"No," she said, biting her lips, and struggling with intense emotion; "you must reform without my aid--it will be harder, and therefore nobler. I do not 'care' for you." He sees the efforts these words are costing her. "I don't believe that, Eleanor." "Then in disbelieving me you put me on a par with a common liar," she says hotly. "Oh, no," he replies with his wan smile; "it is one of 'the social lies that warp us from the living truth.'" They are turning into the Savoy courtyard. Eleanor alights half pleased, half frightened at her daring. She feels very strange as she enters the huge restaurant with Carol. It is a full day, and he points her out several celebrities as they pass to their table. "This is the one, sir," says the waiter, "for two," removing an engaged card on Eleanor's plate. "How was the table reserved for us?" she asks Mr. Quinton. "We seemed expected." "I wired for it this morning," he answered tenderly. "I knew you would be in town, and I meant you to come!" "It is very wrong of me," she sighs, and her eyes glisten as if washed by still rains under her lashes. "Do you know, I have a calendar in my room, and every morning I pull off a leaf to read the motto. I have just remembered the quotation for to-day." "What was it?" he asks. Eleanor bends her head over her _hors d'oeuvre_. "The stately flower of female fortitude--of perfect wifehood." "Ah!" he sighs, "Tennyson." "Yes," says Mrs. Roche. Her eyes glance round the room. How many bright eyes glisten over their champagne, and merry tongues joke and laugh away the hours! "I like to look at people and make histories of them," says Eleanor. "That girl with the flaxen hair, next to the dark man on your right, was a ballet girl before she married Sir Frederick Thurston. Everybody prophesied that her high kick would lift her into the aristocracy when she first gained favour. Her name was Poppy Poppleton, and people think she poisoned her husband and let another woman swing for it." "Why do you tell me these horrible things?" murmurs Eleanor. "They are not conducive to appetite." "Forgive me, but you started by being morbid, quoting at me in fact, and you look so distractingly lovely when you are shocked." "To tell a woman she is lovely is to criticise her openly to her face. Please do not make such a careful perusal of my expression." "Unfortunately I am endowed with the critical faculty." The very intonation of Quinton's voice is a caress. His eyes seem to reveal, as they gaze on her, their power of insight and analysis. Their look is appreciation, their sympathy with her every utterance boundless. To him she is not only a character study, but a woman to love, to worship, for a day, an hour. To her he is an object of fascination, an accomplished man of the world, one who can make himself utterly irresistible by reason of his tenderness, chivalry, courtesy, and devotion.