But first, before starting, she thoughtfully selected some of a number of photographs of herself and also of Maud. "I suppose I shall have a dreadful time persuading her," she reflected as she drove through the streets. "She has bred in the bone those old-fashioned ideals of New York when it lived in Bleecker and Houston Streets."
But curiously enough, while events of one character had led Perdita strongly to consider the adoption of a certain line of action, circumstances of a widely differing nature had impelled Maud practically to the same conclusion. Which only goes to show how clever a weaver is Fate and how wonderfully she contrasts and combines all her various threads.
For two or three hours Maud had been sitting in a dimly-lighted, empty playhouse, watching the rather dreary and disillusionizing progress of Martin's latest play.
It was an odd thing, she mournfully reflected, that Wallace never got himself, his own, bubbling, merry, joyous self, full of quirks and quips, into his plays. They would seem to have been written by a secondary personality, for they were all, without exception, intensely serious and depressing, dealing with problems of the most complex and dun-colored character.
Maud was extremely practical. She never dreamed of buoying up her spirits with any ambrosial reflections that this latest offering was "a distinct contribution to the more serious drama." Neither did she attempt to convince herself that there were enough high-browed folk in the town to keep the play on for, peradventure, three nights. No, she simply, and with her usual common sense, reserved judgment until the third act, and then after a moment of wonder that Wallace had found a firm of managers willing to undertake the production, with all the expense entailed, when they had just one chance in a million to win (in her opinion, at least), she turned to more practical issues.
"Dita and I," she remarked mentally, "have got to make a stupendous success if I want to marry Wallace, which I do, and he is going to continue to write plays, which he is. But I'll have a frightful time persuading Dita to run her business along the lines of twentieth century advertising. She has all sorts of ante-bellum ideas about stately procedure and measured methods, derived, of course, from those generations of lazy southern aristocrats."
While she mused, amid the terrific racket of moving things about the stage in preparation for the fourth act, she felt a light touch upon her shoulder, and looked up to see Perdita, pale but determined, standing beside her.
"I'll just slip into this seat beside you," said Mrs. Hepworth, suiting the action to the word. "I want to talk to you a few minutes. Now, Maudie, I know that you will not like it, but we've been doing awfully well lately, and I think it would be a good idea to put what we've made in advertisement. Of course, there's a lot we can get without paying for it. The Sunday newspapers will print pages about us, especially—especially if we let them have some of our most stunning pictures and allow those interviews where the artists sit and make sketches of you."
Maud looked at her business partner as one who, bidden to rub a magic ring on his finger and wish, sees his wish come true. Here was Perdita approaching her tactfully, and timidly entreating her to do the very thing that was in her mind to accomplish. She could not grasp it, but sat staring at her companion in an amazement so profound that it bereft her of speech.
Perdita misinterpreted the silence. "I've got to make a red-and-yellow success," she exclaimed with emotion. "I've—I've just got to be in the newspapers. Don't take it in this cold, reproving way."