Jefferson jimplecute. (Jefferson, Tex.) 1907-1926, 1912-02-01
His Dramatic
Model

aywrtghO1 But whore are The play
wrights to get thsmI
Fergusoo was snsaesd to b mat.
r1ed to young lady to whom plays 70
mances-tndeed. al ideal thinss-wsrs
a. real a. they wsfs objects Of art 70
her betrothed. II had often occurred
to him when be desired q model for
some especial scene to deceive her Into
q IKE situation and put her words
into the mouth Of his character. TIE
trouble was that be couldn't bear to
subject her to q strain. She was such
q delicate. sensitive. clinging little
thing that he was afraid any tragic
experience would result In positive In
Jury to her.
However. ut one time he had In view
4 play In which the hero confessso 20
the heroine. whom be loves and who
loves him. that he Ii q criminal. Her
love for him u 20 strong that she can
not discard him. but consents to de-
vote herself to him for lfe In an On.
deavor to help him outlivs the effects
Of his crime and become a self re-
specting and respected citizen. Later
II turns out that he has confessed to
crime committed BY his brother.
whom be desires to save.
Ferguson knew that II he made such
a confession to his Resale she would
take It all in earnest. 1t would be a
serious business for the girl. But he
would get a model for an emotion that
would result in certain fame and pro-
spective profits. Surely Rose would
forgive him when she knew why he
had deceived her. especially when
comforts would accrue from the royal
ties that come NJ q result OF the de-
ception.
There was q side issue to the matter
that was tempting. It would be love
ly to have Rose act according to his
ideal-that is. to show such love for
him that she would cling to him de-
spite his crime. And the denouement
would be very pleasurable.
One night be called upon his lance
and before she came down to receive
him hid one Of these little photograph
ic machines for taking In the human
voice under the sofa In order that he
might put her exact words into the d.
alogue Of his play. She stepped play
fully into the room. but stopped on the
threshold. observing the dreadful ex-
preston he had assumed
"Oh, Harry, what Is itr'
Rose. sweetheart. how can l tell
your
Tell me what1 Speak at oncer'
II cannot"
You must Don't fear for me-
can bear It,"
Il don't know how l could have done
It,"
Done WHAT
Rose. In a moment Of madness
was tempted to-
"What?"
Commit u forgery"
The little machine under the sofa
was getting 1t all down. There was
now brief interval. u moment Of fear
full suspense for the hero. one Of emo
t1onal indecision for the heroine. Fer
guson had made an attempt to put the
dialogue In his play. using his inven-
tive powers. Thus Tar the real and the
ideal coincided. The next lines. as he
had written them. spoken by the hero
Inc were. "Oh. Harry. how could you
have dona IT." But when Rose spoke
them they were different She stood
looking ut him with a heaving bosom
and flashing eyes. Then. pointing. she
spoke her part:
You Just walk out Of that door. and
don't let me ever see you AGAIN.
Ferguson was astonished. not only
| that she could treat him thus. but that
| she should show SO much strength un-
der the ordeal.
lis there no HOPPER he moaned
Hope! No! Haven't you been fool
ing me with your high toned talk
about honor and integrity and all that.
and yet you have been weak enough
to commit the most contemplate Of
crimes. I'd rather have had you COM
NIT murder"
Rose. II you cast me OF shall 20
down. down. from this point. becom-
ing at last hopeless wreck on the
sands. With you to lean on
II don't want q man to lean on me
l prefer to lean on u man. thank you"
| Ferguson stood looking at her for u
few moments: then sickly smile
broke over his face.
"As model for an ideal. self sacri-
dcing woman who loves her lover so
we'll that she will cling to him. though
he confesses himself a criminal you're
not a success"
What do you meanr'
I've been stud1ng you wanted to
ace how you would act II | confessed
myself n criminal"
Well. hope you're xatisded"
Il am. won't make any more such
confessions"
Il don't think yoa will"
Why"
"Because 1 dou't want . lover who
will use me ior any such purpose
Coed evening and godby." And she
swept out Ut the r"on
Ferguson spent more thought on APP
peasing her than be gave to bis play.
However. be succeeded Ia time and u
nov married aud Il .tili q play " right
The incident v~vo,n t,onissl his work
he aba ndooesi the heroic and turned
q complete somer~auit tnto rsalism
and happened Ia have the facuity for
working rpa liSttr scenes In With Vhan