The Barre daily times. (Barre, Vt.) 1897-1959, 1912-01-24
His Dramatic
Model
By WILLIAM C. POMEROY


Ferguson, who wrote plays, argued
that If artists need models why not
pIaywrights? But where are the play
wrights to get them?
Ferguson was engaged to be mar
ried to a young lady to whom plays. ro-
mances-indeed, all ideal things-were
as real as they were objects of art to
her betrothed 1t had often occurred
to him when he desired model for
some especial scene to deceive her into
a like situation and put her words
into the mouth of his character. The
trouble was that be couldn't bear to
subject her to a strain. She was such
a delicate. sensitive. clinging little
thing that he was afraid any tragic
experience would result in positive In
jury to her.
However. at one time he had In view
q play in which the hero confesses to
the heroine, whom he loves and who
loves him. that he is criminal. Her
love for him is SO strong that she can
not discard him, but consents to de-
vote herself to him for life In an en-
deavor to help him outliye the effects
of his crime and become self re-
specting and respected citizen. Later
IT turns out that he has confessed to
a crime committed by his brother'
whom he desires to save.
Ferguson knew that IL he made such
confession to his Resale she would
take it all in earnest 1t would be
serious business for the girl. But he
would get model for an emotion that
would result in certain fame and pro-
spective profits. Surely Rose would
forgive him when she knew why be
had deceived her, especially when
comforts would accrue from the royal
ties that come as a result of the de-
ception.
There was a side issue to the matter
that was tempting 1t would be love
IL 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 pleahuEable'
One night he called upon his fianee
and before she came down to receive
him hid one Of these little phonograph-
&c machines for taking in the human
voice under the sofa in order that he
might put her exact words into the di'
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 itT'
Rose, sweetheart, how can ! tell
your
.'Tell me what? Speak at once!"
1T cannot"
"You must Don't fear for me.
can bear It,"
II don't know how could have done
it."
Done what?"
Rose, in a moment of madness
was tempted to-
WHAT"
Commit a forgery"
The little machine under the sofa
was getting 1t all down. There was
now a brief interval, moment of fear
full suspense for the hero. one of emo.
tional indecision for the heroine. Fer
guson had made an attempt TO put the
dialogue In his play. using his inven-
tive powers. Thus far the real and the
| ideal conceded The next lines, as be
had written them. spoken by the hero
inc were, "Oh, Harry, how could you
have done itp' But when Rose spoke
them they were different. She stood
looking ut him with a heaying bosom
and flashing eyes. Then, pointing, she
1 spoke her part:
/ "You Just walk out of that door. and
/ don't let nj ever see you againw
/ Ferguson was astonished, not only
! that she could treat him thus, but that
she should show so much strength I'M
| der the ordeal.
/ els there no hope?" 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, If you cast me of shall go
down, down. from this point. becom-