Life and Lillian Gish. Paine Albert Bigelow
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safe hiding behind some of the papier-mâché rocks before the explosion, and knew just how to do it. They practiced now on the barn stage, and it went off perfectly. They forgot one thing, however: They forgot to tell the “lovely and gifted Florence Niles” that the explosion would make a sudden and very big noise. In the rehearsals, somebody had merely said “BOOM,” which wasn’t at all the same thing.
Evening came, and the big barn was filled with farmers and townspeople, a breathless audience. Florence Niles, aged six, lay safely behind a stout papier-mâché rock, waiting for somebody to say “Boom!” But then, just at the instant when the villain or somebody should have said “Boom!” something else, something very terrific and awful, happened: a real BOOM in fact—one that fairly shook the barn, and made the audience jump and say something. The gifted Florence Niles did not stop to see what became of her double, but with a shriek, shot out from behind the rock and across the stage as fast as her legs could carry her, while the audience shouted for joy.
Never again would the climax go off as well as that. When the curtain fell, and Lillian—that is to say, Florence Niles—on the hero’s shoulder, passed in the procession before it, they received a great ovation.
And this was not so far from that modest house in Springfield, Ohio, where just six years earlier Mary Gish had waited for her first-born.
I do not know what the next stop was, and it does not matter, any more. The family likeness among one-night-stands was strong. The child actress presently did not mind the explosion—not so much—she only stopped her ears for it, and always she took the curtain call on the shoulder of the big hero, who adored her, and would have swung, regardless of explosions, into any quarry, any time, night or day, to save her.
How kind they were, all of them! Aunt Alice especially. She had a round, smiling face, and a round, soft, motherly body. Just right for the character part she played … just right for a little girl to snuggle up to, those nights on the train when there was no empty seat where one could really stretch out and sleep. Any of the company would gladly have given a shoulder to that golden head, and did, in turn, but no one except Aunt Alice had such a nice, soft shoulder, with such a good smell—no tobacco or anything—just Aunt Alice.
But the nights were quite hard, sometimes:—hard … and strange. Even when she got a seat all to herself and was covered by somebody’s coat, and sound asleep, it did not last. At any station a crowd of noisy people might come in, and a fat woman, or a thin woman with a baby, or somebody, would need the seat; and struggling to get her eyes open, and almost dead, Lillian would shrink back into her corner, and start at the rest of the company, huddled into the unusual attitudes of sleep.
The train did queer things to people. Such remarkable people … when one was awake to notice. Men—women, too—with funny faces. Country-jakes and their girls. Boys who stared at her, and if she turned on them suddenly, acted so crazily … babies—that mostly cried … fat people … thin people … dirty people … even clean and pretty ones.
Sometimes faces and people were there very uncertainly—perhaps not really there at all—just a part of some dream. One dreamed and dreamed, especially if one was not very well. Sometimes she woke with a dry, feverish mouth, and staggered down the aisle for a drink. Sometimes she was awakened by being bumped and jerked, this way and that, switching, with engine bells that swept by with a watery sound.
Faces … faces—one could even invent faces, especially just as one was going to sleep … or they just came of themselves … like the train boy, who brought a strong smell of oranges. Sometimes Aunt Alice would let her buy one, and a lemon stick to push into it. That was heaven. One could suck the lemon stick and dig into one’s corner and go to sleep. Or press one’s cheek against the glass and watch the snow or rain or solid dark go by, with sometimes a light … far off, or perhaps quite near. Somebody would be where the light was—somebody lived there. On clear nights there were stars—even a moon that made the snow fields very white, and traveled with the train, no matter how fast or far it went.
So much snow: fields of snow, hills of snow; villages with snow on the roofs, and in the dooryards, looking white and deserted in the moonlight. And tunnels—long, terrible, gasping tunnels; and big towns where the train slowed down with a great clackety-clack of wheels, and there was confusion—shouting, and rumbling baggage trucks, and where probably one had to change and sit in a station, or work one’s way through the iron arms that divided up the seats, so one could stretch out, and really sleep a little, at last. Not long, of course, for the other train would soon come shrieking in, and Aunt Alice or the hero, or Corinne, the soubrette, or somebody, would drag her through the iron divisions, and maybe carry her onto it, and if she didn’t remember that she had gone to bed before, she was apt to say her “Now I lay me” over again, and “God bless Mama and Dorothy, and keep them safe and well, and please, God, let me wake up in Heaven,” which she always added. And then, if there were no more changes that night, almost right away it was morning, with coal-dust, and cinders, and gray outside at first … with perhaps a streaky sky … or dull and drowned with rain … or caught up in a whirl of snow; and the train boy came through and sold her a sandwich for breakfast; or maybe they had reached the next show-town, and she went scurrying down the platform, holding Aunt Alice’s hand and lugging the little telescope bag, to a lunch counter where there might be something warm.... Not really a “pleasure excursion,” but long afterwards she did not regret it—she even found something “rather beautiful” in it.
They did not really “put up” at hotels. They merely “put in,” at a cheap one, for the day. Aunt Alice would get a room for fifty cents, until theatre time. Then the two soubrettes—good-hearted, even if rather tough, girls—would come to “call,” to share the room, each paying ten or fifteen cents. All stretched out on the bed, the sofa, anywhere, to catch up with their sleep. They only got up to eat—something they brought in, or at a restaurant, a cheap one (oh, worse in that day than now!)—or for a matinée.
If they were awake and there was nothing else to do, Aunt Alice taught her charge from a little book, and told her about a number of useful things. For one thing, it was quite wrong. Aunt Alice said, to kill animals, and not really healthy to eat their flesh. Vegetables, bread, milk and eggs had in them all that was good for human beings. Aunt Alice was a vegetarian, and advised Lillian to become one. Lillian liked the sound and size of the word, and could not bear the thought of killing anything—animals especially. Besides, at the places they ate, one could get more vegetables than meat for one’s money. One could get quite a lot of potatoes for a nickel, or a dime; other things, too—baked beans, which she still loved, and rice. They were not always good—sometimes greasy and tasteless, but they filled up. Often the butter was bad, especially. Still, if one could have a piece of pie at the end … or a plate of ice cream—a five cent plate … she became a vegetarian.
All the actors paid their own expenses, except train fares. Unlike Dorothy, Lillian received only ten dollars a week, but by close economy could send more than half of it to her mother. Perhaps the economy was too close, the physical foundation she was laying too slender.
And there was more than the need of food and sleep. A child—the wistful, heart-hungry child that she was—needed more than even the kind-hearted care of Aunt Alice: … Companions, play … the comfort of a mother’s arms.... Darkness gathering in a lonely hotel room—a little figure crouching at the window, staring into the night.
“What are you looking at, dear?”
“Nothing, Aunt Alice—just looking.”
Always her reply would be the same—always the same heart-hunger behind it. A dozen, twenty years later, a slender, white figure on a window seat, staring into the depths of the California night.
“What are you looking at, Lillian?” her mother asks.
“Nothing, Mother; just looking.”
Sometimes when the town was quite large and they played more than one night, she got to sleep in a real bed, could take off her clothes and have a bath—how splendid! Sometimes the paper in such a town had a piece in it about the play, even once or twice with her picture. The others thought this very fine, especially where their names were mentioned. They bought a lot of the papers, and cut out the pieces.