Linda Lee, Incorporated: A Novel

by Louis Joseph Vance

If this were all there was to motion-picture acting, then Lucinda could not wonder that, as she was one day informed by a crusty veteran of the colony: "Bums may turn revivalists, and lawyers honest, but there ain't no known cure for a lens lizard."

In the name of all things reasonable! why sigh to be cured of a vocation at once so profitable and so enthralling?

There was another side to the business, of course, there had to be. One knew it couldn't be all beer and skittles, one heard dark hints of the uglier side, one even caught glimpses of it and its workings now and then, as in the instance of Nelly Marquis; but awareness of it had no perceptible effect upon the spirits of those with whom Lucinda found herself associated for the time being. Some of the younger members of the acting division seemed to take life a thought seriously—"life" meaning, as a rule, themselves—but the more experienced, and the men of the technical groups, the directors, cameramen, and their assistants, the property men and jacks-of-all-trades, went about their work with jests ever on their lips. Lucinda heard few orders given or acknowledged other than in the semi-jocular vein known as "kidding." Even Jacques, whose office clothed him with a certain dignity, by which he was intermittently depressed, seemed in his most earnest moments to find it difficult to express himself in terms of becoming gravity. The common attitude summed up to this: that making pictures was all a huge lark and (strictly between those engaged in it) a darned good joke on the people who paid the bills.

As for the part she was supposed to play in this picture of Summerlad's, Lucinda never managed to secure an intelligible exposition of its nature or its relation to the plot. Both Summerlad and Jacques seemed strangely vague in their own minds concerning it, and Alice Drake frankly confessed she hadn't read the 'script and hadn't the faintest notion what the picture was about. She did what Jacques told her to do, and did it very well, and so long as there were no complaints and her weekly cheque turned up on time, she didn't care (she said) a thin red hoot about the story. Neither was this an uncommon attitude, she averred; not infrequently directors imposed it upon the actors and actresses working under them. There was George Loane Tucker, who had directed The Miracle Man; Miss Drake had worked for him and could testify concerning his methods. He never told any of the cast what the story was, only what he wanted them to wear and do and how and when to do it; that was all. He had even invented a secret system of numbering the "takes," so that he alone could properly assemble the thousand or so separate scenes and close-ups which go to make up the average motion-picture when photography on it is finished, scenes which are never by any chance photographed in consecutive order. Nor was Tucker the only one....

Later on, in the projection-rooms of the Zinn Studios, Lucinda saw the "rushes" of the scenes in which she had played; "rushes" being the first positive prints made from the uncut negative: "takes" running anywhere from twice to a hundred times the length of the scene to be finally incorporated into the finished picture and disclosed to the public. She was well content with the way she had done what little had been given her to do, but was left in the dark as to what it was all about. And in the final cutting and editing, that sequence of scenes dropped out of the film altogether. So that nobody ever knew, except possibly Summerlad and Jacques....

To the best of her observation her rôle was that of an involuntary vamp. Not vampire: vamp. No other term will serve so well. Originally a derisive diminutive, the usage of the studios has endowed this monosyllable with a significance all its own, not readily definable. A vamp no longer means of necessity a vampire, a scarlet-mouthed seductress of strong men's souls. A vamp may be a far more socially possible person that that, in fact any attractive woman who comports herself toward another woman's man consistently with the common amenities of civilized intercourse.

As an involuntary vamp, then, Miss Lee was to meet Mr. Summerlad under romantic circumstances and innocently wean him from strict fidelity to the charms of his betrothed (or it may have been his wife) Miss Drake. Of this situation Miss Drake was in due course to become cognizant. What was to happen after that between Miss Drake and Mr. Summerlad was no concern of the involuntary vamp's. Furthermore, she never learned.

The said romantic circumstances proved sufficiently thrilling to bring about an early wedding in most films. Miss Lee was run away with by her horse while taking an early morning canter in mountains conveniently adjacent to her family's suburban villa. Mr. Summerlad, similarly engaged in health-giving equestrianism, happened along at the right time to observe her peril, pursue, and snatch her bodily from her saddle to his arms at the very instant when her mount was plunging headlong over a precipice. After which he escorted her to her home, and on the way the two indulged in such normal love-making as was only to be expected when the facts of the case were taken into consideration.

Jacques used up all of one day and two-thirds of the next staging and shooting the runaway and the rescue scenes, in none of which either Lucinda or Summerlad figured in person. Lucinda, it is true, was photographed from several angles, riding along the mountainside trail at a point where it was broad enough for her horse, with safety to its rider, to shy and start to run away. The animal was an unusually intelligent, perfectly trained and docile trick-horse that, given the right signals, would perform a number of feats such as shying, running away, stopping short, falling dead under its rider. And Lucinda was a good horsewoman, though not good enough for such rough and really dangerous riding as would be required after the start of the runaway. A double was therefore provided for her, a tough and wiry young person of about her height and weight who made her living by risking her life in just such ways, and who, with Lucinda's white coat, hat and boots added to her own white riding-breeches, passed well enough for Lucinda in "distance shots."

A double was likewise provided for Summerlad, though he was a superb rider and vigorously asserted his right to take what chances he pleased with his own neck. But Jacques explained it wasn't Summerlad's neck he cared about, it was finishing a picture in which eighty thousand dollars had already been sunk and for whose completion Summerlad's services would be required for four more weeks. Thereafter he could break his neck as often and in as many places as he liked, for all of Jacques.