Back Aa

Joan Thursday

<h2>XXXVIII</h2> The rehearsals of "Tomorrow's People" were arranged to begin on the twenty-third day of September; and since all the important rôles had been filled before he left Town, and Wilbrow, whom he could trust, had charge of all other details, Matthias delayed his home-coming until the twenty-second. Not until the twentieth did he emerge from the wilderness up back of the Allagash country into the comparative civilization of Moosehead Lake. In eight weeks he had not written a line, received a letter, or read a newspaper. But, as he telegraphed Helena from the Mt. Kineo House, he was so healthy that he was ashamed of it. The day-letter telegram she sent in reply was delivered on the train. Its news, though condensed, was reassuring: Venetia was well and her boy developing into a famous ruffian; the two were making a visit at Tanglewood, and on the return of Marbridge from his summer in Europe would move back to New York, where Venetia was to reassume charge of his town-house. Thus satisfied as to the welfare of the woman he loved, Matthias gave himself up completely to the production of his play; and through the following four weeks lived in the theatre by day, dreamed of it by night, thought, talked, and wrote only in its singular terminology. Few facts unconnected with his own play penetrated his understanding, in all that period. But, dining with Wilbrow one night at the general table in the Players, he overheard Gloucester railing bitterly at the ill-fortune which had induced him to pledge himself to stage a modern satirical comedy for Arlington and to train for the leading part a raw and almost inexperienced stage-struck girl. He detailed his trials in vivid phrases: "As far as I know, she's never played in anything except a bum vaudeville sketch, and I had hell's own time making her fit to play that. And yet she's got the ineffable nerve to keep picking at my way of doing things on the general ground that it ain't Tom Wilbrow's. Seems he had the privilege of rehearsing her for a five-side part in that punk show of Jack Matthias', that went to pieces out on the Coast last Summer. If Wilbrow wasn't listening with all his ears, over there, I'd tell you what I said to the young woman the last time she threw him in my face.... What?... Oh, nobody you ever heard of. Calls herself Thursday—Joan Thursday.... Of course I rowed with Arlington about her, but he only shrugged and grinned and said she had to play it and I'd got to make her play it—offered to bet me a thousand over and above my fees I couldn't do it.... Sure, I took him up. Why not? I'll make her act it yet. I could make a Casino chorus boy act human if I wasn't so squeamish.... Oh, Marbridge—one of his discoveries. I saw him handing her gently into that big, brazen touring-car of his, in front of Rector's, night before last. Fragile's the word—'handle with care!'" Wilbrow, interrogated, supplied the context. Arlington had bought up, through a third party, Mrs. Cardrow's interest in "Mrs. Mixer," advising her to sell out because the play had already scored one failure and promising her another play in which she would stand better chance to win New York audiences. This was an old comedy from the French, revamped, and was even then being rehearsed with a scrub company and a scratch outfit of scenery, the production to be made on the same night that "Mrs. Mixer" was to tempt fate with Joan Thursday; the designated date being the twenty-fifth of October, a Wednesday. Matthias promptly dismissed the matter from his mind: he speculated a little, hazily about Marbridge, in his constitutional inability to understand that gentleman, felt more than ever sorry for Venetia and wondered how much longer she would stand it all—and plunged again into his preoccupation. "Tomorrow's People" was announced for production on Monday, October the twenty-third. But after the dress-rehearsal on Sunday certain changes recommended themselves as advisable to the judgment of the author, who persuaded the management to postpone the opening night until Wednesday. At ten minutes to twelve on that night the final curtain fell upon a successful representation; an audience in its wraps blocked the aisles until after midnight, applauding and demanding the author; who, however, was not in the theatre. He had, in fact, not been near it since the curtain, falling on the first act, had persuaded him of the general friendliness of an audience and the competency of the company. This culmination of a nerve-racking strain which had endured without respite for over a month found him without courage to await the verdict. He took to the streets and walked himself weary in vain effort to refrain from circling back toward the building whose walls housed his fate. At length, in desperation hoping to distract his thoughts from the supreme issue, he purchased a ticket of admission to another theatre, above whose entrance blazed the announcement "Mrs. Mixer," and stationed himself at the back