Detective and mystery stories; New York (N.Y.) -- Social life and customs -- 20th century -- Fiction
"Angel!" cried Emma Fornez, and she embraced Spinetti. Then, knowing in
herself that the day was won, she began to amuse her audience. "Do you
know what the critics will write? I’ll tell you. The audience was
carried off its feet in the second act. They will praise the first.
They will say the second was obvious, and they will praise the third
act, because there I shall do a little trick to them—in the card scene.
I shall be very noble—very tragic. I will make a little picture of
death before my eyes—with all his bones rattling and his great big
hollow eyes, and they shall see it on my face—so! And I’ll look very
steady—noble—profound—like a queen. See?—a thing which Carmen would
nevère, nevère do, for she’s a little wretch of an animal that would be
frightened to death. But you will see they will all like it—it’s their
moral that you have to serve up to them."
"Third act—third act," came the running call from the flies. "All on
the stage for the third act."
When Beecher entered the corridor, Miss Charters was only a short
distance away. He was prepared for Lorraine as a companion, but he felt
a sudden anger at the sight of Garraboy, who in turn, suddenly
comprehending the aim of his partner’s maneuvers, looked anything but
pleased.
She nodded to him, holding out her hand.
"She is wonderful, Teddy, wonderful. Have you seen her? Is she
pleased?"
"She is a great, great artist," he said with extra warmth. "She is
pleased as a child."
The two men had nodded with that impertinent jerk of the head which in
society conveys the effect of a bucket of water.
"Come and see me after the next act," she said, looking at him closely.
"If I can," he said hastily.
He went up the steps and from the tail of his eye saw her linger,
watching him as he went. A little contrition, a sudden sympathy came to
him, but he repressed it angrily, saying to himself between his teeth:
"Garraboy—how can she stand for that!"
When he returned to the box, Mrs. Kildair and Mrs. Fontaine were in the
anteroom in low converse. He was suddenly struck with the look of age
in Mrs. Kildair’s face.
"But I assure you—I can go alone," she was saying.
"I would not allow it," said Mrs. Fontaine firmly. Then turning to
Beecher she said, so as not to reach the others: "Teddy, as soon as the
curtain is up, step out. Mrs. Kildair is not well. You will take her
home. I have ordered the automobile. You can get back for the last
act."
Mrs. Kildair made no further remonstrance—she was at the end of her
tether.
"Sit here," she said to Beecher, sitting down on the couch. "I don’t
want to be noticed."
"You’re ill!" he said alarmed.
"Yes, ill," she said mechanically.
At this moment the house became still. She rose with a return of energy
and signaled him that she was ready. Five minutes later they were in
the automobile fleeing uptown.
A moment of weakness was rare in her life, yet she comprehended it
without seeking to delude herself.
Public-domain text, read in full here on John Shaqi.
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