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Updated: June 27, 2025
And I want you to give me credit for letting you have the idea after you had thought of it." "Yes, there's nothing mean about you, Louise, as Pinney would say. By Jove, I'll bring Pinney in! I'll have Pinney interview Haxard concerning Greenshaw's disappearance." "Very well, then, if you bring Pinney in, you will leave me out," said Louise. "I won't be in the same play with Pinney."
Godolphin asked, after a while, "In that last scene between her and her father, and in fact in all the scenes between them, couldn't you give more of the strong speeches to him? She's a great creation now, but isn't she too great for Atland?" "I've kept Atland under, purposely, because the part is necessarily a negative one, and because I didn't want him to compete with Haxard at all."
"Now, if you will excuse me, I will tell you what I think ought to be done to it." "By all means," said Maxwell; "I shall be glad to do anything you wish, or that I can." Godolphin poured out a cloudy volume of suggestion, with nothing clear in it but the belief that the part of Haxard ought to be fattened.
In non-essentials he yielded at times, as when one of the ladies had overdone a point, and he demurred. "But I always got a laugh on that, Mr. Godolphin," she protested. "Oh, well, my dear, hang on to your laugh, then." However he meant to do Haxard himself, his voice was for simplicity and reality in others.
The minority hinted that Salome was really the great part in the piece, and that in her womanly endeavor to win back the lover whom she had not at first prized at his true worth, while her heart was wrung by sympathy with her unhappy father in the mystery brooding over him, she was a far more interesting figure than the less complex Haxard; and they intimated that Godolphin had an easier task in his portrayal.
"That's a good name, too," said the actor. "Yes, isn't it? It has a sort of probable sound, and yet it's a made-up name. Well, I was going to say " "And I'm glad you have it a homicide that Haxard is guilty of, instead of a business crime of some sort. That sort of crime never tells with an audience," the actor observed. "No," said Maxwell. "Homicide is decidedly better.
Her smile was one which the other woman might have known how to interpret rightly, but her husband alone among men could feel its peculiar quality. Godolphin beamed with apparent satisfaction in it. "Wasn't Salome magnificent?" he said; and he magnanimously turned to the actress. "You will make everybody forget Haxard. You made me forget him." "I didn't forget him though," said Mrs. Harley.
But theatrically, it detracts from him. Haxard must be the central figure in the eye of the audience from first to last." Maxwell mused for a moment of discouragement. They were always coming back to that; very likely Godolphin was right; but Maxwell did not know just how to subdue the character of Salome so as to make her less interesting.
He said the character of Salome had the true proportion to all the rest now; and Maxwell understood that he would not be jealous of the actress who played the part, or feel her a dangerous rival in the public favor. He approved of the transposition of the speeches that Maxwell had made, or at least he no longer openly coveted them for Haxard.
Towards the end the talk might turn on the case of the unknown man, and the guests might discuss it philosophically together; Haxard would combat the notion of a murder, and even of a suicide; he would contend for an accident, pure and simple.
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