At Springfield, on Monday afternoon, "The Lie" was presented in a manner of unpardonable crudity. Quard forgot his lines and extemporized and "gagged" desperately to cover the consequent breaks in the dialogue; leaving poor Joan hopelessly at sea, floundering for cues that were never uttered.
At the last moment it was discovered that nothing had been provided to simulate, at the beginning of the second scene, the sound of a clock striking twelve, off-stage. The property man could offer nothing better than an iron crowbar and a hammer; the twelve strokes, consequently, resembled nothing in the world other than a wholly untemperamental crowbar banged by a dispassionate hammer. Fortunately, the effect was so thin and dead that it convulsed only the first few rows of the orchestra.
The light cues went wrong when they were not altogether ignored; and once, when Joan having indicated in a brief soliloquy her depression on being left alone in the gloomy house, gave the cue "I must have more light," at the same time touching a property switch on the wall, every light in the house other than the red "exit" lamps was "blacked out." And at all other times the required changes either anticipated or dragged far behind their cues.
The Thief forgot to load his revolver, with the result that Quard fired the only shot in their duel—and then fell dead. This so rattled David that he anticipated his first entrance and rushed on the stage only to back off precipitately while Joan was urging the Thief to go and leave her to shoulder his crime.
The only misadventure that failed to attend upon the performance was a traditional one of the stage: the theatre cat by some accident did not walk upon the scene at a climax and seat itself before the footlights to wash its face.
Nevertheless the sketch "got over" at the matinée, receiving three curtain calls; and at night—when the little company, conscious of its crimes, pulled itself together and acted with an intensity of effort only equalled by that of its first performance in New York—the house gave the piece a rousing reception.
Thereafter they played it well and consistently, with increasing assurance as days passed and use bred the habit in them all.
On Thursday Quard heard from Boskerk, and announced that the company would return to New York the following Monday to play a six weeks\' engagement in the Percy Williams houses, beginning with a fortnight in Manhattan and winding up in Greenpoint, Long Island. He added that Boskerk was busy arranging a subsequent tour which would take them to the Pacific Coast and back. He did not add that the agent had successfully demanded as much as four hundred and fifty dollars a week for the offering from many of the more prosperous houses on their list; from which figure the price ranged down to as little as three hundred in some of the smaller inland towns. But even at this minimum, Quard had so scaled his salary list, contrary to his representations to Joan, that his gross weekly profit (excluding personal living expenses) would seldom be less than one hundred dollars a week.
Back in New York, Joan established herself temporarily at a small and very poor hotel on the west side of Harlem. Since their engagement took her no farther south than Sixty-third Street and Broadway during its first week, and the second week was played at One-hundred-and-twenty-sixth Street and Seventh Avenue, she felt tolerably insured against meeting either Matthias or any member of her own family.
She really meant to go home some time and see how her mother and Edna were doing, but from day to day put it off, if with no better excuse on the ground that she was too tired and too busy.
As a matter of fact she was in the habit of waking up at about ten, but never rose until noon; spent the hours between three and four and nine and ten in the theatre; and was ordinarily abed by half-past twelve or one o\'clock. Up to the matinée hour, and between that and the night, she managed without great difficulty to kill time, spending a deal of it, and a fair proportion of her earnings, in the uptown department stores. She dined with Quard quite frequently, and almost invariably after the last performance they supped together, often in company with friends of his—for the most part vaudeville people whom he had previously known or with whom he struck up fervent, facile friendships of a week\'s duration.
They were a quaint, scandalous crew, feather-brained, irresponsible and, most of them, destitute of any sort of originality; but their spirits were high as long as they had a pay-day ahead, their tongues were quick with the patter of the circuits, and their humour was of an order new and vastly diverting to Joan. She had with them what she called a good time, and soon learned to look leniently upon the irregular lives of some who entertained her. Once or twice she was invited to "parties", sociable gatherings in flats rented furnished, at which she learned to regard the consumption of large quantities of bottled beer as a polite and even humorous accomplishment, and to permit a degree of freedom in song and joke and innuendo that would have seemed impossible in another environment.
Probably she would have felt less tolerant of these matters had Quard betrayed the least tendency to "fall off the wagon." But in her company, at least, he refrained sedulously from drink; and since his was one of those constitutions whose normal vitality is so high and constant that alcohol benumbs rather than stimulates its functions, he shone the more by contrast with their occasionally befuddled companions.
