Kitabı oku: «The Destroying Angel», sayfa 4

Whitaker stared. "Drummond? Not really?"

Drummond acknowledged his guilt brazenly: "Next week, in fact."

"But why didn't you say anything about it?"

"You didn't give me an opening. Besides, to welcome a deserter from the Great Beyond is enough to drive all other thoughts from a man's mind."

"There's to be a supper in honour of the circumstances, at the Beaux Arts to-night," supplemented Max. "You'll come, of course."

"Do you think you could keep me away with a dog?"

"Wouldn't risk spoiling the dog," said Drummond. He added with a tentative, questioning air: "There'll be a lot of old-time acquaintances of yours there, you know."

"So much the better," Whitaker declared with spirit. "I've played dead long enough."

"As you think best," the lawyer acceded. "Midnight, then – the Beaux Arts."

"I'll be there – and furthermore, I'll be waiting at the church a week hence – or whenever it's to come off. And now I want to congratulate you." Whitaker held Drummond's hand in one of those long, hard grips that mean much between men. "But mostly I want to congratulate her. Who is she?"

"Sara Law," said Drummond, with pride in his quick color and the lift of his chin.

"Sara Law?" The name had a familiar ring, yet Whitaker failed to recognize it promptly.

"The greatest living actress on the English-speaking stage," Max announced, preening himself importantly. "My own discovery."

"You don't mean to say you haven't heard of her. Is New Guinea, then, so utterly abandoned to the march of civilization?"

"Of course I've heard – but I have been out of touch with such things," Whitaker apologized. "When shall I see her?"

"At supper, to-night," said the man of law. "It's really in her honour – "

"In honour of her retirement," Max interrupted, fussing with a gardenia on his lapel. "She retires from the stage finally, and forever – she says – when the curtain falls to-night."

"Then I've got to be in the theatre to-night – if that's the case," said Whitaker. "It isn't my notion of an occasion to miss."

"You're right there," Max told him bluntly. "It's no small matter to me – losing such a star; but the world's loss of its greatest artist —ah!" He kissed his finger-tips and ecstatically flirted the caress afar.

"'Fraid you won't get in, though," Drummond doubted darkly. "Everything in the house for this final week was sold out a month ago. Even the speculators are cleaned out."

"Tut!" the manager reproved him loftily. "Hugh is going to see Sara Law act for the last time from my personal box – aren't you, Hugh?"

"You bet I am!" Whitaker asserted with conviction.

"Then come along." Max caught him by the arm and started for the door. "So long, Drummond…"

VI
CURTAIN

Nothing would satisfy Max but that Whitaker should dine with him. He consented to drop him at the Ritz-Carlton, in order that he might dress, only on the condition that Whitaker would meet him at seven, in the white room at the Knickerbocker.

"Just mention my name to the head waiter," he said with magnificence; "or if I'm there first, you can't help seeing me. Everybody knows my table – the little one in the southeast corner."

Whitaker promised, suppressing a smile; evidently the hat was not the only peculiarity of Mr. Hammerstein's that Max had boldly made his own.

Max surprised him by a shrewd divination of his thoughts. "I know what you're thinking," he volunteered with an intensely serious expression shadowing his pudgy countenance; "but really, my dear fellow, it's good business. You get people into the habit of saying, 'There's Max's table,' and you likewise get them into the habit of thinking of Max's theatre and Max's stars. As a matter of fact, I'm merely running an immense advertising plant with a dramatic annex."

"You are an immense advertisement all by your lonesome," Whitaker agreed with a tolerant laugh, rising as the car paused at the entrance of the Ritz.

"Seven o'clock – you won't fail me?" Max persisted. "Really, you know, I'm doing you an immense favour – dinner – a seat in my private box at Sara Law's farewell performance – "

"Oh, I'm thoroughly impressed," Whitaker assured him, stepping out of the car. "But tell me – on the level, now – why this staggering condescension?"

Max looked him over as he paused on the sidewalk, a tall, loosely built figure attired impeccably yet with an elusive sense of carelessness, his head on one side and a twinkle of amusement in his eyes. The twinkle was momentarily reflected in the managerial gaze as he replied with an air of impulsive candour: "One never can tell when the most unlikely-looking material may prove useful. I may want to borrow money from you before long. If I put you under sufficient obligation to me, you can't well refuse… Shoot, James!"

