The trust that Consuello reposed in him when she told him of her promise
to marry Gibson, John held inviolable to the extent that he did not
mention it to his mother. It strengthened his belief that Brennan and
the mayor were in error in their suspicion that Gibson was linked with
the notorious "Gink" Cummings and that his clean-up crusade was only
aimed to overthrow the administration and make the "Gink" the boss of
the city.
Had he been free to tell the mayor and Brennan that Gibson was striving
to accomplish his crusade with the principal motive of winning the girl
he loved, John felt that the suspicion against the police commissioner
would be undermined. He could not bring himself to believe that Brennan
would deliberately lend himself to the mayor's plan to attack Gibson
unless he actually believed that there was some reason to suspect the
commissioner.
There were but few developments in the feud between Gibson and the mayor
during the week after Consuello's visit to the Gallant home. Sentiment
throughout the city was obviously in favor of Gibson, whose sensational
capture of "Red Mike," averting, as it did, the wreck of the "Lark,"
gave him a strong hold upon the public. The mayor's refusal to remove
Chief Sweeney, putting him on record as opposing the commissioner, was
generally considered the last defiant move of a man cornered and doomed
to defeat.
Later in the week John was upset by the first dissension that had ever
arisen between him and his mother. They were on the porch of their home
in the evening when John recalled that he had overlooked asking Mrs.
Gallant her opinion of Consuello. As this recollection came into his
mind, it also occurred to him that his mother had never volunteered to
say anything of Consuello after her visit to their home the previous
Sunday.
"Mother, dear," he said, "tell me, did you like Miss Carrillo?"
He felt that the question was almost unnecessary and asked it casually.
He was surprised when she hesitated before answering. Looking up to her,
he saw a hint of worry in her expression.
"She seemed a pleasant girl," she said slowly.
"Seemed?" he repeated, incredulously. "Why, mother, you speak as if you
did not like her."
"I'm sure I would like her if I understood," she said, her eyes upon her
needle and crochet work.
"Understood?" he gasped. "Understood what?"
"My dear boy, please do not become irritated by what I say," she said,
lifting her head to look at him. "You know I would not hurt you for
anything in the world."
"I know, mother, but I cannot imagine----"
"I know you can't," she said interrupting him. "If you had you would
have explained it all to me days ago. Come, don't let us quarrel. I may
be foolish to have thought what I have, but you must remember, my boy,
that I am a mother and--a woman."
"What under the sun has come into your head to talk like this, mother?"
he asked.
She placed her needlework in her lap and reached over to stroke his
head.
"Don't be cross with your mother, John," she said. "I'm sure it's all a
misunderstanding, something you can clear away with a few words, and
when you do please do not ever hold it against me for having had such
thoughts.
"You know, John, things have changed greatly since I was a girl, but I
cannot help myself from having the viewpoint of other days."
"What is it, mother? Tell me, what is it?" he asked, somewhat
impatiently.
"You won't be cross and hate me?"
"No."
"Then I'll tell you. My boy, I cannot understand why Miss Carrillo
lives in the city alone and away from her parents."
He looked at her in amazement.
"Mother, surely you don't----" he began.
It was incomprehensible, unbelievable. If she had spoken against the
name of his dead father John could not have been more startled than by
this questioning in his mother's mind of Consuello.
"I don't think anything," she said, again stroking his head. "But,
between you and me, John, there should be not even the slightest
misunderstanding. That's why I have spoken to you like this. Probably,
if she has not told you, you never thought to ask yourself that
question. Perhaps I should not ask it, even to myself, but I am a mother
and a woman and it's natural for us to doubt when it concerns one we
love."
"You have no right to misjudge," he said.
"I don't misjudge, my boy; I only wait for your answer."
It flashed into his mind that he could not answer, could not tell her
why Consuello lived in the city, but it did not cause him to waver.
Consuello's words, "Why must we always impute a misconceived motive?"
the question she had asked when they had discussed those who doubted
Gibson's sincerity, and his answer, "Because deceit has its place in the
human heart, I suppose," came back to him. He could not, however,
imagine deceit in his mother's heart, and he knew that the seed of
suspicion in her mind had been cultivated into an ugly weed of doubt by
some one else. This thought calmed the indignation which was surging
through him.
