but the floor space as a whole was rather elaborately cluttered with what Lucinda was to learn were technically known as "sets," in various stages of completion and demolition; a set being anything set up to be photographed, from a single "side" or "flat" with a simple window or door, or an "angle" formed of two such sides joined to show the corner of a room, up to the solid and pretentious piece of construction which occupied fully one-half of the loft and reproduced the Palm Room at the Ritz-Carlton, not without discrepancies to be noted by the captious, but by no means without fair illusion.

On a modest set near at hand, apparently a bedchamber in a home of humble fortunes, a bored chambermaid in checked shirt and overalls, with a cigarette stuck behind his ear, was making up the bed.

In another quarter a number of workmen were noisily if languidly engaged in knocking down a built wall of real brick and lugging away sections of a sidewalk which had bordered it, light frames of wood painted to resemble stone.

At the far end of the room a substantial set represented a living-room that matched up with the bedchamber nearer at hand, or seemed to, for a good part of it was masked from Lucinda's view by a number of massive but portable metal screens or stands arranged in two converging ranks, at whose apex stood a heavy tripod supporting a small black box. To these stands lines of insulated cable wandered over the floor from every quarter of the room. Just back of the tripod several men were lounging, gazing off at the set with an air of listless curiosity. The spaces between the screens afforded glimpses of figures moving to and fro with, at that distance, neither apparent purpose nor animation.

Elsewhere about the studio, in knots, by twos and singly, some twenty-five or thirty men and women, mostly in grease-paint and more or less convincing afternoon dress, were lounging, gossiping, reading newspapers, or simply and beautifully existing.

An enervating atmosphere of apathy pervaded the place, as if nothing of much moment to anybody present was either happening or expected to happen. An effect to which considerable contribution was made by the lugubrious strains of a three-piece orchestra, piano, violin, and 'cello, stationed to one side of the living-room set.

At first sight this trio intrigued Lucinda's interest. To her its presence in a motion-picture studio seemed unaccountable, but not more so than patience with its rendition of plaintive and tremulous melodies of a bygone period, tunes which one more familiar with the cant of the theatre would unhesitatingly have classified as "sob stuff," and to which nobody appeared to be paying any attention whatever.

Mystified to the point of fascination, she studied the musicians individually.

The pianist, perched sideways on his stool and fingering the keyboard of an antique upright without once looking at the music on its rack, as often as not played with one hand only, using the other to manipulate a cigarette which he was smoking in open defiance of the many posted notices that forbade this practice.

The violinist, stretched out with ankles crossed, occupied a common kitchen chair which his body touched at two places only, with the end of his spine and the nape of his neck. His eyes were half-shut, his bowing suggested the performance of a somnambulist.

The 'cellist, too, seemed to be saved from falling forward from his chair solely by the instrument which his knees embraced. His head drowsily nodding to the time, the fingers of his left hand automatically stopped the strings at which his right arm sawed methodically. An honest soul, a journeyman who for a set wage had contracted to saw so many chords of music before the whistle blew and was honestly bent on doing his stint…

Mr. Lane, having excused himself for a moment, returned from consulting some member of the group round the tripod.

"'Sall right," he announced with a happy smile. "They won't begin shooting a while yet. You can come closer if you want, I'll show you where to stay so's you won't be in the way."

Guided by him, the exotics gingerly picked their way across the banks, coils, loops and strands of electric cable that ran in snaky confusion all over the floor, like exposed viscera of the cinema; and Lucinda presently found herself on the side lines of the living-room, between it and the dogged orchestra, and well out of range of the camera.

She could now see three people on the set, two men with a girl whom, thanks to the wide circulation of the lady's photographs, she had no difficulty in identifying as Alma Daley herself – a prepossessing young person with bobbed hair, a boldly featured face, comely in the flesh rather than pretty, and a slight little body whose emaciation told a tale of too-rigorous dieting and which she used not unpleasingly but with a rather fetching effect of youthful gaucherie. Her make-up for the camera was much lighter and more deftly applied than seemed to be the rule. Gowned effectively if elaborately in a street dress hall-marked by the rue de la Paix, she was leaning against a table and lending close if fatigued attention to the quiet conversation of the two men.