The latter phrase was Max's way of ordering the driver to move on. The car snorted resentfully, then pulled smoothly and swiftly away. Max waved a jaunty farewell with a lemon-coloured hand, over the back of the tonneau.

Whitaker went up to his room in a reflective mood in which the theatrical man had little place, and began leisurely to prepare his person for ceremonious clothing – preparations which, at first, consisted in nothing more strenuous than finding a pipe and sitting down to stare out of the window. He was in no hurry – he had still an hour and a half before he was due at the Knickerbocker – and the afternoon's employment had furnished him with a great deal of material to stimulate his thoughts.

Since his arrival in New York he had fallen into the habit of seeking the view from his window when in meditative humour. The vast sweep of gullied roofs exerted an almost hypnotic attraction for his eyes. They ranged southward to the point where vision failed against the false horizon of dull amber haze. Late sunlight threw level rays athwart the town, gilding towering westerly walls and striking fire from all their windows. Between them like deep blue crevasses ran the gridironed streets. The air was moveless, yet sonorously thrilled with the measured movement of the city's symphonic roar. Above the golden haze a drift of light cloud was burning an ever deeper pink against the vault of robin's-egg blue.

A view of ten thousand roofs, inexpressibly enchaining… Somewhere – perhaps – in that welter of steel and stone, as eternal and as restless as the sea, was the woman Whitaker had married, working out her lonely destiny. A haphazard biscuit tossed from his window might fall upon the very roof that sheltered her: he might search for a hundred years and never cross her path.

He wondered…

More practically he reminded himself not to forget to write to Mrs. Pettit. He must try to get the name of the firm of private detectives she had employed, and her permission to pump them; it might help him, to learn the quarters wherein they had failed.

And he must make an early opportunity to question Drummond more closely; not that he anticipated that Drummond knew anything more than he had already disclosed – anything really helpful at all events.

His thoughts shifted to dwell temporarily on the two personalities newly introduced into his cosmos, strikingly new, in spite of the fact that they had been so well known to him of old. He wondered if it were possible that he seemed to them as singularly metamorphosed as they seemed to him – superficially if not integrally. He had lost altogether the trick of thinking in their grooves, and yet they seemed very human to him. He thought they supplemented one another somewhat weirdly: each was at bottom what the other seemed to be. Beneath his assumption, for purposes of revenue only, of outrageous eccentricities, Jules Max was as bourgeois as César Birotteau; beneath his assumption of the steady-going, keen, alert and conservative man of affairs, Drummond was as romantic as D'Artagnan. But Max had this advantage of Drummond: he was not his own dupe; whereas Drummond would go to his grave believing himself bored to extinction by the commonplaceness of his fantastical self…

Irresponsibly, his reverie reëmbraced the memory he had of the woman who alone held the key to his matrimonial entanglement. The business bound his imagination with an ineluctable fascination. No matter how far his thoughts wandered, they were sure to return to beat themselves to weariness against that hard-faced mystery, like moths bewitched by the light behind a clouded window-glass. It was very curious (he thought) that he could be so indifferent and so interested at one and the same time. The possibility that she might have married a second time did not disturb his pulse by the least fraction of a beat. He even contemplated the chance that she might be dead with normal equanimity. Fortunate, that he didn't love her. More fortunate still, that he loved no one else.

It occurred to him suddenly that it would take a long time for a letter to elicit information from Berlin.

Incontinently he wrote and despatched a long, extravagant cablegram to Mrs. Pettit in care of the American Embassy, little doubting that she would immediately answer.

Then he set whole-heartedly about the business of making himself presentable for the evening.

When eventually he strode into the white room, Max was already established at the famous little table in the southeast corner. Whitaker was conscious of turning heads and guarded comment as he took his place opposite the little fat man.

"Make you famous in a night," Max assured him importantly. "Don't happen to need any notoriety, do you?"

"No, thanks."