"Mother," he said, "I do not know why she lives alone in the city. She
has never told me and I have never asked. I did not consider it my
business. Not for a moment has a shadow of doubt entered my head. Can't
you see--can't you tell by looking at her?
"She may be with friends. She may be studying. She may be working.
Whatever she is doing, you nor I have no reason to let an evil thought
about her stay with us for a moment."
For several minutes they said nothing. Then Mrs. Gallant broke the
silence.
"Tell me," she said, "was that Miss Carrillo's automobile that brought
her here, Sunday?"
"Oh, mother!" he exclaimed, exasperated.
"I'm sorry, John. I only thought you might tell me."
"I don't know and I don't care," he said, coming to his feet. "Mother,
this is all foolishness--rank foolishness. Here you and I sit quarreling
over things that are none of our business. I never thought it of you. I
never thought you could think such things, let alone breathe a word
about them. I never----"
"John, John," said Mrs. Gallant, pleadingly, "don't, don't!"
"I can't believe it's you," he said, angrily. "Some one has been putting
these infernal thoughts into your head--some gossiping, scandal-loving,
evil-thinking----"
"My boy!"
He stopped and the anger that had surged so swiftly slowly left
him--left him ashamed that he had given way to his temper, ashamed that
he had spoken so sharply to the one he loved more than any one in the
world, and who, he knew, loved him as no one else would ever love him.
Her head was bowed in her hand, her arm resting on the side of her
chair. He went to her and dropped on his knees at her feet.
"Mother, dearest," he said, softly, "please, please don't cry. I was a
brute. I shouldn't have spoken to you the way I did, but I was angry.
Please, no misunderstanding must come between us. You are everything in
the world to me, mother, and I trust you, believe in you."
"I only wanted to know--for your sake," she said.
"I know, mother, I know. That is what you have always done--thought of
me first. But, don't you see, mother, she is nothing more than a friend
to me. And she has been kind, so very kind and good, and I know she is
only the sweet, dear girl I believe her to be. If you had only been with
us when we went to her home, mother. If you only knew her as I know her,
and you're going to. You're going to know her and like her."
"Yes, yes, my boy. I know I will. But, John, there is so much evil in
this world, so much that we cannot understand, so many disappointments,
so many cruel things, so much wickedness, and I only think of you, my
boy--only of you. I could not bear to have you care for some one and
then be----"
"I know, mother, dearest, I know," he said, petting her hands. "Now,
we'll forget all about it, won't we? You'll not let doubt come into your
mind again, will you? Don't be overcautious in your care over me,
mother. And don't think I'm in love. I do think she is sweet and kind
and beautiful, and I thought you would like her because she is--is--is
what I would call an 'old-fashioned' girl."
"Old-fashioned girls are scarce these days," said Mrs. Gallant. "I do so
hope she is all that you believe her to be."
"And I am forgiven for the things I said in haste, tonight?" he asked.
She kissed his forehead.
"And you'll forgive your foolish old mother who loves her boy so?"
She rose and moved toward the door.
"You'll be coming in soon?" she asked.
"In a little while, mother," he said. "It's such a wonderful evening I'm
going to enjoy it for a few minutes more."
Alone, John speculated on Consuello's reason for living in Los Angeles
while her parents remained at home on the ranch. The probability that
she worked in the city became stronger in his mind when he thought of
how her father had spoken to him of their reduced circumstances, the
fact that but little remained of the vast estate once owned by the
Carrillo family. He was reasonably certain that the automobile which
Consuello told him was placed at her disposal by a "friend" was owned by
Gibson, and that the long friendship between the two families, combined
with privilege permitted by their engagement to be married, made it
possible for her to accept such accommodation.
How unlike his mother it had been for her to question Consuello's mode
of living! He excused her suspicion for two reasons--first, that the
doubt had been put into her mind by some one else and, second, because
her great love for him had carried her too far.
The mockingbird that had warbled on the night of his father's death
began its song in a tree near by. As he listened, meditative, he saw
Mrs. Sprockett glide across the street to the Sprockett house, returning
from one of her unceasing visits to other homes than her own.
His instinctive dislike for Mrs. Sprockett caused him to blame her for
creating suspicion against Consuello in his mother's mind.
