FullReads

They didn’t notice she was standing!

“What are you doing, Miss–ah–Fuller? Yes, you did say Fuller. Names—- Are you doing a dowager bit?”

“Dowager bit?”

“I see. You’re new to the game, aren’t you? I saw you working to-day. We always speak of these black-velvet parts as dowager bits. Just excuse me. I see a friend of mine—-” The friend of mine would be a willow wand with golden curls, and what Harrietta rather waspishly called a Gunga Din costume. She referred to that Kipling description in which:

The uniform ‘e wore Was nothin’ much before, An’ rather less than ‘arf o’ that be’ind.

“They’re wearing them that way here in Hollywood,” she wrote Ken. She wrote Ken a good many things. But there were, too, a good many things she did not write him.

At the end of the week she would look at her check–and take small comfort. “You’ve got everything you really want right here,” Ken had said, “if you only knew it.”

If only she had known it.

Well, she knew it now. Now, frightened, bewildered, resentful. Thirty-seven. Why, thirty-seven was old in Hollywood. Not middle-aged, or getting on, or well preserved, but old. Even Lydia Lissome, at twenty, always made them put one thickness of chiffon over the camera’s lens before she would let them take the close-ups. Harrietta thought of that camera now as a cruel Cyclops from whose hungry eye nothing escaped–wrinkles, crow’s-feet–nothing.

They had been working two months on the picture. It was almost finished. Midsummer. Harrietta’s little bungalow garden was ablaze with roses, dahlias, poppies, asters, strange voluptuous flowers whose names she did not know. The roses, plucked and placed in water, fell apart, petal by petal, two hours afterward. From her veranda she saw the Sierra Madre range and the foothills. She thought of her “unexcelled view of Park” which could be had by flattening one ear and the side of your face against the window jamb.

The sun came up, hard and bright and white, day after day. Hard and white and hot and dry. “Like a woman,” Harrietta thought, “who wears a red satin gown all the time. You’d wish she’d put on gingham just once, for a change.” She told herself that she was parched for a walk up Riverside Drive in a misty summer rain, the water sloshing in her shoes.

“Happy, my ducky?” Irish Mary would say, beaming upon her.

“Perfectly,” from Harrietta.

“It’s time, too. Real money you’re pullin’ down here. And a paradise if ever there was one.”

“I notice, though, that as soon as they’ve completed a picture they take the Overland back to New York and make dates with each other for lunch at the Claridge, like matinee girls.”

Irish Mary flapped a negligent palm. “Ah, well, change is what we all want, now and then.” She looked at Harrietta sharply. “You’re not wantin’ to go back, are ye?”

“N-no,” faltered Harrietta. Then, brazenly, hotly: “Yes, yes!” ending, miserably, with: “But my contract. Six months.”

“You can break it, if you’re fool enough, when they’ve finished this picture, though why you should want to—-” Irish Mary looked as belligerent as her kindly Celtic face could manage.

But it was not until the last week of the filming of Let’s get a Husband that Harrietta came to her and said passionately: “I do! I do!”

“Do what?” Irish Mary asked, blankly.

“Do want to break my contract. You said I could after this picture.”

“Sure you can. They hired you because I put Lyddy up to askin’ them to. I’d thought you’d be pleased for the big money an’ all. There’s no pleasin’ some.”

“It isn’t that. You don’t understand. To-day—-“

“Well, what’s happened to-day that’s so turrible, then?”

But how could Harrietta tell her? “To-day—-” she began again, faltered, stopped. To-day, you must know, this had happened: It was the Big Scene of the film. Lydia Lissome, in black lace nightgown and ermine negligee, her hair in marcel waves, had just been “shot” for it.