"Dine with me here three nights hand-running and they'll let you into the Syndicate by the back door without even asking your name. P.T.A.'s one grand little motto, my boy."

"P.T.A.?"

"Pays to advertise. Paste that in your hat, keep your head small enough to wear it, and don't givadam if folks do think you're an addle-pated village cut-up, and you'll have this town at heel like a good dog as long as – well," Max wound up with a short laugh, "as long as your luck lasts."

"Yours seems to be pretty healthy – no signs of going into a premature decline."

"Ah!" said Max gloomily. "Seems!"

With a morose manner he devoted himself to his soup.

"Look me over," he requested abruptly, leaning back. "I guess I'm some giddy young buck, what?"

Whitaker reviewed the striking effect Max had created by encasing his brief neck and double chin in an old-fashioned high collar and black silk stock, beneath which his important chest was protected by an elaborately frilled shirt decorated with black pearl studs. His waist was strapped in by a pique waistcoat edged with black, and there was a distinctly perceptible "invisible" stripe in the material of his evening coat and trousers.

"Dressed up like a fool," Max summed up the ensemble before his guest could speak. "Would you believe that despair could gnaw at the vitals of any one as wonderfully arrayed?"

"I would not," Whitaker asserted.

"Nobody would," said Max mournfully. "And yet, 'tis true."

"Meaning – ?"

"Oh, I'm just down in the mouth because this is Sara's last appearance." Max motioned the waiter to remove the débris of a course. "I'm as superstitious as any trouper in the profession. I've got it in my knob that she's my mascot. If she leaves me, my luck goes with her. I never had any luck until she came under my management, and I don't expect to have any after she retires. I made her, all right, but she made me, too; and it sprains my sense of good business to break up a paying combination like that."

"Nonsense," Whitaker contended warmly. "If I'm not mistaken, you were telling me this afternoon that you stand next to Belasco as a producing manager. The loss of one star isn't going to rob you of that prestige, is it?"

"You never can tell," the little man contended darkly; "I wouldn't bet thirty cents my next production would turn out a hit."

"What will it cost – your next production?"

"The show I have in mind – " Max considered a moment then announced positively: "between eighteen and twenty thousand."

"I call that big gambling."

"Gambling? Oh, that's just part of the game. I meant a side bet. If the production flivvers, I'll need that thirty cents for coffee and sinkers at Dennett's. So I won't bet… But," he volunteered brightly, "I'll sell you a half interest in the show for twelve thousand."

"Is that a threat or a promise?"

"I mean it," Max insisted seriously; "though I'll admit I'm not crazy about your accepting – yet. I've had several close calls with Sara – she's threatened to chuck the stage often before this; but every time something happened to make her change her mind. I've got a hunch maybe something will happen this time, too. If it does, I won't want any partners."

Whitaker laughed quietly and turned the conversation, accepting the manager's pseudo-confidences at their face value – that is, as pure bluff, quite consistent with the managerial pose.

They rose presently and made their way out into the crowded, blatant night of Broadway.

"We'll walk, if you don't mind," Max suggested. "It isn't far, and I'd like to get a line on the house as it goes in." He sighed affectedly. "Heaven knows when I'll see another swell audience mobbing one of my attractions!"

His companion raised no objection. This phase of the life of New York exerted an attraction for his imagination of unfailing potency. He was more willing to view it afoot than from the windows of a cab.

They pushed forward slowly through the eddying tides, elbowed by a matchless motley of humanity, deafened by its thousand tongues, dazzled to blindness by walls of living light. Whitaker experienced a sensation of participating in a royal progress: Max was plainly a man of mark; he left a wake of rippling interest. At every third step somebody hailed him, as a rule by his first name; generally he responded by a curt nod and a tightening of his teeth upon his cigar.

They turned east through Forty-sixth Street, shouldered by a denser rabble whose faces, all turned in one direction, shone livid with the glare of a gigantic electric sign, midway down the block:

THEATRE MAX

SARA LAW'S

FAREWELL

It was nearly half-past eight; the house had been open since seven; and still a queue ran from the gallery doors to Broadway, while still an apparently interminable string of vehicles writhed from one corner to the lobby entrance, paused to deposit its perishable freight, and streaked away to Sixth Avenue. The lobby itself was crowded to suffocation with an Occidental durbar of barbaric magnificence, the city's supreme manifestation of its religion, the ultimate rite in the worship of the pomps of the flesh.