of the orchestra to witness the last part of the performance. He saw the self-confidence of Gloucester supremely justified: the satiric farce marched steadily, scene by scene, to a success that was to keep it on Broadway through the winter and make the name of Joan Thursday a house-hold word throughout the Union. Her personal success was as unquestionable as her beauty; she played with grace, vivacity, charm, and distinction; and only to the initiate of the theatre was it apparent that Gloucester had found in her the perfect medium for the transmission of his art. Matthias could see, in company with a few of the more discriminating and stage-wise, that she employed not a gesture, intonation or bit of business which had not originated with Gloucester; she brought to her rôle on her part nothing but beauty and an unshakable self-confidence so thoroughly ingrained that it escaped suggesting self-consciousness. The triumph was, rightly, first Gloucester's, then the play's; but the public acclaimed the actress, and the one acidulated critic who hailed her, the following morning, as "at last!—the perfect human kinetophone record!" was listened to by none, least of all by the subject of his sarcasm. Marbridge, in a stage box, led the applause at the conclusion of each act; and at the end of the play Arlington came in person before the curtain, leading by the hand the gracefully reluctant Joan, and in a few suave sentences thanked the audience for its appreciation and a beneficent Providence for granting him this opportunity of fixing a new star in the theatrical firmament: the name of "this little girl," he promised (bowing to Joan) would appear in letters of fire over the theatre, the next night.... Pausing in the lobby to light a cigarette before leaving, Matthias overheard one of Arlington's lieutenants confiding to another the news of the ruinous failure of the third initial production of that night. Half an hour later he met Wilbrow by appointment in a quiet, non-theatrical club, and received from him confirmation of rumours which had already reached him of his own triumph with "Tomorrow's People." "You're a made man now," Wilbrow told him with sincere good will and some little honest envy; "by tomorrow morning the pack will be at your heels, yapping for a chance to put on every old 'script in your trunk." "I suppose so," Matthias nodded soberly. "But there's one comfort about that," Wilbrow pursued cheerfully: "whatever the temptation, you won't give 'em anything but sound, sane, workmanlike stuff. You've proved yourself one of the two or three, at most, playwrights in this country who are able to think and to make an audience think without losing sight of the fact that, in the last analysis, 'the play's the thing.' We've got plenty of authors nowadays who can turn out first-chop melodrama, and we've got a respectable percentage of 'em who write plays so full of honest and intelligent thought that it gives the average manager a headache to look at the 'script; but the men who can give us the sort of drama that not only makes you think but holds you on the front edge of your seat waiting to see what's coming next.... Well, they're few and far between, and you're one of 'em, and I'm proud to have had a hand in putting you before the public!" "You've got nothing on me, there," Matthias grinned: "I'm proud you had. And if I can get my own way after this—" "You don't need to join the I-Should-Worries on account of that!" "You'll be the only man who will ever produce one of my plays." Between one o'clock and two they parted. Matthias trudged home, completely fagged in body, but with a buoyant heart to sustain him. Venetia would be glad for him.... He was ascending the steps of Number 289 when a heavy touring-car, coming from the direction of Longacre Square, swung in to the curb and stopped. Latch-key in hand, Matthias paused and looked back in some little surprise: the lodgers of Madame Duprat were a motley lot, but as far as he knew none of them were of the class that maintains expensive automobiles. But this car, upon inspection, proved to be tenanted by the chauffeur alone; who, leaving the motor purring, jumped smartly from his seat and ran up the steps. "I beg your pardon, sir," he said, touching his cap, "but I'm looking for a gentleman named Matthias—" "I am Mr. Matthias." "Thank you, sir. I've been sent to fetch you. It's—er—important, I fancy," the man added, eyeing Matthias curiously. "You've been sent to fetch me? But who sent you?" "My employer, sir—Mr. Marbridge." "Marbridge!" Matthias echoed, startled. Without definite decision, he turned and ran down the steps in company with the chauffeur: Venetia in need of him, perhaps.... "What's happened?" he demanded. "Is Mrs. Marbridge—?" "If you'll just get in, sir," the man replied, "I'll tell you—as much as I know—on the way. It'll save time." He opened the door of the tonneau, but Matthias turned from it, walked round the car, and climbed into the seat beside the driver's. With