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play Varley. I don't have to tell you what a powerful brute he can be; you had a hint of it in The Dream Girl. But this time he'll be no bumbling boozer, he'll be a vicious man who carries a horsewhip and uses it, who's willing to sell you to the local bartender for the price of his rum bill. Elliott Dexter is my choice for the young lawyer. Did you see him in The Heart of Nora Vlynn or in Diplomacy with Marie Doro?"
She hadn't, but Dexter was a reasonable choice, no great actor but a "clean-cut American type." He'd had stage experience, he had the physical strength to cope with Robert's Varley.
"The lawyer and the grandmother come to Africa searching for the child who is to inherit the grandmother's fortune. They find you virtually Varley's slave. I've been working with scenarist Charles Sarver; he's preparing our screen play from the story by Morris. We would like to establish the character of this girl in an early scene where she comes across the field in her rags, carrying a water jar . . ."
"But she's dreaming of something else, isn't she?" and jumping to her feet, Mae ran across the office, lifted a large dictionary to her shoulder and approached him like a mannequin, not a ragged girl, but a mannequin bearing a Grecian urn.
"That's it! Good! Inside of you, you're not wearing rags."
"In the world but not of it," she said, smiling because she sensed that she could work with him. He'd be a mirror, not a hammer, a mirror as Ziegfeld had been, only closer somehow; she sensed that from the way he looked at her.
"Our first big scene is out in the field where the brute is whipping you. Lady Brentwood and the lawyer arrive, the young lawyer rushes to your rescue, seizes the whip and turns the tables on Varley, lashing him into the blades of the threshing machine. Then he takes you to your grandmother. The elegant lonely old woman, the lonely child. Can you imagine the scene where you are dressed finally in your dear mother's dress?"
She would touch the fabric to be sure it was more than a dream.
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