"Look at that," Max grumbled through his cigar. "Ain't it a shame?"

"What?" Whitaker had to lift his voice to make it carry above the buzzing of the throng.

"The money I'm losing," returned the manager, vividly disgusted. "I could've filled the Metropolitan Opera House three times over!"

He swung on his heel and began to push his way out of the lobby. "Come along – no use trying to get in this way."

Whitaker followed, to be led down a blind alley between the theatre and the adjoining hotel. An illuminated sign advertised the stage door, through which, via a brief hallway, they entered the postscenium – a vast, cavernous, cluttered, shadowy and draughty place, made visible for the most part by an unnatural glow filtering from the footlights through the canvas walls of an interior set. Whitaker caught hasty glimpses of stage-hands idling about; heard a woman's voice declaiming loudly from within the set; saw a middle-aged actor waiting for his cue beside a substantial wooden door in the canvas walls; and – Max dragging him by the arm – passed through a small door into the gangway behind the boxes.

"Curtain's just up," Max told him; "Sara doesn't come on till near the middle of the act. Make yourself comfortable; I'll be back before long."

He drew aside a curtain and ushered his guest into the right-hand stage-box, then vanished. Whitaker, finding himself the sole occupant of the box, established himself in desolate grandeur as far out of sight as he could arrange his chair, without losing command of the stage. A single glance over the body of the house showed him tier upon tier of dead-white shirt-bosoms framed in black, alternating with bare gleaming shoulders and dazzling, exquisite gowns. The few empty stalls were rapidly filling up. There was a fluent movement through the aisles. A subdued hum and rustle rose from that portion of the audience which was already seated. The business going on upon the stage was receiving little attention – from Whitaker as little as from any one. He was vaguely conscious only of a scene suggesting with cruel cleverness the interior of a shabby-genteel New York flat and of a few figures peopling it, all dominated by a heavy-limbed, harsh-voiced termagant. That to which he was most sensitive was a purely psychological feeling of suspense and excitement, a semi-hysterical, high-strung, emotional state which he knew he shared with the audience, its source in fact. The opening scene in the development of the drama interested the gathering little or not at all; it was hanging in suspense upon the unfolding of some extraordinary development, something unprecedented and extraneous, foreign to the play.

Was it due simply to the fact that all these people were present at the last public appearance – as advertised – of a star of unusual popularity? Whitaker wondered. Or was there something else in their minds, something deeper and more profoundly significant?

Max slipped quietly into the box and handed his guest a programme. "Better get over here," he suggested in a hoarse whisper, indicating a chair near the rail. "You may never have another chance to see the greatest living actress."

Whitaker thanked him and adopted the suggestion, albeit with reluctance. The manager remained standing for a moment, quick eyes ranging over the house. By this time the aisles were all clear, the rows of seats presenting an almost unbroken array of upturned faces.

Max combined a nod denoting satisfaction with a slight frown.

"Wonderful house," he whispered, sitting down behind Whitaker. "Drummond hasn't shown up yet, though."

"That so?" Whitaker returned over his shoulder.

"Yes; it's funny; never knew him to be so late. He always has the aisle seat, fourth row, centre. But he'll be along presently."

Whitaker noted that the designated stall was vacant, then tried to fix his attention upon the stage; but without much success; after a few moments he became aware that he had missed something important; the scene was meaningless to him, lacking what had gone before.

He glanced idly at his programme, indifferently absorbing the information that "Jules Max has the honour to present Miss Sara Law in her first and greatest success entitled Joan Thursday – a play in three acts – "

The audience stirred expectantly; a movement ran through it like the movement of waters, murmurous, upon a shore. Whitaker's gaze was drawn to the stage as if by an implacable force. Max shifted on the chair behind him and said something indistinguishable, in an unnatural tone.

