The Forbidden Way

"Don't, Jeff," she pleaded. "I can't bear it."

But he only laughed at her.

"Well, I've brought them to you – the roses, the orchids, the carnations, and you're going to live with them, in the atmosphere you've always wanted – "

"Won't you let me speak?"

"No!" he thundered. "My mind is made up. I'm going West alone. You go your way. I go mine. Is that clear? You and Cortland Bent can meet when and where you please."

"I don't want to meet him," she whispered brokenly. "I don't want to see him again."

"I can't believe you," he sneered. "We've lived a lie since we were married. Let's tell the truth for once in our lives. When I came in this room you were asleep, but even while you slept you dreamed of him and his name was in your mouth."

The face she turned up to him was haggard, but her eyes were wide with wonder.

"I heard you – you were calling for Cort. I'm not going to be a fool any longer."

He turned away from her and went toward the door, while she got up with some dignity and walked to the fireplace.

"You're going – to Mrs. Cheyne?" she asked coldly.

"If I like," defiantly. "This game works both ways."

"Yes, I see. There's some method in your madness after all."

"I don't see why you should care – since I don't object to Bent. Mrs. Cheyne is a friend of mine. She's investing in my company – "

"Evidently," with scorn. "No doubt you make it profitable to her."

"We won't talk about Mrs. Cheyne. You don't like her. I do. You like Cort Bent. I don't. And there we are. We understand each other. It's the first time in our lives we ever have. I don't question you, and you're not to question me. All I ask is that you hide your trail, as I'll hide mine. I have some big interests at stake, and I don't want any scandal hanging around my name – or yours. I'm giving you into the hands of my enemies. The father wants to ruin my business, the son to ruin my wife. I'll fight General Bent with his own weapons. The son – "

"You're insulting," she broke in. "Will you go?"

He turned at the door – his face pale with fury.

"Yes, I'll go. And I won't bother you again. These rooms are yours. When I'm here, mine are there. Some day when I'm ready I'll get you a divorce. Then you can marry as you please. As for me," he finished passionately, "I'm done with marriage – done with it – you understand?"

And the door crashed between them.

Camilla stood for a moment, tense and breathless, staring wide-eyed at the pitiless door. Then the room went whirling and she caught at the chair at her desk and sank into it helplessly, one hand pressed against her breast. For a moment she could not think, could not see even. The brutality of his insults had driven her out of her bearings. Why he had not struck her she could not imagine, for it was in the character of the part he was playing. He had not given her a chance. He must have seen that she was trying to repair past damages and begin anew. A throb of self-pity that was almost a sob came into her throat. Tears gathered in her eyes and pattered on the desk before her. She did not notice them until she heard them fall, and then she dried her eyes abruptly as though in shame for a weakness. He did not want to begin anew. She could see it all clearly now. He was tired of her and caught at the easiest way to be rid of her, by putting her in the wrong. Her strength came quickly as she found the explanation, and she sat up rigidly in her chair, her face hot with shame and resentment. She deserved something better from him than this. All that was worst in her clamored for utterance.

With a quick movement of decision she reached forward for a pen and paper and wrote rapidly a scrawl, then rang the bell for her maid.

"Have this note mailed at once."

It was addressed to Cortland Bent.

CHAPTER XII

TEA CUPS AND MUSIC

Dropping in on Jack Perot meant being shot skyward for twelve stories in a Louis Sixteenth elevator operated by a magnificent person in white gloves and the uniform of a Prussian lieutenant. Perot's panelled door was no different from others in the corridor upstairs, except for its quaint bronze knocker, but the appearance of a man-servant in livery and the glimpse of soft tapestries and rare and curious furniture which one had on entering the small reception room gave notice that a person of more than ordinary culture and taste dwelt within. The studio of the painter itself was lofty, the great north window extending the full height of two stories of the building, while the apartment beyond, a library and dining room with steps leading above to the bedrooms, contained all the luxuries that the most exacting bachelor might require.

To arrive at the distinction of being a fashionable portrait painter one must have many qualifications. In the schools one must know how to draw and to paint from the model. In the fashionable studio one must know how to draw and paint – then discover how not to do either. If the nose of one's sitter is too long, one must know how to chop it off at the end; if the mouth is too wide, one must approximate it to the Greek proportions; eyes that squint must be made squintless and colorful; protruding ears must be reduced. Indeed, there is nothing that the beauty doctor professes to accomplish that the fashionable portrait painter must not do with his magic brush. He must make the lean spinster stout and the stout dowager lean; the freckled, spotless; the vulgar, elegant; the anæmic, rosy; his whole metier is to select agreeable characteristics and to present them so forcibly that the unpleasant ones may be forgotten, to paint people as they ought to be rather than as they are, to put women in silk who were meant for shoddy, and men in tailored coats who have grown up in shirt-sleeves.