a nod of satisfaction, the chauffeur joined him, threw in the power, and deftly swung the ponderous vehicle about. "Well?" Matthias asked as the machine shot across-town. "Beg pardon, sir," the man replied after a moment—"but I'd rather not say anything, if it's all the same to you." "It isn't," Matthias insisted curtly. "I'm not on sufficiently friendly terms with Mr. Marbridge for him to send for me without explanation." "Yes, sir; but you see, part of my job is to keep my mouth shut." "I'm afraid I shall have to ask you to forget that duty to some extent, or else stop the car and let me out." "Very good, sir. I don't suppose I can do any harm telling what little I know. After supper tonight, Mr. Marbridge told me to take the car to the garage and not to expect a call for it until sometime tomorrow morning; but when I got there, he was already wanting me on the telephone. He said there'd been an accident, and told me to find Mr. Arlington first and then you, and ask you to come immediately." "But why me?" Matthias asked, more of himself than of the driver. "He didn't say, sir." "Did he state what sort of an accident?" "No, sir." "You found Mr. Arlington?" "No, sir; he wasn't in when I asked at his hotel. But I left a message before coming on for you." Matthias sat up with a start. Instead of turning up Broadway the man was steering his car straight across Longacre Square. Before he had time to comment on this fact they were speeding on toward Sixth Avenue. "Look here," he cried, "you're not taking me to Mr. Marbridge's home!" "No, sir." "But—" "Mr. Marbridge hadn't gone home when he telephoned me, sir." "Where is he, then?" "We'll be there in a minute, sir—an apartment house on Madison Avenue." "Oh!" said Matthias thoughtfully. "Was Mr. Marbridge—ah—alone when you left him tonight?" "I'd rather not say, sir, if you don't mind." Troubled by an inkling of the disaster, Matthias composed himself to patience. Turning south on Fifth Avenue, the car passed Thirty-fourth Street before swinging eastward again. It stopped, eventually, in the side street, just short of the corner of Madison Avenue, before a private entrance to a ground-floor apartment, such as physicians prefer. But Matthias could discern no physician's name-plate upon the door at which his guide knocked, or in either of the flanking windows. Opening, the door disclosed a panelled entry tenanted by a white-lipped woman in the black and white uniform of a lady's-maid. Her frightened eyes examined Matthias apprehensively as he entered, followed by the chauffeur. This last demanded briefly: "Doctor been?" The maid assented with a nervous nod: "Ten minutes ago, about. He's with the lady now—" "Lady!" the chauffeur echoed. "But I thought it was Mr. Marbridge—" "I mean the other lady," the maid explained—"the one what done the shooting. When Mr. Marbridge got the gun away from her, he locked her up in the bathroom, and then she had hysterics. The doctor's trying to make her hush, so's she won't disturb the other tenants, but.... You can hear yourself how she's carrying on." In a pause that followed, Matthias was conscious of the sound of high-pitched and incessant laughter, slightly muffled, emanating from some distant part of the flat. He asked abruptly: "Where is Mr. Marbridge?" The maid started and hesitated, looking to the chauffeur. "This is Mr. Matthias," that one explained. "Mr. Marbridge sent for him." "Oh, yes—excuse me, sir. This way, if you please." Opening a door on the right, the woman permitted Matthias to pass through, then closed it. He found himself in a dining-room of moderate proportions and handsomely furnished. Little of it was visible, however, outside the radius of illumination cast by an electric dome which, depending from the middle of the ceiling, focussed its rays upon a small round dining-table of mahogany. This table was quite bare save for a massive decanter of cut-glass standing at the edge of a puddle of spilt liquor: as if an uncertain hand had attempted to pour a drink. Near it lay a broken goblet. On the farther side of the table a woman with young and slender figure stood in a pose of arrested action, holding a goblet half-full of brandy and water. Her features were but indistinctly suggested in the penumbra of the dome, but beneath this her bare arms and shoulders, rising out of an elaborate evening gown, shone with a soft warm lustre. Matthias remembered that gown: Joan Thursday had worn it in the last act of "Mrs. Mixer." But she neither moved nor spoke, and for the time being he paid her no further heed, giving his attention entirely to Marbridge. Sitting low in a deeply upholstered wing-chair—out of place in the dining-room and evidently dragged in for the emergency—Marbridge breathed heavily, chin on his chest, his coarse mouth ajar, his face ghastly with a stricken pallor. His feet sprawled uncouthly. The dress coat and waistcoat he had worn lay in a heap on the floor, near the chair, and both shirt and undershirt had been ripped and cut