Sister Carrie Part 32

Quincel presided, aided by Mr. Millice, a young man who had some qualifications of past experience, which were not exactly understood by any one. He was so experienced and so business-like, however, that he came very near being rude--failing to remember, as he did, that the individuals he was trying to instruct were volunteer players and not salaried underlings.

"Now, Miss Madenda," he said, addressing Carrie, who stood in one part uncertain as to what move to make, "you don't want to stand like that.

Put expression in your face. Remember, you are troubled over the intrusion of the stranger. Walk so," and he struck out across the Avery stage in a most drooping manner.

Carrie did not exactly fancy the suggestion, but the novelty of the situation, the presence of strangers, all more or less nervous, and the desire to do anything rather than make a failure, made her timid. She walked in imitation of her mentor as requested, inwardly feeling that there was something strangely lacking.

"Now, Mrs. Morgan," said the director to one young married woman who was to take the part of Pearl, "you sit here. Now, Mr. Bamberger, you stand here, so. Now, what is it you say?"

"Explain," said Mr. Bamberger feebly. He had the part of Ray, Laura's lover, the society individual who was to waver in his thoughts of marrying her, upon finding that she was a waif and a n.o.body by birth.

"How is that--what does your text say?"

"Explain," repeated Mr. Bamberger, looking intently at his part.

"Yes, but it also says," the director remarked, "that you are to look shocked. Now, say it again, and see if you can't look shocked."

"Explain!" demanded Mr. Bamberger vigorously.

"No, no, that won't do! Say it this way--_explain_."

"Explain," said Mr. Bamberger, giving a modified imitation.

"That's better. Now go on."

"One night," resumed Mrs. Morgan, whose lines came next, "father and mother were going to the opera. When they were crossing Broadway, the usual crowd of children accosted them for alms----"

"Hold on," said the director, rus.h.i.+ng forward, his arm extended. "Put more feeling into what you are saying."

Mrs. Morgan looked at him as if she feared a personal a.s.sault. Her eye lightened with resentment.

"Remember, Mrs. Morgan," he added, ignoring the gleam, but modifying his manner, "that you're detailing a pathetic story. You are now supposed to be telling something that is a grief to you. It requires feeling, repression, thus: 'The usual crowd of children accosted them for alms.'"

"All right," said Mrs. Morgan.

"Now, go on."

"As mother felt in her pocket for some change, her fingers touched a cold and trembling hand which had clutched her purse."

"Very good," interrupted the director, nodding his head significantly.

"A pickpocket! Well!" exclaimed Mr. Bamberger, speaking the lines that here fell to him.

"No, no, Mr. Bamberger," said the director, approaching, "not that way.

'A pickpocket--well?' so. That's the idea."

"Don't you think," said Carrie weakly, noticing that it had not been proved yet whether the members of the company knew their lines, let alone the details of expression, "that it would be better if we just went through our lines once to see if we know them? We might pick up some points."

"A very good idea, Miss Madenda," said Mr. Quincel, who sat at the side of the stage, looking serenely on and volunteering opinions which the director did not heed.

"All right," said the latter, somewhat abashed, "it might be well to do it." Then brightening, with a show of authority, "Suppose we run right through, putting in as much expression as we can."

"Good," said Mr. Quincel.

"This hand," resumed Mrs. Morgan, glancing up at Mr. Bamberger and down at her book, as the lines proceeded, "my mother grasped in her own, and so tight that a small, feeble voice uttered an exclamation of pain.

Mother looked down, and there beside her was a little ragged girl."

"Very good," observed the director, now hopelessly idle.

"The thief!" exclaimed Mr. Bamberger.

"Louder," put in the director, finding it almost impossible to keep his hands off.

"The thief!" roared poor Bamberger.

"Yes, but a thief hardly six years old, with a face like an angel's.

'Stop,' said my mother. 'What are you doing?'

"'Trying to steal,' said the child.

"'Don't you know that it is wicked to do so?' asked my father.

"'No,' said the girl, 'but it is dreadful to be hungry.'

"'Who told you to steal?' asked my mother.

"'She--there,' said the child, pointing to a squalid woman in a doorway opposite, who fled suddenly down the street. 'That is old Judas,' said the girl."

Mrs. Morgan read this rather flatly, and the director was in despair. He fidgeted around, and then went over to Mr. Quincel.

"What do you think of them?" he asked.

"Oh, I guess we'll be able to whip them into shape," said the latter, with an air of strength under difficulties.

"I don't know," said the director. "That fellow Bamberger strikes me as being a pretty poor s.h.i.+ft for a lover."

"He's all we've got," said Quincel, rolling up his eyes. "Harrison went back on me at the last minute. Who else can we get?"

"I don't know," said the director. "I'm afraid he'll never pick up."

At this moment Bamberger was exclaiming, "Pearl, you are joking with me."

"Look at that now," said the director, whispering behind his hand. "My Lord! what can you do with a man who drawls out a sentence like that?"

"Do the best you can," said Quincel consolingly.

The rendition ran on in this wise until it came to where Carrie, as Laura, comes into the room to explain to Ray, who, after hearing Pearl's statement about her birth, had written the letter repudiating her, which, however, he did not deliver. Bamberger was just concluding the words of Ray, "I must go before she returns. Her step! Too late," and was cramming the letter in his pocket, when she began sweetly with:

"Ray!"