Of these one was tall and dark, with a thick mane of wavy black hair, a wide and mobile mouth, and great, melancholy eyes. His well-tailored morning-coat displayed to admiration a splendid torso. The other was a smaller, indeed an undersized man, who wore a braided smoking-jacket but no paint on his pinched, weather-worn face of an actor. His manner was intense and all his observations (and he was doing most of the talking) were illustrated by gesticulation almost Latin in its freedom and vividness.

"King Laughlin," Mr. Culp's secretary informed Lucinda – "man in the smoking-jacket, he always wears one when he's working – greatest emotional director in the business, nobody can touch him. Why, alongside him, Griffith's a joke in a back number of Judge. You wouldn't guess what he gets: thirty-five hundred."

"That's almost a thousand a week, isn't it?"

"Thousand a week!" Mr. Lane suspiciously inspected Lucinda's profile. Could it be possible that this well-born lady was trying to kid him? But no; he could see she was quite guileless. In accents of some compassion he corrected: "Three-thousand five-hundred every week's what King Laughlin drags down in the little old pay envelope. But that's Mr. Culp all over; expense's no object when he's making an Alma Daley picture, nothing's too good."

"I'm sure…" Lucinda agreed vaguely.

Out of the corner of an eye the director had become aware of a new audience and one worthy of his mettle, and he was already preparing to play up to it. Dropping the easy, semi-confidential manner in which he had been advising the younger and taller man, with surprising animation Mr. King Laughlin snatched a silk hat and stick from the other's unresisting hands.

"Right-O, Tommy!" he said in the nasal tone of the English Midlands. "I think you've got me now, but just to make sure I'll walk through it with Alma." He turned graciously to the woman: "Now, Alma dear…"

Miss Daley, herself not unconscious of a fashionable gallery, shrugged slightly to signify that she didn't mind if Mr. Laughlin thought it really worth while, it was all in the day's drudgery, and made a leisurely exit from the set by way of a door in its right-hand wall. At the same time Mr. Laughlin walked off by a door approximately opposite, and the young man in the morning-coat strolled down to the front of the set and settled himself to observe and absorb the impending lesson.

Mr. Laughlin then re-entered in character as a dégagé gentleman with an uneasy conscience, indicating this last by stealthily opening and peering round the edge of the door before coming in and closing it with caution, and gentility by holding hat and stick in one hand and carelessly trailing the ferrule of the stick behind him. Relieved to find the room untenanted, he moved up to the table, placed the hat on it crown-down, propped the stick against it, turned and gave the door in the right-hand wall a hard look, then bent over the table and pulled out and began to ransack one of its drawers. Thus engaged, he said clearly: "All right, Alma!" and immediately gave a start, whereby it appeared that he had heard footfalls off, and slammed the drawer. At this Miss Daley entered, a listless little figure so preoccupied with secret woe that she quite failed at first to see Mr. Laughlin, and when she did gave a start even more violent than his had been, clasping both hands to her bosom and crying out in a thrilling voice: "Egbert!"

Mr. Laughlin kept his temper admirably under the sting of this epithet; all the same, anyone could see he didn't fancy it a bit. However, first and always the gentleman, he offered Miss Daley a magnanimous gesture of outstretched hands. Instantly the poor girl's face brightened with a joyous smile, a happy cry trembled upon her lips as she ran to his arms. He enfolded her, with a fond hand ground her features into the shoulder of his smoking-jacket, and turned his own toward the camera, working them into a cast of bitter anguish.

Gently rescuing herself, Miss Daley discovered Egbert's hat and stick, turned to him and looked him up and down with dawning horror, audibly protesting: "But Egbert! you are going out!" He attempted a disclaimer, but it wouldn't wash, the evidence of the top hat and the smoking-jacket was too damning; and in the end he had to give in and admit that, well, yes, he was going out, and what of it.

Evidently Miss Daley knew any number of reasons why he ought to stay in, but she made the grave mistake of trying to hold him with affection's bonds, throwing herself upon his neck and winding her arms tightly round it. And that was too much: Egbert made it clear that, while he'd stand a lot from a woman to whom he was Everything, there was such a thing as piling it on too thick. And against her frenzied resistance he grasped her frail young wrists, brutally broke her embrace, and flung her from him. She fell against the table, threw back her head to show the pretty line of her throat, clutched convulsively at her collar-bone, and subsided upon the floor in a fit of heart-broken sobbing; while Egbert callously took his hat, clapped it on his head, and marched out by a door in the rear wall, his dignity but slightly impaired by the fact that the hat was several sizes too large and would have extinguished him completely if it hadn't been for his noble ears.

