merton of the movies-第45部分

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uring　to　her　that　she　must　give　it　up…give　it　up。

The　old　lady　wept；　but　was　stubborn。　She　tore　herself　from　his　arms　and　knelt　on　the　floor。　〃I　just　got　to　mop；　I　just　got　to　mop；〃　she　was　repeating　in　a　cracked　voice。　〃If　I　ain't　let　to　mop　I　git　rough　till　I'm　simply　a　scandal。〃

It　was　an　affecting　scene；　marred　only　by　one　explosive　bit　of　coarse　laughter　from　an　observing　cowboy　at　the　close　of　the　old　mother's　speech。　Merton　Gill　glanced　up　in　sharp　annoyance　at　this　offender。　Baird　was　quick　in　rebuke。

〃The　next　guy　that　laughs　at　this　pathos　can　get　off　the　set；〃　he　announced；　glaring　at　the　assemblage。　There　was　no　further　outbreak　and　the　scene　was　filmed。

There　followed　a　dramatic　bit　that　again　involved　the　demented　mother。　〃This　ought　to　be　good　if　you　can　do　it　the　right　way；〃　began　Baird。　〃Mother's　mopping　along　there　and　slashes　some　water　on　this　Mexican's　boot…where　are　you；　Pedro？　Come　here　and　get　this。　The　old　lady　sloshes　water　on　you　while　you're　playing　monte　here；　so　you　yell　Carramba　or　something；　and　kick　at　her。　You　don't　land　on　her；　of　course；　but　her　son　rushes　up　and　grabs　your　armhere；　do　it　this　way。〃　Baird　demonstrated。　〃Grab　his　wrist　with　one　hand　and　his　elbow　with　the　other　and　make　as　if　you　broke　his　arm　across　your　knee…you　know；　like　you　were　doing　joojitsey。　He　slinks　off　with　his　broken　arm；　and　you　just　dust　your　hands　off　and　embrace　your　mother　again。

〃Then　you　go　back　to　the　bar；　not　looking　at　Pedro　at　all。　See？　He's　insulted　your　mother；　and　you've　resented　it　in　a　nice；　dignified；　gentlemanly　way。　Try　it。〃

Pedro　sat　at　the　table　and　picked　up　his　cards。　He　was　a　foul…　looking　Mexican　and　seemed　capable　even　of　the　enormity　he　was　about　to　commit。　The　scene　was　rehearsed　to　Baird's　satisfaction；　then　shot。　The　weeping　old　lady；　blinded　by　her　tears；　awkward　with　her　mop；　the　brutal　Mexican；　his　prompt　punishment。

The　old　lady　was　especially　pathetic　as　she　glared　at　her　insulter　from　where　she　lay　sprawled　on　the　floor；　and　muttered；　〃Carramba；　huh？　I　dare　you　to　come　outside　and　say　that　to　me！〃

〃Good　work；〃　applauded　Baird　when　the　scene　was　finished。　〃Now　we're　getting　into　the　swing　of　it。　In　about　three　days　here　we'll　have　something　that　exhibitors　can　clean　up　on；　see　if　we　don't。〃

The　three　days　passed　in　what　for　Merton　Gill　was　a　whirlwind　of　dramatic　intensity。　If　at　times　he　was　vaguely　disquieted　by　a　suspicion　that　the　piece　was　not　wholly　serious；　he　had　only　to　remember　the　intense　seriousness　of　his　own　part　and　the　always　serious　manner　of　Baird　in　directing　his　actors。　And　indeed　there　were　but　few　moments　when　he　was　even　faintly　pricked　by　this　suspicion。　It　seemed　a　bit　incongruous　that　Hoffmeyer；　the　delicatessen　merchant；　should　arrive　on　a　bicycle；　dressed　in　cowboy　attire　save　for　a　badly　dented　derby　hat；　and　carrying　a　bag　of　golf　clubs；　and　it　was　a　little　puzzling　how　Hoffmeyer　should　have　been　ruined　by　his　son's　mad　act；　when　it　would　have　been　shown　that　the　money　was　returned　to　him。　But　Baird　explained　carefully　that　the　old　man　had　been　ruined　some　other　way；　and　was　demented；　like　the　poor　old　mother　who　had　gone　over　the　hills　after　her　children　had　left　the　home　nest。　And　assuredly　in　Merton's　own　action　he　found　nothing　that　was　not　deeply　earnest　as　well　as　strikingly　dramatic。　There　was　the　tense　moment　when　a　faithful　cowboy　broke　upon　the　festivities　with　word　that　a　New　York　detective　was　coming　to　search　for　the　man　who　had　robbed　the　Hoffmeyer　establishment。　His　friends　gathered　loyally　about　Merton　and　swore　he　would　never　be　taken　from　them　alive。　He　was　induced　to　don　a　false　mustache　until　the　detective　had　gone。　It　was　a　long；　heavy　black　mustache　with　curling　tips；　and　in　this　disguise　he　stood　aloof　from　his　companions　when　the　detective　entered。

