The Heart Line: A Drama of San FranciscoBurgess, Gelett
General
The Heart Line: A Drama of San Francisco
Burgess, Gelett
Bohemianism -- Fiction; Fortune-tellers -- Fiction; San Francisco (Calif.) -- Fiction
"I’ll have to disprove that. Let’s spend the rest of the afternoon out
of doors and get acquainted! Then when I have a good chance I’ll ask if
you’ll be my wife. Do you realize how little we know of one another?
It’s ridiculous. Why, you may have a middle name for all I know! You
may eat sugar on canteloupe or vinegar on your oysters; you may be an
extraordinary mimic; you may have escaped sudden death; you may have
been engaged when you were seventeen; you may sulk; you may mispronounce
my favorite words! How do I know but you like magenta and Germans and
canary birds, and wear Jaegers; and object to profanity and nicknames,
and say ’well-read’ and read the _Philistine_!"
"Good Lord, deliver us! That’s a devil’s liturgy!" In denial of his
categories she held him out her palm. "Oh, you should know me by that
right hand! You’re supposed to be a trained observer of symptoms and
stigmata. _You’re_ the one who needs investigation! Do you realize
what a risk I am running? Why, I haven’t yet heard you speak to a dog,
or answer a beggar, or seen you eat a banana, or watch a vaudeville
show—and all four are necessary before I really know you."
She bent her head in mock humility and looked up at him from beneath her
golden lashes. "You needn’t be afraid, Francis; if you tell me what
your rules are, I’ll obey them. If you _really_ want me to wear
magenta, I shall be terribly fond of it, and I shall only think I’ve
been stupid all my life to loathe it, and be so glad to learn. But I
hope you don’t!"
"If you’ll allow me five cents for dessert," he said as seriously, "I’ll
order bananas, at the risk of losing you for ever."
They had begun now to revel in the piquancy of the situation. Their
meetings had, up to this time, seemed fatal in their dramatic sequence,
fraught with meaning, working steadily up to the climax in the studio.
There had been few scenes between them, but those scenes had been
cumulative in feeling. They had played their parts like actors in a play
of destiny, a play whose plot had been closely knit and esthetically
economical in incident and dialogue, each act developing logically the
previous situation. Now that the tension was released, and the reaction
had come after an histrionic catastrophe, each looked at the other with
new eyes, seeking the living person under the tragic mask.
Public-domain text, read in full here on John Shaqi.
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