.....is Lucy Claudel whose high heels, bleached hair and lipstick, when she was 12, earned her a reputation in Denver and who was pursued by that stigma in spite of her lack of guilt when she became a Broadway star. For Lucy's mother knew that dancing was her daughter's future and sacrificed for it; Lucy soon learned what love was not -- and yearned for it; New York, after an enlightening stay in Nebraska, polished and show- cased her and brought her the companionship of Vida Bertrand whose friendship helped through the ups and downs of bright light notoriety. The men -- Clem, the artist; Semanter Klugitch, the unresolved, Carly Ransom, the body and the badness; Lyle Bigelow, the money and the price she would not pay; Figente, who taught, viciously and bitingly; the Indian dancer, who could not follow through to her whole career. Other than her mother and Vida was Horta, whom she knew as a Madame in Denver; the wife of a lustful, youthful beau; and the call girls to whom her name was linked. It was Paul Vermillion -- and his old affair with a French singer -- who caught and held her heart (and Vida's) and brought her from the fickle '20's to a future of emotional safety. A mundane monotone -- (which is sometimes demi)- this is a many textured thing which the feminine market might like to finger. But not for P.L's!