Without pause Mr. Laughlin doubled round to the front of the set, threw the waiting actor a brusque "See, Tommy? Get what I mean?" and encouraged Miss Daley with "That's wonderful, Alma dear. Now go on, right through the scene."

Miss Daley, lying in complete collapse, with her head to the camera, writhed up on an elbow, planted her hands upon the floor and by main strength pushed her heaving shoulders away from it, keeping a tortured face turned to the camera throughout. Then she got her second wind, caught hold of the edge of the table, pulled herself up, looked around wildly, realized that she was a deserted woman, saw her hat by Tappé hanging on the back of a morris-chair by Ludwig Baumann, seized it, rushed to the door by which Egbert had escaped, and threw herself out in pursuit.

Mr. Laughlin clapped gleeful hands.

"Fine, Alma, wonderful! You're simply marvelous today, dear. Now Tommy, run through it just once with Alma, and then we'll shoot."

Mr. Lane bustled about and found chairs for Lucinda and her friends, upon which they composed themselves to watch Tommy interpret Mr. King Laughlin's tuition in the art of acting for the screen.

To the best of Lucinda's judgment, however, the greater part of Mr. Laughlin's efforts had meant to Tommy precisely nothing at all. Beyond the rudimentary mechanics of the physical action sketched in by the director, Tommy made no perceptible attempt to follow pattern, and disregarding entirely its conventional but effective business, embellished the scene instead with business which was, such as it was, all his own, or more accurately that of a dead era of the speaking stage.

Like a wraith of histrionism recalled from the theatre of East Lynne and The Silver King, Tommy carved out his effects with flowing, florid gestures, and revived the melodramatic stride and heroic attitudinizing; and though he wilfully made faces at the camera throughout, he demonstrated the deep veneration in which he really held it by never once showing it his back, until, having duly spurned the clinging caresses of Miss Daley, he was obliged to march to the door, and even then he made occasion to pause with a hand on the knob and, throwing out his chest and fretfully tossing rebellious black locks from tragic brows, granted the camera the boon of one last, long look at him ere making his exit.

And when Mr. Laughlin tranquilly approved this performance and announced that they would forthwith "shoot it," Lucinda began to wonder if there were possibly something wrong with her own powers of observation.

"But," she protested to Mr. Lane, who had coolly elected himself her special squire and placed his chair close to hers – "that man they call Tommy – he didn't play the scene as Mr. Laughlin did."

"Oh, Tommy Shannon!" said Mr. Lane equably – "Tommy's all right, he knows what he's doing – best leading man in the movin' picture business, bar none. King Laughlin knows he can trust Tommy to put it over his own way. All you got to do is to let Tommy Shannon alone and he'll ring the gong every shot."

"But if that's the case, why did Mr. Laughlin take so much trouble to show him – ?"

"Well, you see, it's this way," Mr. Lane explained: "King's all right, and Tommy's all right, too, both stars in their line; but if Tommy don't see a scene the way King shows him, and King starts to bawl him out, why, Tommy'll just walk off the lot. And then where are you? You can't finish your picture without your leading man, can you? And there's maybe a hundred-and-fifty or two-hundred thousand dollars invested in this production already. One of the first things a director's got to learn in this game is how to handle actors. That's where King Laughlin's so wonderful, he never had an actor quit on him yet."

"I see," said Lucinda thoughtfully. "The way to handle an actor is to let him have his own way."

"You got the idea," Mr. Lane approved without a smile.

"But suppose," she persisted – "suppose the leading man insists on doing something that doesn't suit the part he's supposed to play, I mean something so utterly out of character that it spoils the story?"

"Sure, that happens sometimes, too."

"What do you do then?"

"That's easy. What's your continuity writer for?"

"I don't know, Mr. Lane. You see, I don't even know what a continuity writer is."

"Why, he's the bird dopes out the continuity the director works from – you know, the scenes in a picture, the way they come out on the screen: Scene One, Scene Two, and all like that."