* * * * *
During the following week John learned the answer to his mother's
question of why Consuello lived in Los Angeles, away from her parents,
the inquiry that had provoked him to anger because he took it as an
insinuation against Consuello's character.
Consuello called him one morning by telephone.
"Have you an hour or so to spare, today?" she asked.
"It all depends----" he began.
"I know you are a busy man," she said, "but I thought you would like to
see something interesting. It's a surprise I have been saving for you."
He had a premonition that she was about to give him the answer to his
mother's question.
"What is it?" he asked. She laughed before she replied:
"Oh, it would spoil it all to tell you now. Didn't you hear me say it
was a surprise? I want you to come out to an address I will give you if
you say you are able to get away from your office."
"When?"
"This afternoon, as close to two o'clock as you can make it."
"May I call you in a few minutes and give you my answer?" he asked. "You
see, I must have the permission of my city editor if I leave the office
except on newspaper business."
"I'll wait for your answer," she said.
P. Q. gruffly gave him permission to go off duty at one o'clock. He
hurried back to the telephone and told her that he would be able to see
her. She gave him an address in Hollywood.
"You will be stopped at the door," she told him, "but tell whoever stops
you that you are the gentleman I am expecting and there won't be any
further difficulty. I'll look for you at two, then."
When he reached the address she gave him, shortly before two o'clock,
John's first feeling was that he had misunderstood the directions she
had given him. Before him, inclosed by a high fence over the horizon of
which he could see the tops of queer structures, stood the rambling
studio of the Peerless Pictures, Inc., one of the largest motion picture
producing concerns in the capital of filmdom. At one side of a large
open gateway, near an oddly shaped sentry box, was a fat, red-faced man
tilted back in a kitchen chair.
The man was eyeing him as he approached the gateway.
"Hey, just a minute, son, where do you think you're going?" the man
shouted, turning his head to glare at the intruder.
"Inside," John said.
"Well, you don't say--Hey, there, just a minute!" this last as John, who
had a secret delight in baiting officiousness, continued toward the
gateway.
"Who do you think you want to see in there?" demanded the guard.
"I don't THINK I want to see anyone; Miss Carrillo sent for me," said
John, wondering if this would be the password and feeling a thrill go up
his backbone at the thought he might be at the wrong place.
"What's your name?"
"Gallant--John Gallant."
"Why didn't you say so in the first place? What do you think I am, a
mind reader? The clairvoyants are all east of Main street, son, all east
of Main street. Keep right on going, you'll find her on stage number
three."
His heels crunched into the finely-graveled driveway as he walked in the
direction pointed out to him by the guard, who condescended to leave
his chair for the purpose of guiding him. He passed two huge barn-like
structures and found the third designated in large white letters, "Stage
No. 3." A superstructure of black cloth and laths was built out from the
doorway at right angles to the stage building, a precaution, he later
learned, against daylight.
It was his first visit to a motion picture studio. He had no interest in
pictures or the people who played in them. His father, from whom he
inherited his love for books and the better class of spoken drama, had
always regarded motion pictures as almost a profanation of art. Once he
had noticed an advertising poster of a well known star referred to as a
"man's man," wearing a shirt open at the neck, sleeves rolled to the
elbows, riding trousers and shiny leather puttees, endeavoring
desperately to appear like a combination of Sandow and a Northwest
Mounted Police officer. He had had the satisfaction of hurling a rock to
mar the "virile" face as it looked down defiantly at him from the
billboard.
He had always imagined that all motion picture scenes were photographed
in the open, on roofless stages, and the idea that Southern California's
perpetual sunlight gave the best service for this purpose he believed to
be the reason that Los Angeles was the principal producing point of the
world. It surprised him when he realized that the barn-like structures
were inclosed stages.
Was Consuello a screen player or had she some other work connected with
the production of pictures, designer, scenario writer, director, art
expert? Or was she only at the studio as a visitor, inviting him to be
with her because some particular star was playing or some especially
interesting scene being staged?
Entering the cloth and lath superstructure he found himself in pitch
darkness. Unable to see his hand before his face he stopped to accustom
his eyes to the absence of any light. A voice spoke out of the dark:
"Do you wish to see anyone?" it asked.
