him abruptly.
He sprang after her. “But you’re wrong. I’ve never–-“
“Oh, yes, you have.” They began to discuss it, and for better consideration of the theme it became necessary for Cora to “cut” the next dance, promised to another, and to give it to Mr. Wattling. They danced several times together, and Mr. Wattling’s expression was serious. The weavers of the tapestry smiled and whispered things the men would not have understood—nor believed.
Ray Vilas, seated alone in a recessed and softly lighted gallery, did not once lose sight of the flitting sorceress. With his elbows on the railing, he leaned out, his head swaying slowly and mechanically as she swept up and down the tumultuously moving room, his passionate eyes gaunt and brilliant with his hunger. And something very like a general thrill passed over the assembly when, a little later, it was seen that he was dancing with her. Laura, catching a glimpse of this couple, started and looked profoundly disturbed.
The extravagance of Vilas’s passion and the depths he sounded, in his absurd despair when discarded, had been matters of almost public gossip; he was accounted a somewhat scandalous and unbalanced but picturesque figure; and for the lady whose light hand had wrought such havoc upon him to be seen dancing with him was sufficiently startling to elicit the universal remark—evidently considered superlative—that it was “just like Cora Madison!” Cora usually perceived, with an admirably clear head, all that went on about her; and she was conscious of increasing the sensation, when after a few turns round the room, she allowed her partner to conduct her to a secluding grove of palms in the gallery. She sank into the chair he offered, and, fixing her eyes upon a small lamp of coloured glass which hung overhead, ostentatiously looked bored.
“At your feet, Cora,” he said, seating himself upon a stool, and leaning toward her. “Isn’t it appropriate that we should talk to music—we two? It shouldn’t be that quick step though—not dance-music—should it?”
“Don’t know ‘m sure,” murmured Cora.
“You were kind to dance with me,” he said huskily. “I dared to speak to you–-“
She did not change her attitude nor the direction of her glance. “I couldn’t cut you very well with the whole town looking on. I’m tired of being talked about. Besides, I don’t care much who I dance with—so he doesn’t step on me.”
“Cora,” he said, “it is the prelude to `L’Arlesienne’ that they should play for you and me. Yes, I think it should be that.”
“Never heard of it.”
“It’s just a rustic tragedy, the story of a boy in the south of France who lets love become his whole life, and then—it kills him.”
“Sounds very stupid,” she commented languidly.
“People do sometimes die of love, even nowadays,” he said, tremulously—“in the South.”
She let her eyes drift indifferently to him and perceived that he was trembling from head to foot; that his hands and knees shook piteously; that his lips quivered and twitched; and, at sight of this agitation, an expression of strong distaste came to her face.
“I see.” Her eyes returned to the lamp. “You’re from the South, and of course it’s going to kill you.”
“You didn’t speak the exact words you had in your mind.’”
“Oh, what words did I have `in my mind’?” she asked impatiently.
“What you really meant was: `If it does kill you, what of it?’”
She laughed, and sighed as for release.
“Cora,” he said huskily, “I understand you a little because you possess me. I’ve never—literally never—had another thought since the first time I saw you: nothing but you. I think of you—actually every moment. Drunk or sober, asleep or—awake, it’s nothing but you, you, YOU! It will never be different: I don’t know why I can’t get over it—I only know I can’t. You own me; you burn like a hot coal in my heart. You’re through with me, I know. You drained me dry. You’re like a child who eats so heartily of what he likes that he never touches it again. And I’m a dish you’re sick of. Oh, it’s all plain enough, I can tell you. I’m not exciting any more—no, just a nauseous slave!
“Do you want people to hear you?” she inquired angrily, for his voice had risen.
He tempered his tone. “Cora, when you liked me you went a pretty clipping gait with me,” he said, trembling even more than before. “But you’re infinitely more infatuated with this Toreador of a Corliss than you were with me; you’re lost in him; you’re slaving for him as I would for you. How far are you going with–-“
“Do you want me to walk away and leave you?” she asked, suddenly sitting up straight and looking at him with dilating eyes. “If you want a `scene’–-“
“It’s over,” he said, more calmly. “I know now how dangerous the man is. Of course you will tell him I said that.” He laughed quietly. “Well—between a dangerous chap and a desperate one, we may look for some lively times! Do you know, I believe I think about as continuously of him, lately, as I do of you. That’s why I put almost my last cent into his oil company, and got what may be almost my last dance with you!”
“I wouldn’t call it `almost’ your last dance with me!” she returned icily. “Not after what you’ve said. I had a foolish idea you could behave—well, at least decently.”
“Did Corliss tell you that I insulted him in his rooms at the hotel?”
“You!” She laughed, genuinely. “I see him letting you!”
“He did, however. By manner and in speech I purposely and deliberately insulted him. You’ll tell him every word of this, of course, and he’ll laugh at it, but I give myself the pleasure of telling you. I put the proposition of an `investment’ to him in a way nobody not a crook would have allowed to be smoothed over—and he allowed it to be smoothed over. He ate it! I felt he was a swindler when he was showing Richard Lindley his maps and papers, and now I’ve proved it to myself, and it’s worth the price.” Often, when they had danced, and often during this interview, his eyes lifted curiously to the white flaming crescent in her hair; now they fixed themselves upon it, and in a flash of divination he cried: “You wear it for me!”
She did not understand. “Finished raving?” she inquired.