The　detective　was　the　cross…eyed　man；　himself　now　disguised　as　Sherlock　Holmes；　with　a　fore…and…aft　cloth　cap　and　drooping　blond　mustache。　He　smoked　a　pipe　as　he　examined　those　present。　Merton　was　unable　to　overlook　this　scene；　as　he　had　been　directed　to　stand　with　his　back　to　the　detective。　Later　it　was　shown　that　he　observed　in　a　mirror　the　Mexican　whom　he　had　punished　creeping　forward　to　inform　the　detective　of　his　man's　whereabouts。　The　coward's　treachery　cost　him　dearly。　The　hero；　still　with　his　back　turned；　drew　his　revolver　and　took　careful　aim　by　means　of　the　mirror。

This　had　been　a　spot　where　for　a　moment　he　was　troubled。　Instead　of　pointing　the　weapon　over　his　shoulder；　aiming　by　the　mirror；　he　was　directed　to　point　it　at　the　Mexican's　reflection　in　the　glass；　and　to　fire　at　this　reflection。　〃It's　all　right；〃　Baird　assured　him。　〃It's　a　camera　trick；　see？　It　may　look　now　as　if　you　were　shooting　into　the　mirror　but　it　comes　perfectly　right　on　the　film。　You'll　see。　Go　on；　aim　carefully；　right　smack　at　that　looking…glassfire！〃　Still　somewhat　doubting；　Merton　fired。　The　mirror　was　shattered；　but　a　dozen　feet　back　of　him　the　treacherous　Mexican　threw　up　his　arms　and　fell　lifeless；　a　bullet　through　his　cowardly　heart。　It　was　a　puzzling　bit　of　trick…work；　he　thought；　but　Baird　of　course　would　know　what　was　right；　so　the　puzzle　was　dismissed。　Buck　Benson；　silent　man　of　the　open；　had　got　the　scoundrel　who　would　have　played　him　false。

A　thrilling　struggle　ensued　between　Merton　and　the　hellhound　of　justice。　Perceiving　who　had　slain　his　would…be　informant；　the　detective　came　to　confront　Merton。　Snatching　off　his　cap　and　mustache　he　stood　revealed　as　the　man　who　had　not　dared　to　arrest　him　at　the　scene　of　his　crime。　With　another　swift　movement　he　snatched　away　the　mustache　that　had　disguised　his　quarry。　Buck　Benson；　at　bay；　sprang　like　a　tiger　upon　his　antagonist。　They　struggled　while　the　excited　cowboys　surged　about　them。　The　detective　proved　to　be　no　match　for　Benson。　He　was　borne　to　earth；　then　raised　aloft　and　hurled　over　the　adjacent　tables。

This　bit　of　acting　had　involved　a　trick　which　was　not　obscure　to　Merton　like　his　shot　into　the　mirror　that　brought　down　a　man　back　of　him。　Moreover；　it　was　a　trick　of　which　he　approved。　When　he　bore　the　detective　to　earth　the　cameras　halted　their　grinding　while　a　dummy　in　the　striking　likeness　of　the　detective　was　substituted。　It　was　a　light　affair；　and　he　easily　raised　it　for　the　final　toss　of　triumph。

〃Throw　it　high　as　you　can　over　those　tables　and　toward　the　bar；〃　called　Baird。　The　figure　was　thrown　as　directed。

〃Fine　work！　Now　look　up；　as　if　he　was　still　in　the　air；　now　down；　now　brush　your　left　sleeve　lightly　with　your　right　hand；　now　brush　your　right　sleeve　lightly　with　your　left　hand。

〃All　rightcut。　Great；　Merton！　If　that　don't　get　you　a　hand　I　don't　know　what　will。　Now　all　outside　for　the　horseback　stuff！〃