Joan admired him intensely for the steadfastness of his stand, and still more when she saw how established was the habit of regular if not always heavy drinking in the world of their peers. No one but herself pretended for a moment to regard the reformation of Quard as anything but a fugitive whim; and now and again she was made aware that his abstinence was resented. She once heard him contemptuously advised to "chuck the halo and kick in and get human again." At another time he explained a false excuse given in her presence for refusing an invitation: "It\'s no use trying to travel with that gang unless you\'re boozing. They got no use for me unless I\'m willing to get an edge on. What\'s the use?"
There was a surliness, a resentment underlying his tone. Intuitively Joan bristled.
"No use," she said sharply. "You know what you\'re up against better than they do. You\'ve got to stick to the soft stuff if you want to keep going."
"Oh, I know," he grumbled. "But it ain\'t as easy as you\'d think."
"All right," she retorted calmly; "but I give you fair warning, I\'ll quit you the very first time you come around with so much as a whiff of the stuff on you."
"You don\'t have to worry," he responded. "I\'m on all right.... But," he added abruptly, "you needn\'t run away with any notion this piece would head for the storehouse if you was to quit it. The woods are full of girls who\'d jump at your chance."
Joan answered only with an enigmatic smile. It is doubtful if Quard himself realized, just then, as keenly as the girl did, the depth and strength of his infatuation.
But Joan did not doubt her power. Neither did she overestimate it.
It was toward the end of their "time" in New York that she learned of the failure of "The Jade God," the information coming to her through the medium of one of those coincidences which would be singular anywhere but on the stage. An actress in a farcical sketch, which followed the intermission preceded by "The Lie," was assigned to use Joan\'s dressing-room when the latter was through with it. Naturally, the two struck up a chatting acquaintance. Joan one time replied to a question with the information that "The Lie" was booked for the Pacific Coast, and (Matthias in mind) confessed to some curiosity regarding Los Angeles. The other actress admitted ignorance of the West, but had only that morning received a letter from a sister who was playing with the Algerson stock company in Los Angeles. The letter contained a clipping describing the immediate and disastrous collapse of "The Jade God," which had been withdrawn after its third repetition. Reading the review, Joan was puzzled to recognize some of its references; she was fairly familiar with the play, but here and there she encountered strictures which seemed to involve scenes she couldn\'t remember. But of the fact of the failure there could be no doubt.
She was genuinely sorry. Her first impulse was to seek Matthias, if he were in town, and tell him of her sympathy; her second (discarded with even less ceremony than the first) to write to him. Two things held her back: sheer moral cowardice, that would not let her face the man whom she had failed even as had his play; and the impossibility of explaining that she loved the stage more than him or anything else in the world—except his ring. And while she never faltered from meaning to return this last "before long," she could not yet bring herself to part with it. Always it was with her, on her finger when at home and alone, in her pocket-book when abroad or with Quard; still in her imagination retaining something of its vaguely talismanic virtue; standing to her for something fanciful and magic, which she could not name, a visible token of the mystical powers that worked for her good fortune....
It was mid-October: sweetest of all seasons in New York; a time of early evenings and long, clear gloamings beneath skies of exquisite suavity and depth; of crisp and heady days whose air is wine in a crystal chalice; when thoughts are long and sweet, gentle with the beauty and the sadness of aging autumn.
At the first hint of winter Joan\'s heart turned in longing to the thought of furs. She wasted hours studying advertisements, and many more going from place to place, examining, rejecting, coveting. Her fancy was not modest: a year ago she would have been delighted with the meanest strip of squirrel for a neckpiece; today she felt a little ashamed even to price the less expensive furs, and would make no attempt to purchase until she had saved up enough money to meet her desires.
And then, one morning—they were playing at the Orpheum Theatre in Brooklyn—a messenger brought her a package from one of the Fulton Street stores and required a signed receipt. It contained a handsome coat of imitation seal with a collar of rich black fur and lined with golden brocade. Fitting her perfectly, it enclosed her in generous warmth from throat to ankle. Accompanying it was the card of "Mr. Charles Harborough Quard, Presenting \'The Lie,\' the Sketch Sensation of the Year, Address c/o Jas. K. Boskerk, St. James Building, N.Y."
Not since that day when she had received his ring from Matthias had she been so happy.
Meeting Quard in the gangway outside her dressing-room, before the matinée performance, she showed her gratitude by lifting her face for his kiss.
In the world in which they existed, kisses were commonplaces, quite perfunctory, of little more significance than a slap on the shoulder between acquaintances. Not so Joan\'s: she had set a value upon her caresses, a standard peculiarly inflexible with respect to Quard. None the less, this was not the second time he had known her lips. But the occasion was one rare enough to render him appreciative.
He wound an arm round her, and held her tight.
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