you can do the other part. I thought I'd see you about it.'
'Come in the parlor,' said Miss Cherry. 'I've been wishing for something of the sort. I think I'd like to act instead of doing turns.'
Bob Hart drew his cherished 'Mice Will Play' from his pocket, and read it to her.
'Read it again, please,' said Miss Cherry.
And then she pointed out to him clearly how it could be improved by introducing a messenger instead of a telephone call, and cutting the dialogue just before the climax while they were struggling with the pistol, and by completely changing the lines and business of Helen Grimes at the point where her jealousy overcomes her. Hart yielded to all her strictures without argument. She had at once put her finger on the sketch's weaker points. That was her woman's intuition that he had lacked. At the end of their talk Hart was willing to stake the judgment, experience, and savings of his four years of vaudeville that 'Mice Will Play' would blossom into a perennial flower in the garden of the circuits. Miss Cherry was slower to decide. After many puckerings of her smooth young brow and tappings on her small, white teeth with the end of a lead pencil she gave out her dictum.
'Mr. Hart,' said she, 'I believe your sketch is going to win out. That Grimes part fits me like a shrinkable flannel after its first trip to a handless hand laundry. I can make it stand out like the colonel of the Forty-fourth Regiment at a Little Mothers' Bazaar. And I've seen you work. I know what you can do with the other part. But business is business. How much do you get a week for the stunt you do now?'
'Two hundred,' answered Hart.
'I get one hundred for mine,' said Cherry. 'That's about the natural discount for a woman. But I live on it and put a few simoleons every week under the loose brick in the old kitchen hearth. The stage is all right. I love it; but there's something else I love better--that's a little country home, some day, with Plymouth Rock chickens and six ducks wandering around the yard.
'Now, let me tell you, Mr. Hart, I am STRICTLY BUSINESS. If you want me to play the opposite part in your sketch, I'll do it. And I believe we can make it go. And there's something else I want to say: There's no nonsense in my make-up; I'm
'If you want to make this a business partnership, Mr. Hart, with all nonsense cut out of it, I'm in on it. I know something about vaudeville teams in general; but this would have to be one in particular. I want you to know that I'm on the stage for what I can cart away from it every pay-day in a little manila envelope with nicotine stains on it, where the cashier has licked the flap. It's kind of a hobby of mine to want to cravenette myself for plenty of rainy days in the future. I want you to know just how I am. I don't know what an all-night restaurant looks like; I drink only weak tea; I never spoke to a man at a stage entrance in my life, and I've got money in five savings banks.'
'Miss Cherry,' said Bob Hart in his smooth, serious tones, 'you're in on your own terms. I've got 'strictly business' pasted in my hat and stenciled on my make-up box. When I dream of nights I always see a five-room bungalow on the north shore of Long Island, with a Jap cooking clam broth and duckling in the kitchen, and me with the title deeds to the place in my pongee coat pocket, swinging in a hammock on the side porch, reading Stanleys 'Explorations into Africa.' And nobody else around. You never was interested in Africa, was you, Miss Cherry?'
'Not any,' said Cherry. 'What I'm going to do with my money is to bank it. You can get four per cent. on deposits. Even at the salary I've been earning, I've figured out that in ten years I'd have an income of about $50 a month just from the interest alone. Well, I might invest some of the principal in a little business--say, trimming hats or a beauty parlor, and make more.'
'Well,' said Hart, 'You've got the proper idea all right, all right, anyhow. There are mighty few actors that amount to anything at all who couldn't fix themselves for the wet days to come if they'd save their money instead of blowing it. I'm glad you've got the correct business idea of it, Miss Cherry. I think the same way; and I believe this sketch will more than double what both of us earn now when we get it shaped up.'
The subsequent history of 'Mice Will Play' is the history of all successful writings for the stage. Hart & Cherry cut it, pieced it, remodeled it, performed surgical operations on the dialogue and business, changed the lines, restored 'em, added more, cut 'em out, renamed it, gave it back the old name, rewrote it, substituted a dagger for the pistol, restored the pistol--put the sketch through all the known processes of condensation and improvement.
They rehearsed it by the old-fashioned boardinghouse clock in the rarely used parlor until its warning click at five minutes to the hour would occur every time exactly half a second before the click of the unloaded revolver that Helen Grimes used in rehearsing the thrilling climax of the sketch.
Yes, that was a thriller and a piece of excellent work. In the act a real 32-caliber revolver was used loaded with a real cartridge. Helen Grimes, who is a Western girl of decidedly Buffalo Billish skill and daring, is tempestuously in love with Frank Desmond, the private secretary and confidential prospective son-in-law of her father, 'Arapahoe' Grimes, quarter-million-dollar cattle king, owning a ranch that, judging by the scenery, is in either the Bad Lands or Amagensett, L. I. Desmond (in private life Mr. Bob Hart) wears puttees and Meadow Brook Hunt riding trousers, and gives his address as New York, leaving you to wonder why he comes to the Bad Lands or Amagansett (as the case may be) and at the same time to conjecture mildly why a cattleman should want puttees about his ranch with a secretary in 'em.
Well, anyhow, you know as well as I do that we all like that kind of play, whether we admit it or not-- something along in between 'Bluebeard, Jr.,' and 'Cymbeline' played in the Russian.
There were only two parts and a half in 'Mice Will Play.' Hart and Cherry were the two, of course; and the half was a minor part always played by a stage hand, who merely came in once in a Tuxedo coat and a panic to announce that the house was surrounded by Indians, and to turn down the gas fire in the grate by the manager's orders.
There was another girl in the sketch--a Fifth Avenue society swelless--who was visiting the ranch and who had sirened Jack Valentine when he was a wealthy club-man on lower Third Avenue before he lost his money. This girl appeared on the stage only in the photographic state--Jack had her Sarony stuck up on the mantel of the Amagan--of the Bad Lands droring room. Helen was jealous, of course.
And now for the thriller. Old 'Arapahoe' Grimes dies of angina pectoris one night--so Helen informs us in a stage-ferryboat whisper over the footlights--while only his secretary was present. And that same day he was known to have had $647,000 in cash in his (ranch) library just received for the sale of a drove of beeves in the East (that accounts for the price we pay for steak!). The cash disappears at the same time. Jack Valentine was the only person with the ranchman when he made his (alleged) croak.
