# Held to Answer/Chapter 10

For the strange freak of Miss Marien Dounay in joining The People's Stock Company, the papers found ready explanation in artistic temperament. The brilliant young actress, so the story ran, taking umbrage because Miss Elsie McCloskey, twin star of the Mowrey cast, was chosen to play a part for which Miss Dounay deemed herself specially fitted, had resigned in a huff; and thereupon, to spite Mowrey, had signed with this obscure stock company playing a dozen blocks away, where it was believed her popularity would be sufficient to punish the well-known manager in his one vulnerable spot, the box-office.
But there was one person interested who did not care a rap why Marien Dounay was playing Isabel Carlyle, the wife of Archibald Carlyle at the People's Stock this week, in the time-frazzled drama of East Lynne, and that was the man to play Archibald. She was there, and that was enough for him, swimming into his ken at the first rehearsal like a vision of some glory too entrancing to belong to anything but a dream.
Had she changed much in the four months since he had held her in his arms? Not at all, unless to grow more beautiful.
Yet if that crude actor fancied himself on terms of more than bare acquaintance with this exquisite creature, his imagination presumed too far. Miss Dounay's bearing made it instantly apparent that she gave herself airs. One comprehensive glance was bestowed upon the semicircle ​of the company. Hampstead's portion was more and less, a look and a nod. The nod said: "I know you, puppet." The look warned: "But do not presume. Stand."
John stood, wondering. As rehearsals progressed, his wonder grew into bewilderment. Miss Dounay treated the whole company cavalierly, but she treated him disdainfully. Her feeling for the others was simply negative; for him it appeared to be positive.
As an actress, it developed that she was "up" in the part of Isabel, having played it many times. She had, moreover, ideas of how every other part should be played and was pleased to express them. Nobody protested, Halson least of all. She was a "find" for the People's. As a director, too, Miss Dounay was masterful. A languid glance, a single word, a very slight intonation, had more force than one of Halson's ranting commands. And she was instinctively competent.
Hampstead, despite his own sad experience, watched her open-mouthed. This young woman, it appeared, was an intellectual force as well as a magnetic one. She cut speeches or interpolated them, altered business, and in one instance rearranged an entire scene, while in another she boldly reconstructed the conclusion of an act. The storm center round which much of this cutting, slicing, and fattening took place was Hampstead. She heckled him unmercifully about the reading of his lines, ridiculed his gestures, and badgered him to madness.
On the fourth day of this, John moped out of the theater, head down, reflecting bitterly upon the illusory character of woman, of which he knew so little,—moped so slowly that Parks overtook him on the first corner.
"This woman is a friend of yours," Parks proposed tentatively.
"I thought she was," sighed Hampstead weakly, "but ​she keeps cutting my speeches. By the end of the week, I won't have any part left at all."
Parks indulged a self-satisfied chuckle at the keenness of his own discernment.
"Don't you see," he explained, "she's cutting the stuff you do badly. She took away from you a situation in which you were awkward and unreal. She changed that scene around and left you with a climax in which you are positively graceful as well as forceful. You'll get a big hand in it. She studies you. I've watched her."
"Old man," blurted Hampstead, with sudden fervor, "it would make me the happiest man in the world if I thought that you were right. But you are wrong, and her badgering has begun to get on my nerves. Say!" and he interrupted himself to ask a question not yet answered to his satisfaction. "Why is she here?—with the People's, I mean?"
"You've heard the stories," answered Parks, with a shrug. "However, I doubt if it's any mere whim. She appears to me to have a cool, good reason for anything she does."
Parks turns off at Ninth Street, and John moved on down Market. "A cold good reason for what she does," he murmured. "What's the answer, I wonder, to what she does to me?"
As the days went on, John's wonder grew.
Now it is according to the method of dramatists that when a husband is to be abandoned by his wife in the second act there shall be certain tender passages between the two in the first act, and this ancient drama was no exception. There were contacts, handclasps, embraces, kisses. Through all of these at rehearsal time the two went mechanically. Miss Dounay apparently treated Hampstead with mere indifference, but actually she found a thousand little ways to show utter repugnance. After ​the first shock, John's combative instinct and his pride led him to face this situation, so difficult for a gentleman, unflinchingly. Taking her hands, pressing her to him, patting her cheek, playing with the wisps of hair upon her temple, he conscientiously rehearsed the part of the affectionate, doting husband. His very sincerity, it would seem, must have been a rebuke to the woman. She must have seen that his heart was stirred by an unexplained feeling toward her, and might have observed in his determined bearing under the galling fire of her man-baiting something noble.