In addition to these purely technical attainments, he must be an infallible judge of character, a diplomat, a sophist; he must have a silver tea-service, to say nothing of excellent Scotch and cigarettes. He must be able to write a sonnet or mix a salad, discuss the Book of Job or the plays of Bernard Shaw, follow the quotations of the stock market, the news of the day, and the fashions in women's hats. He must laugh when he feels dejected and look dejected when he feels like laughing. Indeed, there is nothing the fashionable portrait painter must not be able to do, except perhaps really – to paint.

Jack Perot could even do that, too, when he wanted to. The sketch of the Baroness Charny on his easel was really sincere – an honest bit of painting done with the freedom his other work lacked. Perhaps this was because it was not a commission, but just one of those happy interludes which sometimes occur amid the dreariest of measures. It pleased him, at any rate, and he stood off from it squinting delightedly through his monocle while the Baroness poured the tea.

"Really, madame, it's too bad it's finished. I was almost ready to believe myself back in Paris again," he said in French. "If one could only live one's life backward!"

"Oh, that wouldn't do – in a little while perhaps you would be quite poor."

"Yes," he sighed, "but think how much better I would paint." He stopped before the sketch and sighed again. "I think it's you, Baroness. You bring an echo of my vanished youth. Besides, I didn't paint you for money. That is the difference."

"You are going to paint that handsome Madame Wray?"

"Yes. She's coming in for tea to-day."

"They are wonderful, those people. He is so original – so farouche."

"He's too fond of talking about himself," he growled. "These people represent the Western type so common in New York – climbers – but New York will forgive much in the husband of Mrs. Wray."

"He doesn't care whether he's forgiven or not, does he?"

"That's a pose. All Westerners adopt it. To consent to be like other people would be to confess a weakness."

"I like him; but then" – the Baroness yawned politely – "all Americans are attractive. Mrs. Wray I find less interesting."

"Naturally, madame. You are a woman." Then, after a pause, "It is a pity she's getting herself talked about."

"Really? That's encouraging – with Monsieur Bent?"

"Oh, yes – they met in the West – the phenix of an old romance."

"How delightful! Monsieur Jeff doesn't care?"

"Oh, no," significantly. "He has his reasons."

The door-knocker clanged, and Mrs. Rumsen entered, escorting two débutantes, who paused on the threshold of the studio gurglingly, their eyes round with timidity and a precocious hopefulness of imminent deviltries.

"So kind of you, Mrs. Rumsen. Good morning, Miss Van Alstyne – Miss Champney" (with Jack Perot it was always morning until six of the afternoon). "You've met the Baroness?"

"How too thweetly perfect!"

"How fearfully interesting!"

The newcomers fluttered palpitantly from canvas to canvas and only subsided when Mrs. Cheyne entered.

"Am I welcome?" she drawled. "This is your day, isn't it, Jack? Oh, how charming!" She paused before the sketch of the Baroness. "Why didn't you paint me like that? I'll never forgive you. You were painting me for Cheyne, I know it. My portrait fairly exudes the early Victorian."

Perot kissed the tips of his fingers and wafted them toward her. "Quite correct, dear Rita. Cheyne was paying the bill. Now if you gave me another commission – "

"I won't – you're the most mercenary creature. Besides, I'm too hard up. One must really have billions nowadays." She sank on the couch beside the Baroness. "It's really very exhausting – trying to live on one's income. I'm very much afraid I shall have to marry again."

"You need a manager. May I offer – "

"No, thanks. I shall be in the poor-house soon enough."

"Get Mr. Wray to help," laughed the painter mischievously. "They say he has a way of making dollars bloom from sage-brush."

She glanced at him swiftly, but took her cup of tea from the Baroness and held her peace.

The knocker clanged again, and Mrs. Wray, Miss Janney, Larry Berkely, and Cortland Bent came in.

"This is really jolly, Gretchen. Hello! Cort, Berkely – Mrs. Wray, I've been pining to see your hair against my old tapestry. Oh! shades of Titian! Can I ever dare?"

Camilla colored softly, aware of Mrs. Cheyne's sleepy eyes in the shadow below the skylight. She nodded in their general direction and then took Mrs. Rumsen's proffered hand – and the seat beside her.

"I was so sorry to have missed you this morning," she said. "I'm always out, it seems, when the people I want to see come in."

"I should have 'phoned," said the lady. "I had something particular to speak to you about. Is your husband coming here?"