away from his right shoulder, exposing his swarthy and hairy bosom and a sort of temporary bandage which, like his linen, was darkly stained. Closed when Matthias entered, his eyes opened almost instantly and fixed upon the man a heavy and lacklustre stare which at first failed to indicate recognition. Matthias heard himself crying out in a voice of horror: "Good God, Marbridge! How did this happen?" The man stirred, granted with pain, and made a deprecatory gesture with his left hand. "Needn't yell," he said thickly: "I've been shot ... done for...." His gaze shifted heavily to the woman. With effort he enunciated one word more: "Drink...." As though by that monosyllable freed from an enchaining spell, Joan started, moved quickly to his side and held the goblet to his lips. He drank noisily, gulping and slobbering; overflowing at either corner of his mouth, the liquor dripped twin streams upon his naked bosom. Mechanically Matthias put his hat down on the table. He experienced an incredulous sensation, as though he were struggling to cast off the terror and oppression of some particularly vivid and coherent nightmare. From the farther room that noise persisted of monotonous and awful laughter. Marbridge ceased to swallow and grunted. Joan removed the glass and drew away without looking at Matthias. At a cost of considerable will-power, apparently, the wounded man collected himself and levelled at Matthias his louring, but now less dull, regard. "Oh, it's you, is it?" he said ungraciously. "Well, you'll do at a pinch.... I wanted Arlington ... but you if he couldn't be found." "Well," said Matthias stupidly, "I'm here.... The doctor's seen you, I suppose?" "Yes—did what he could for me—no use wasting effort—it's my cue to exit." "Oh, come! It's not as bad as that!" "The hell it ain't. The doctor knows—I know. Not that it matters. It was coming to me and I got it." "Where's the doctor?" Matthias insisted. "Why isn't he attending you now?" "He's in the other room ... trying to silence that crazy woman.... She plugged me and ... went into hysterics...." "Who?" "Nella Cardrow.... Had the devil of a time with her before doctor came ... trying to keep her from rushing out and giving herself up ... all this in the papers.... But all right now: we'll hush it up." "Then that's what you want of me?" "Wait," Marbridge grunted. "Where's that girl?" Joan moved back to his side. "What can I do?" she said; and these were all the words Matthias heard her utter from first to last of that business. Marbridge nodded at her with a curling lip: "You can get out!" She turned sharply and left the room, banging the door. "That's the kind she is," Marbridge commented. "You were lucky to get rid of her as easy as you did.... Give me more brandy, will you, like a good fellow—and be stingy with the water. I've got to ... hold out a couple of hours more." Matthias served him. "I presume Venetia knows nothing about this, yet?" Having drunk, Marbridge shook his head. "Not yet. Now, listen.... You guessed it: I want you to help hush this up, for Venetia's sake.... Rotten mess—do no good if it gets in the papers—only humiliation for her. Will you—?" "What is it you want me to do?" "Help me home and keep your mouth shut.... You see, this is my place; I've had it years; very handy—private entrance—all that.... Nella used to meet me here. That's how she came to have a key. I'd forgotten.... Well, I got tired of her, and she couldn't act, and Arlington was sore about that. So we planned to get rid of her. I guess you must've heard. It was a dirty business, all round.... And tonight, when her play went to pieces, just as we'd planned it should, she saw how she'd been bilked and lost her head.... Came here, let herself in quietly, without the maid's hearing her, and shot me when I came in with Joan. I managed to get the gun away before she could turn it on herself, and locked her up. Then—hysterics.... Well, I'm finished. I asked for it, and got it.... No: no remorse bunk, no deathbed repentance, nothing like that! But I realize I've been a pretty rotten proposition, first and last. Never mind.... What I'm getting at's this: nobody need suffer but me. That's where you come in. For Venetia's sake. You and Arlington and the doctor can cover it all up between you. Arlie can quiet that girl—Joan—and the doctor's all right; he'll want a pretty stiff cheque to fix the undertaker—and that's all right, too. Then you've got to scare Nella Cardrow so's she won't give herself away, and buy my chauffeur and that maid out there, Sara.... But first off, you'll have to help doctor get me home and in bed. I'm the sort that's got to die in the house." His chin dropped again. "Well ... I guess it's a good job ... at that...." He shivered. The hall-door opened and Arlington entered, followed by a lean man with worried eyes who proved to be the doctor. <hr style="width: 65%;" /> <div style="break-after:column;"></div>

1 of 2

2 of 2

Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.