"Miss Carrillo," he answered, having an uncanny feeling as he spoke to
someone he could not see and yet whom he know was close at hand.
"Miss Carrillo is on the set--was she expecting you?" the voice asked.
"She told me to be here and to mention that she was expecting me," he
said.
"This way, then, please."
He turned in the direction from which the voice came and walked slowly,
cautiously, until his feet encountered steps. He mounted the steps with
a strange feeling that he was about to fall on his face.
Reaching the top step he felt himself on a level floor. Shafts of
light, escaping from between tall objects before him, invaded the
darkness. A stringed orchestra was playing something soft, plaintively
sweet. He recognized the music as Schubert's "Serenade." He stumbled
over a sawhorse and his guide turned upon him with a quick admonition to
be more careful. Except for the music there was not a sound.
Turning past one of the tall dark objects, which he afterward discovered
were painted canvas scenery, he halted at a signal from the man who was
leading him and who continued to go forward on tiptoes, a muffled curse
escaping him as a board squeaked under foot. John named his guide "Mr.
John J. Silence" in his mind.
Before him two arc lamps threw a bluish white light on a set
representing the interior of a finely furnished room. Between the lamps
were two cameras which were being cranked by two tall young men in khaki
trousers and leather puttees who wore the peaks of their caps turned
backward like children playing "fireman." Near the cameras a man with
horn-rim spectacles sat in a canvas chair, a manuscript in his hand.
Scattered about were a dozen men and women, poised tensely, as if they
were afraid to move a muscle. To the left was the orchestra, a violin,
'cello and bass viol. Why, thought John, do bass viol players always
have that far-away, woebegone look on their faces as they saw at their
instruments?
From where he stood it was impossible for John to see what was before
the cameras. He strained his eyes in a vain attempt to identify
Consuello as among those standing behind the lamps. He saw his guide
speak to one of the figures--a man--and then turn to signal to him
violently and silently to approach, pressing his forefinger to his lips
as a final admonition to be quiet.
"Mr. John J. Silence bids me approach," John said to himself.
He tiptoed forward. A board creaked under his foot. It could not have
had more effect if it had been a pistol shot. Instantly all except the
cameramen turned on him quickly. He imagined little arrows darting at
him from their eyes, those little arrows cartoonists use to illustrate a
fixed stare by one of their subjects. Never had he seen such a look of
mingled pain and exasperation as crossed the face of "John J. Silence."
He stood stock-still, fearful that if he made another sound they would
pounce upon him and tear him limb from limb while "John J. Silence,"
completely overcome, writhed in agony on the floor.
By carefully testing the flooring each time before he put his full
weight on his foot, he managed to reach a point behind the cameras
without having that battery of aggravated eyes turned upon him again.
Now no one favored him even with a turn of the head. He saw that
Consuello was not in the group. The man in the canvas chair spoke,
softly, appealingly.
"Now, Miss Carrillo, you think of how happy you two were together--days
that are never to be again--he's gone--gone forever--that's it--tears
come up in your eyes--he's (deep voice) gone, (deeper voice) gone, (very
deep) g-o-n-e."
Risking those reprimanding eyes again, John stepped to one side to
enable himself to see around the man who was in front of him, blocking
his view of the set.
He saw Consuello, a strange, sad Consuello, her face ghastly pale under
the bluish white light, her naturally beautiful features hidden under a
mask of paint and powder, but Consuello, just the same. Heavy tears that
brimmed from her eyelids coursed down her cheek, sparkling in the glare
of the lamps. Her thickly rouged lips trembled; the fingers of one of
her hands, pressed tightly in her lap, beat wildly on the back of the
other beneath it.
She was seated in a large plush chair facing the cameras. She wore an
evening gown and her hair was arranged in a high coiffure that made her
look taller, older.
"Cut!" commanded the man in the horn-rim glasses. "That was splendid,
Miss Carrillo, splendid."
The cameras stopped grinding. Consuello rose--laughing. The orchestra
stopped abruptly. She came toward them, touching lightly at her cheeks
with a tiny handkerchief.
"It seems a shame to dry such perfectly real tears," she said.
Then she saw John and came to him, her hand outstretched. As if they
were controlled by a single mind and impulse the heads of everyone in
the group turned to him.
"I'm so glad you got here," she said.