The Destroying Angel

"Pays to advertise. Paste that in your hat, keep your head small enough to wear it, and don't givadam if folks do think you're an addle-pated village cut-up, and you'll have this town at heel like a good dog as long as – well," Max wound up with a short laugh, "as long as your luck lasts."

"Yours seems to be pretty healthy – no signs of going into a premature decline."

"Ah!" said Max gloomily. "Seems!"

With a morose manner he devoted himself to his soup.

"Look me over," he requested abruptly, leaning back. "I guess I'm some giddy young buck, what?"

Whitaker reviewed the striking effect Max had created by encasing his brief neck and double chin in an old-fashioned high collar and black silk stock, beneath which his important chest was protected by an elaborately frilled shirt decorated with black pearl studs. His waist was strapped in by a pique waistcoat edged with black, and there was a distinctly perceptible "invisible" stripe in the material of his evening coat and trousers.

"Dressed up like a fool," Max summed up the ensemble before his guest could speak. "Would you believe that despair could gnaw at the vitals of any one as wonderfully arrayed?"

"I would not," Whitaker asserted.

"Nobody would," said Max mournfully. "And yet, 'tis true."

"Meaning – ?"

"Oh, I'm just down in the mouth because this is Sara's last appearance." Max motioned the waiter to remove the débris of a course. "I'm as superstitious as any trouper in the profession. I've got it in my knob that she's my mascot. If she leaves me, my luck goes with her. I never had any luck until she came under my management, and I don't expect to have any after she retires. I made her, all right, but she made me, too; and it sprains my sense of good business to break up a paying combination like that."

"Nonsense," Whitaker contended warmly. "If I'm not mistaken, you were telling me this afternoon that you stand next to Belasco as a producing manager. The loss of one star isn't going to rob you of that prestige, is it?"

"You never can tell," the little man contended darkly; "I wouldn't bet thirty cents my next production would turn out a hit."

"What will it cost – your next production?"

"The show I have in mind – " Max considered a moment then announced positively: "between eighteen and twenty thousand."

"I call that big gambling."

"Gambling? Oh, that's just part of the game. I meant a side bet. If the production flivvers, I'll need that thirty cents for coffee and sinkers at Dennett's. So I won't bet… But," he volunteered brightly, "I'll sell you a half interest in the show for twelve thousand."

"Is that a threat or a promise?"

"I mean it," Max insisted seriously; "though I'll admit I'm not crazy about your accepting – yet. I've had several close calls with Sara – she's threatened to chuck the stage often before this; but every time something happened to make her change her mind. I've got a hunch maybe something will happen this time, too. If it does, I won't want any partners."

Whitaker laughed quietly and turned the conversation, accepting the manager's pseudo-confidences at their face value – that is, as pure bluff, quite consistent with the managerial pose.

They rose presently and made their way out into the crowded, blatant night of Broadway.

"We'll walk, if you don't mind," Max suggested. "It isn't far, and I'd like to get a line on the house as it goes in." He sighed affectedly. "Heaven knows when I'll see another swell audience mobbing one of my attractions!"

His companion raised no objection. This phase of the life of New York exerted an attraction for his imagination of unfailing potency. He was more willing to view it afoot than from the windows of a cab.

They pushed forward slowly through the eddying tides, elbowed by a matchless motley of humanity, deafened by its thousand tongues, dazzled to blindness by walls of living light. Whitaker experienced a sensation of participating in a royal progress: Max was plainly a man of mark; he left a wake of rippling interest. At every third step somebody hailed him, as a rule by his first name; generally he responded by a curt nod and a tightening of his teeth upon his cigar.

They turned east through Forty-sixth Street, shouldered by a denser rabble whose faces, all turned in one direction, shone livid with the glare of a gigantic electric sign, midway down the block:

THEATRE MAX

SARA LAW'S

FAREWELL

It was nearly half-past eight; the house had been open since seven; and still a queue ran from the gallery doors to Broadway, while still an apparently interminable string of vehicles writhed from one corner to the lobby entrance, paused to deposit its perishable freight, and streaked away to Sixth Avenue. The lobby itself was crowded to suffocation with an Occidental durbar of barbaric magnificence, the city's supreme manifestation of its religion, the ultimate rite in the worship of the pomps of the flesh.

"Look at that," Max grumbled through his cigar. "Ain't it a shame?"

"What?" Whitaker had to lift his voice to make it carry above the buzzing of the throng.

"The money I'm losing," returned the manager, vividly disgusted. "I could've filled the Metropolitan Opera House three times over!"