A woman had come upon the stage, suddenly and tempestuously, banging a door behind her. The audience got the barest glimpse of her profile as, pausing momentarily, she eyed the other actors. Then, without speaking, she turned and walked up-stage, her back to the footlights.

Applause broke out like a thunderclap, pealing heavily through the big auditorium, but the actress showed no consciousness of it. She was standing before a cheap mirror, removing her hat, arranging her hair with the typical, unconscious gestures of a weary shop-girl; she was acting – living the scene, with no time to waste in pandering to her popularity by bows and set smiles; she remained before the glass, prolonging the business, until the applause subsided.

Whitaker received an impression as of a tremendous force at work across the footlights. The woman diffused an effect as of a terrible and boundless energy under positive control. She was not merely an actress, not even merely a great actress; she was the very soul of the drama of to-day.

Beyond this he knew in his heart that she was his wife. Sara Law was the woman he had married in that sleepy Connecticut town, six years before that night. He had not yet seen her face clearly, but he knew. To find himself mistaken would have shaken the foundations of his understanding.

Under cover of the applause, he turned to Max.

"Who is that? What is her name?"

"The divine Sara," Max answered, his eyes shining.

"I mean, what is her name off the stage, in private life?"

"The same," Max nodded with conviction; "Sara Law's the only name she's ever worn in my acquaintance with her."

At that moment, the applause having subsided to such an extent that it was possible for her to make herself heard, the actress swung round from the mirror and addressed one of the other players. Her voice was clear, strong and vibrant, yet sweet; but Whitaker paid no heed to the lines she spoke. He was staring, fascinated, at her face.

Sight of it set the seal of certainty upon conviction: she was one with Mary Ladislas. He had forgotten her so completely in the lapse of years as to have been unable to recall her features and colouring, yet he had needed only to see to recognize her beyond any possibility of doubt. Those big, intensely burning eyes, that drawn and pallid face, the quick, nervous movements of her thin white hands, the slenderness of her tall, awkward, immature figure – in every line and contour, in every gesture and inflection, she reproduced the Mary Ladislas whom he had married.

And yet … Max was whispering over his shoulder:

"Wonderful make-up – what?"

"Make-up!" Whitaker retorted. "She's not made up – she's herself to the last detail."

Amusement glimmered in the manager's round little eyes: "You don't know her. Wait till you get a pipe at her off the stage." Then he checked the reply that was shaping on Whitaker's lips, with a warning lift of his hand and brows: "Ssh! Catch this, now. She's a wonder in this scene."

The superb actress behind the counterfeit of the hunted and hungry shop-girl was holding spell-bound with her inevitable witchery the most sophisticated audience in the world; like wheat in a windstorm it swayed to the modulations of her marvellous voice as it ran through a passage-at-arms with the termagant. Suddenly ceasing to speak, she turned down to a chair near the footlights, followed by a torrent of shrill vituperation under the lash of which she quivered like a whipped thoroughbred.

Abruptly, pausing with her hands on the back of the chair, there came a change. The actress had glanced across the footlights; Whitaker could not but follow the direction of her gaze; the eyes of both focussed for a brief instant on the empty aisle-seat in the fourth row. A shade of additional pallor showed on the woman's face. She looked quickly, questioningly, toward the box of her manager.

Seated as he was so near the stage, Whitaker's face stood out in rugged relief, illumined by the glow reflected from the footlights. It was inevitable that she should see him. Her eyes fastened, dilating, upon his. The scene faltered perceptibly. She stood transfixed…

In the hush Max cried impatiently: "What the devil!" The words broke the spell of amazement upon the actress. In a twinkling the pitiful counterfeit of the shop-girl was rent and torn away; it hung only in shreds and tatters upon an individuality wholly strange to Whitaker: a larger, stronger woman seemed to have started out of the mask.

She turned, calling imperatively into the wings: "Ring down!"

Followed a pause of dumb amazement. In all the house, during the space of thirty pulse-beats, no one moved. Then Max rapped out an oath and slipped like quicksilver from the box.

Simultaneously the woman's foot stamped an echo from the boards.

"Ring down!" she cried. "Do you hear? Ring down!"

With a rush the curtain descended as pandemonium broke out on both sides of it.