Speechless on one subject only, he went on rapidly, "I forgot to tell you. Watt and the nest-fouling St. Cyr have just hired a mock-up phony robot to play in Angelina Noel!"

But the line was dead.

"I'm not a phony," the robot said, hurt.

Martin fell back in his chair and stared at his guest with dull, hopeless eyes. "Neither was King Kong," he remarked. "Don't start feeding me some line St. Cyr's told you to pull. I know he's trying to break my nerve. He'll probably do it, too. Look what he's done to my play already. Why Fred Waring? I don't mind Fred Waring in his proper place. There he's fine. But not in Angelina Noel. Not as the Portuguese captain of a fishing boat manned by his entire band, accompanied by Dan Dailey singing Napoli to DeeDee Fleming in a mermaid's tail—"

Self-stunned by this recapitulation, Martin put his arms on the desk, his head in his hands, and to his horror found himself giggling. The telephone rang. Martin groped for the instrument without rising from his semi-recumbent position.

"Who?" he asked shakily. "Who? St. Cyr—"

A hoarse bellow came over the wire. Martin sat bolt upright, seizing the phone desperately with both hands.

"Listen!" he cried. "Will you let me finish what I'm going to say, just for once? Putting a robot in Angelina Noel is simply—"

"I do not hear what you say," roared a heavy voice. "Your idea stinks. Whatever it is. Be at Theater One for yesterday's rushes! At once!"

"But wait—"

St. Cyr belched and hung up. Martin's strangling hands tightened briefly on the telephone. But it was no use. The real strangle-hold was the one St. Cyr had around Martin's throat, and it had been tightening now for nearly thirteen weeks. Or had it been thirteen years? Looking backward, Martin could scarcely believe that only a short time ago he had been a free man, a successful Broadway playwright, the author of the hit play Angelina Noel. Then had come St. Cyr....

A snob at heart, the director loved getting his clutches on hit plays and name writers. Summit Studios, he had roared at Martin, would follow the original play exactly and would give Martin the final okay on the script, provided he signed a thirteen-week contract to help write the screen treatment. This had seemed too good to be true—and was.

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