Simsbury and he had practically forgotten Edwina May; forgotten even the scared haste of those embraces. He seemed to remember that he had grabbed her and kissed her, but was it on her cheek or nose?
Anyway, he was now quite certain that the mechanics of this dead amour were not those approved of in the best screen circles. Never had he gathered a beauteous girl in his arms and very slowly, very accurately, very tenderly, done what Parmalee and other screen actors did in their final fade-outs. Even when Beulah Baxter had been his screen ideal he had never seen himself as doing more than save her from some dreadful fate. Of course, later, if he had found out that she was unwed
He resolved now to devote special study to Parmalee's methods of wooing the fair creature who would be found in his arms at the close of the present film. Probably Baird would want some of that stuff from him.
From the very beginning of "Object, Matrimony" it was apparent that the picture drama would afford him excellent opportunities for studying the Parmalee technique in what an early subtitle called "The Eternal Battle of the Sexes." For Parmalee in the play was Hubert Throckmorton, popular screen idol and surfeited with the attentions of adoring women. Cunningly the dramatist made use of Parmalee's own personality, of his screen triumphs, and of the adulation lavished upon him by discriminating fair ones. His breakfast tray was shown piled with missives amply attesting the truth of what the interviewer had said of his charm. All women seemed to adore Hubert Throckmorton in the drama, even as all women adored Harold Parmalee in private life.
The screen revealed Throckmorton quite savagely ripping open the letters, glancing at their contents and flinging them from him with humorous shudders. He seemed to be asking why these foolish creatures couldn't let an artist alone. Yet he was kindly, in this half humorous, half-savage mood. There was a blending of chagrin and amused tolerance on