He swung on his heel and began to push his way out of the lobby. "Come along – no use trying to get in this way."

Whitaker followed, to be led down a blind alley between the theatre and the adjoining hotel. An illuminated sign advertised the stage door, through which, via a brief hallway, they entered the postscenium – a vast, cavernous, cluttered, shadowy and draughty place, made visible for the most part by an unnatural glow filtering from the footlights through the canvas walls of an interior set. Whitaker caught hasty glimpses of stage-hands idling about; heard a woman's voice declaiming loudly from within the set; saw a middle-aged actor waiting for his cue beside a substantial wooden door in the canvas walls; and – Max dragging him by the arm – passed through a small door into the gangway behind the boxes.

"Curtain's just up," Max told him; "Sara doesn't come on till near the middle of the act. Make yourself comfortable; I'll be back before long."

He drew aside a curtain and ushered his guest into the right-hand stage-box, then vanished. Whitaker, finding himself the sole occupant of the box, established himself in desolate grandeur as far out of sight as he could arrange his chair, without losing command of the stage. A single glance over the body of the house showed him tier upon tier of dead-white shirt-bosoms framed in black, alternating with bare gleaming shoulders and dazzling, exquisite gowns. The few empty stalls were rapidly filling up. There was a fluent movement through the aisles. A subdued hum and rustle rose from that portion of the audience which was already seated. The business going on upon the stage was receiving little attention – from Whitaker as little as from any one. He was vaguely conscious only of a scene suggesting with cruel cleverness the interior of a shabby-genteel New York flat and of a few figures peopling it, all dominated by a heavy-limbed, harsh-voiced termagant. That to which he was most sensitive was a purely psychological feeling of suspense and excitement, a semi-hysterical, high-strung, emotional state which he knew he shared with the audience, its source in fact. The opening scene in the development of the drama interested the gathering little or not at all; it was hanging in suspense upon the unfolding of some extraordinary development, something unprecedented and extraneous, foreign to the play.

Was it due simply to the fact that all these people were present at the last public appearance – as advertised – of a star of unusual popularity? Whitaker wondered. Or was there something else in their minds, something deeper and more profoundly significant?

Max slipped quietly into the box and handed his guest a programme. "Better get over here," he suggested in a hoarse whisper, indicating a chair near the rail. "You may never have another chance to see the greatest living actress."

Whitaker thanked him and adopted the suggestion, albeit with reluctance. The manager remained standing for a moment, quick eyes ranging over the house. By this time the aisles were all clear, the rows of seats presenting an almost unbroken array of upturned faces.

Max combined a nod denoting satisfaction with a slight frown.

"Wonderful house," he whispered, sitting down behind Whitaker. "Drummond hasn't shown up yet, though."

"That so?" Whitaker returned over his shoulder.

"Yes; it's funny; never knew him to be so late. He always has the aisle seat, fourth row, centre. But he'll be along presently."

Whitaker noted that the designated stall was vacant, then tried to fix his attention upon the stage; but without much success; after a few moments he became aware that he had missed something important; the scene was meaningless to him, lacking what had gone before.

He glanced idly at his programme, indifferently absorbing the information that "Jules Max has the honour to present Miss Sara Law in her first and greatest success entitled Joan Thursday – a play in three acts – "

The audience stirred expectantly; a movement ran through it like the movement of waters, murmurous, upon a shore. Whitaker's gaze was drawn to the stage as if by an implacable force. Max shifted on the chair behind him and said something indistinguishable, in an unnatural tone.

A woman had come upon the stage, suddenly and tempestuously, banging a door behind her. The audience got the barest glimpse of her profile as, pausing momentarily, she eyed the other actors. Then, without speaking, she turned and walked up-stage, her back to the footlights.

Applause broke out like a thunderclap, pealing heavily through the big auditorium, but the actress showed no consciousness of it. She was standing before a cheap mirror, removing her hat, arranging her hair with the typical, unconscious gestures of a weary shop-girl; she was acting – living the scene, with no time to waste in pandering to her popularity by bows and set smiles; she remained before the glass, prolonging the business, until the applause subsided.

Whitaker received an impression as of a tremendous force at work across the footlights. The woman diffused an effect as of a terrible and boundless energy under positive control. She was not merely an actress, not even merely a great actress; she was the very soul of the drama of to-day.

Beyond this he knew in his heart that she was his wife. Sara Law was the woman he had married in that sleepy Connecticut town, six years before that night. He had not yet seen her face clearly, but he knew. To find himself mistaken would have shaken the foundations of his understanding.