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
Except for his bed, table and bureau, his chamber was empty now, all his
effects having been sold at auction. The sum received barely sufficed
to pay off his debts. The studio, too, was bare, and placards hung
outside both doors indicating that the premises were to let. The little
office, however, was left as usual, except for the casts of hands, put
away in the closet, and in this room they stayed by the open fire.
He was looking over his card catalogue as she entered. He had conceived
the plan of writing a book on palmistry along new lines, in which he
might embody his observations and theories. His aim was to attempt to
correlate chirography, chiromancy, phrenology, physiognomy and all those
sciences and pseudo-sciences which seek to interpret character through
specialized individual characteristics, and to trace the evidences from
one to another, showing how each element or indication would recur in
every manifestation of a person’s individuality, and how one symptom
might be inferred and corroborated by another. It would take time and
trouble, but he could spend his leisure upon it. The plan was tentative
and hypothetical, but so suggestive that he was becoming interested in
proving its verification. Clytie was enthusiastic about the book and
desirous of helping him. He was becoming less afraid of her, and more
sure of himself, after their days together, and he greeted her boldly
enough, now. Yet there was still a fascinating novelty in his
possession of her that made his familiarity seem like recklessness. Not
for her, however. Once having given him her lips she could never refuse
them again, nor could she longer think the action strange.
She took off her coat and hat, tucked in an errant curl or two over her
ears and seated herself luxuriously in the arm-chair. As she had played
with him, so now she worked with him, arranging his notes, dictating for
him to write, or stopping to discuss the subject. She was too adorable
in all this assumption of importance and seriousness for him not to
interrupt her occupation more than once, for which diversion of her
attention he was sent back promptly to his desk. The business kept them
so employed for two hours, when she opened her package, brought forth
their luncheon and brewed a pot of tea on the hearth.
"Francis," she said, after that was over, "do you know we are actually
becoming acquainted? Isn’t it too bad!"
"Don’t you enjoy the process?"
"Decidedly I do. That’s why I regret that it must soon be over."
"I doubt if we’ll ever finish—if we do, it will be still more delightful
to know you. And this process brings us toward that beautiful
consummation."
"Yes, but this part is so pleasant. I hate to see it go. I want to
roll it over on my tongue. Now, every word you say is a revelation and
a surprise—a surprise that I have been anticipating all my life, if
you’ll pardon the bull. It’s like unwrapping a mummy—I get excitedly
nearer and nearer my ideal of you."
Public-domain text, read in full here on John Shaqi.
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