Outside；　the　faithful　cowboys　leaped　into　their　saddles　and　urged　their　beloved　leader　to　do　the　same。　But　he　lingered　beside　his　own　horse；　pleading　with　them　to　go　ahead。　He　must　remain　in　the　place　of　danger　yet　awhile　for　he　had　forgotten　to　bring　out　his　old　mother。　They　besought　him　to　let　them　bring　her　out；　but　he　would　not　listen。　His　alone　was　the　task。

Reluctantly　the　cowboys　galloped　off。　As　he　turned　to　re…enter　the　dance…hall　he　was　confronted　by　the　detective；　who　held　two　frowning　weapons　upon　him。　Benson　was　at　last　a　prisoner。

The　detective　brutally　ordered　his　quarry　inside。　Benson；　seeing　he　was　beaten；　made　a　manly　plea　that　he　might　be　let　to　bid　his　horse　good…by。　The　detective　seemed　moved。　He　relented。　Benson　went　to　his　good　old　pal。

〃Here's　your　chance　for　a　fine　bit；〃　called　Baird。　〃Give　it　to　us　now　the　way　you　did　in　that　still。　Broaden　it　all　you　want　to。　Go　to　it。〃

Well　did　Merton　Gill　know　that　here　was　his　chance　for　a　fine　bit。　The　horse　was　strangely　like　Dexter　upon　whom　he　had　so　often　rehearsed　this　bit。　He　was　a　bony；　drooping；　sad　horse　with　a　thin　neck。　〃They're　takin'　ye　frum　me；　old　paltakin'　ye　frum　me。　You　an'　me　has　seen　some　tough　times　an'　I　sort　o'　figgered　we'd　keep　on　together　till　the　lastan'　now　they　got　me；　old　pal；　takin'　me　far　away　where　ye　won't　see　me　no　more〃

〃Go　to　it；　cowboytake　all　the　footage　you　want！〃　called　Baird　in　a　curiously　choked　voice。

The　actor　took　some　more　footage。　〃But　we　got　to　keep　a　stiff　upper　lip；　old　pal；　you　and　me　both。　No　cryin'；　no　bustin'　down。　We　had　out　last　gallop　together；　an'　we're　at　the　forkin'　of　th'　trail。　So　we　got　to　be　bravewe　got　to　stand　the　gaff。〃

Benson　released　his　old　pal；　stood　erect；　dashed　a　bit　of　moisture　from　his　eyes；　and　turned　to　the　waiting　detective　who；　it　seemed；　had　also　been　strangely　moved　during　this　affecting　farewell。　Yet　he　had　not　forgotten　his　duty。　Benson　was　forced　to　march　back　into　the　Come　All　Ye　Dance　Hall。　As　he　went　he　was　wishing　that　Baird　would　have　him　escape　and　flee　on　his　old　pal。

And　Baird　was　a　man　who　seemed　to　think　of　everything；　or　perhaps　he　had　often　seen　the　real　Buck　Benson's　play；　for　it　now　appeared　that　everything　was　going　to　be　as　Merton　Gill　wished。　Baird　had　even　contrived　an　escape　that　was　highly　spectacular。

Locked　by　the　detective　in　an　upper　room；　the　prisoner　went　to　the　window　and　glanced　out　to　find　that　his　loyal　horse　was　directly　beneath　him。　He　would　leap　from　the　window；　alight　in　the　saddle　after　a　twenty…foot　drop；　and　be　off　over　the　border。　The　window　scene　was　shot；　including　a　flash　of　the　horse　below。　The　mechanics　of　the　leap　itself　required　more　time。　Indeed；　it　took　the　better　part　of　a　morning　to　satisfy　Baird　that　this　thrilling　exploit　had　been　properly　achieved。　From　a　lower　window；　quite　like　the　high　one；　Merton　leaped；　but　only　to　the　ground　a　few　feet　below。

〃That's　where　we　get　your　take…off；〃　Baird　explained。

〃Now　we　get　you　lighting　in　the　saddle。〃　This　proved　to　be　a　more　delicate　bit　of　work。　From　a　platform　built　out　just　above　the　faithful　horse　Merton　precariously　scrambled　down　into　the　saddle。　He　glanced　anxiously　at　Baird；　fearing　he　had　not　alighted　properly　after　the　supposed　twenty…foot　drop；　but　the　manager　appeared　to　be　delighted　with　his　prowess　after　the　one　rehearsal；　and　the　scene　was　shot。

〃It's　all　jake；〃　Baird　assured　him。　〃Don't　feel　worried。　Of　course　we'll　trick　the　bit　where　you　hit　the　saddle；　the　camera'll　look　out　for　that。〃

One　detail　only