Here, if she could only perceive it, was a man who had turned his back on at least one of the kingdoms of this world to become an actor; a man who would endure anything, suffer anything to add to his knowledge and skill in that difficult and all demanding art; which, indeed, was why he laid himself open to her polished ridicule by over-playing every scene, overemphasizing every word, over-expressing every gesture and emotion.
But she never relented, not even on the night of the first performance. Instead she became more aggressive in her antagonism, her method changing from subtle scorn to open derision.
Now among experienced actors there are a great many things which may take place upon the stage unsuspected of the audience. On this night, all through the tender exchanges of that first act, Miss Dounay seized upon intervals when her back was to the front to throw a grimace at John,—to do, or sotto voce to say, something irritating or ludicrous that would throw him out of character, or, as the profession puts it, "break him up." John steeled himself against all of this and went on playing with that dignity of earnestness which seemed to characterize all his life, until it would appear the climax of malice was reached when, as Miss Dounay hung about his neck, she ​laughed in the midst of one of his tenderest speeches, and whispered:
"There is a daub of smut on the end of your nose."
To John this communication was an arrow poisoned by the subtle power of suggestion. Was there smut upon his nose? If there were and he touched it with a finger, it would smear and ruin his make-up. If he did not remove it, the audience would observe it the first time he came down stage and laugh. On the other hand, he did not believe that there was smut upon his nose. How could it get there? In no way unless some joker had doctored the peephole in the curtain just before he peered out at the audience.
Smutted or not smutted? To touch his nose or let it alone? That was the maddening question. The puzzle and the doubt disconcerted him. His memory faltered, his tongue stumbled, and a feeling of awful helplessness came over him. He was breaking up! He was out of character! This devilish woman had succeeded. She saw it, too. John read the exultation in her eyes, and it filled him with indignation until a wave of wrath surged over his great frame like a storm. Miss Dounay saw his eyes grow suddenly stern with a light she had never noticed in them. One arm was encircling her in a caress, the other hand rested upon her shoulders. For one instant she felt this embrace tighten into a python grip that was terrifying. The man's position had not changed. To the audience it was still a mere pose, an expression of endearment.
But to Marien Dounay it was an ominous hint that this great amiable child had in him the primal elements of a brutal strength. A look of alarm shot into her face, and she whispered:
"Don't, John! Don't."
The tone of her voice was pleading. She, the proud, ​had cringed. She had called him John. She had surrendered.
"It was just a mean little fib," she whispered, and for a moment clung to him helplessly.
John, greatly surprised, was not too much surprised to feel the exultant surge of victory. For one moment he had lost control of himself, but in that moment he appeared to have gained control of Marien.
The strangest thing was that Miss Dounay seemed rather happy about it herself; and the wide range of the woman's capacity was revealed by her swift transition to a mood of purring contentment and a spirit of affectionate camaraderie that presently reached a surprising climax.
The act ended in the garden, with Isabel seated on a rustic bench, and Archibald bending over her. As the curtain descended, he was to stoop and print a kiss of tenderest respect upon her forehead. But now, as the curtain trembled, Miss Dounay lifted not her forehead but her lips, and held them, warm and clinging, to his for an instant that to Hampstead seemed a delicious, thrilling eternity, from which he emerged like a man newborn.
But the male instinct to gloat was the first clear thought.
"You do like me, don't you?" he breathed exultantly, while the curtain was down for an instant. Marien answered with her eyes and a quick affirmative nod, before the curtain bounded upward again for a last picture of husband and wife gazing into each other's eyes with a look expressing an infinitude of fondness. But John had ceased to be Archibald. What his look expressed was an infinitude of mystery and joy.
"And they say there is no satisfaction in a stage kiss!" he whispered to himself as he leaped up the stairs to his dressing room.