The Idaho Springs siftings-news., 1920-12-24
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What the devil are you up to? By thunder.
I'll make you pay for this"
She was smiling. looking into the black void
Of the house. Her lips moved answering him:
"Yes. afterwards. don't mind paying
then"
From that moment she took the play into her
hands and made 1t what 1t meant to be. The
members of the company, inspired by er revolt,
and latent dislike of the Big Man, supported her
loyalty. With the vigor Of the big scene restored
to it the play took on new and convincing as
pect. Even the impotence of the Big Man could
not arrest 1t progress. The inspiration of the
Leading Woman carried 1t on the flood tide to
success. The emasculated first act was forgotten.
Finally the curtain descended on a play made
At the end, the call for the author grew vehe-
ment. The author not In the house. Then
they called for the Leading Woman again. and she.
coming forward bowed to the Map In
Front . and then she trembled and grew weak,
because he looked straight back at her and smiled
The Big Man made her pay when they got home
that night. Exactly how does not matter. This
is civilized world. but the veneer of civilization
lies very thin on natures such as his.
She sat up all night writing to the Unknown
whom she had seen at last. Bodily pain and men,
tai anguish were forgotten In the ecstaqy that
drove her pen ovAr the paper.
II have seen youi knew you Ny heart has
shaken hands with you and oh! If you would
call to me, how gladly would come"
The next evening she pleaded she was too Ill
to play. She really was But the Big Man
laughed She had reverted to the original script.
She would play it every night, and pay
for 1t after.
The Man In Front was there.
He was there the next night.
And each night the Big Man made her pay
so terribly that the last shred of her allegiance
to him slipped from her.
On the third night, at the end Of the perform
ance as she was preparing to go home. the tele-
phone bell In her dressing-roOm rang. She picked
up the receiver.
"Yes? I'm the leading woman. :.
To whom am I speaking?"
1.-THE author of the piece was the answer she
received promptly.
She grew faint at the sound Of the voice.
II want to thank you for what you have done
for my play The papers are full of you.
wasn't able to be present. although seats were
sent was there in spirit. 1 think. 1t meant
much to me-.
A voice within her asked question. What
seat-did they give your"
1.-THE middle of the front Of the stalls.
Number ten'
Her voice grew staccato. "You weren't there7
You sent no substituteT
"No. 1 can't even drive round and thank You
The doctor won't let out"
Words dried In her throat. She got them out
harshly
"Shall I come to you? The address7 When
will 1? Now!"
Before she left the theater. she questioned the
man In the box office.
Number ten front of the stalls. Who had
t?"
"Nobody, madame. 1t reserved for the
author"
"Did you let anybody else have 1t In his ab-
sence"
"No madame. 1t has been empty each night"
The cab stopped at the hotel. She got out The
elevator took her to an upper floor. At the
door to a room she dismissed the bellboy.
Alone in the long corridor she paused for a
moment her knuckes poised over the door panel.
What was the opening of that door going to mean
TO her the shutting of another? She knocked
softly There no answer. She went in clos
ing the door quietly behind her, her eyes going
Instantly to the still figure in the armchair.
1t was the man she had in the theater--
in the seat that had been empty all along. Wait
ing for her, convalescent after long illness, he
had fallen asleep.
Standing there. her eyes took their fill of hiIa.
Her senses swan with the joy of locking upon
him while he was unconscious Of her presence.
Her eyes loved him.
apartment always is. 1t needed woman's touch
pers on 1t and woman's photograph . herss
The crate was full of ashes the fire low Silent,
ly she stepped across the room and knelt by tho
CRATE
The man. reused out of ftful slumber, awoke
to see the woman tidying up his hearth.
And thus, early in the year happiness
dawnlng.