"I – I really don't know," Camilla stammered. "He has been away and very busy."

"He'll be back for my dance, won't he?"

"I think so – but he's never certain. He's going West very soon."

"He was telling me something about his early life. You ought to be very proud of him."

"I can't tell just what it is, but to me your husband seems like an echo of something, an incarnation of some memory of my youth – perhaps only a long-forgotten dream. But it persists – it persists. I can't seem to lose it."

"How very curious."

"It is the kind of personality one isn't likely to forget. Has he any memory of his father or – of his mother?"

"No. His mother died when he was born. His father – he doesn't remember his father at all."

Mrs. Rumsen smiled. "Forgive me, won't you? I suppose you'll think me a meddlesome old busybody. But I'm not, really. I want to be friendly. You're a stranger in New York, and it occurred to me that perhaps you might crave a little mothering once in a while. It is so easy to make mistakes here, and there are so many people who are willing to take advantage of them."

"You're very kind, Mrs. Rumsen. I'm glad you think us worth while."

"I do. So much worth while that I want to lay particular stress upon it. Perhaps I ought to tell you what I mean. Last night my brother dined with us. He was in a very disagreeable mood – and spoke very bitterly of your husband. I suppose he may even go so far as to carry his business antagonism into his social relations with you both."

"How very unfortunate!" in genuine dismay.

"That is his way. He's rather used to lording it over people here. And people stand it just because he's Cornelius Bent. I suppose Mr. Wray knows what he is about. At any rate, I honor him for his independence. I told my brother so – and we're not on speaking terms."

As Camilla protested she laughed. "Oh, don't be alarmed, dear; we have been that way most of our lives. You see we're really very much alike. But I wanted you to understand that my brother's attitude, whatever it is, will make no possible difference to me."

"I shouldn't dare to be a cause of any disagreement – "

"Not a word, child. I'm not going to permit Wall Street to tell me who my friends shall be. There is too much politics in society already. That is why I want you to dine with me before my ball, and receive with me afterward, if you will."

Camilla's eyes brightened with pleasure. "Of course, I'm very much honored, Mrs. Rumsen. I will come gladly, if you don't think I'll add fuel to the flame."

"I don't really care. Why should you?"

"There are reasons. The General was most kind to us both – "

"Because he had something to get out of you," she sniffed. "I could have told you that before."

"But it was through General Bent that we met everybody – people who have entertained us – the Janneys, the McIntyres, and yourself, Mrs. Rumsen."

"He was the ill-wind that blew us the good," she finished graciously. "Say no more about it. I have a great many friends in New York, my child – some who are not stockholders in the Amalgamated Reduction Company."

* * * * *

In another corner of the studio – a dark one behind a screen – Miss Janney had impounded Larry Berkely.

"Have you seen 'Man and Super-man'?" she was asking.

"I've read it."

"Well, do you believe in it? Don't you think it breeds a false philosophy? Can you imagine a girl so brazen as to pursue a man whether he wanted her or not?"

"No. It was very un-human," said Larry.

"Or a man so helpless, saying such dreadful things – thinking such dreadful things about a girl and then marrying her?"

"It was absurd – quite ridiculous in fact. No one ever meets that kind of people in real life. I never could stand a girl of that sort."

"Oh, I'm so glad you agree with me. Do you know, Larry, I really believe that you and I have exactly the same way of thinking about most things. It's really remarkable. I'm so glad. It's a great comfort to me, too, because ever since I first met you I hoped we'd learn to understand each other better."

"How curious! I've been hoping the same sort of thing – fearing it, too," he added dolefully.

"Fearing it? What do you mean? Tell me at once."

"Oh, nothing," he murmured.

"I insist on knowing."

"I wanted you to like me – and yet I dreaded it, too."

"Don't say that again," she whispered. "I can't stand it, Larry. I do care for you – more and more every time I see you. But it makes me terribly unhappy to feel that anything is bothering you."

"It needn't bother you."

"Yes, it does – if it makes you miserable. What is it? Won't you tell me?"

"I – I don't think we ought to be too friendly."

"Why not?" in surprise.

"Because it wouldn't be good for you – for either of us."

"That's no answer at all. I refuse to listen. What do I mind if it's good for me or not – if I care for you enough to – to – what is it, Larry? Answer me."

"Well, you know I'm all right now, but when I went West my bellows – my breathing apparatus – oh, hang it all! The reason I went West was on account of my health. My lungs, you know – "

"You silly boy. I've known that for ever so long. That's one of the reasons why I fell in love with – "

She stopped, the color suddenly rushing to her cheeks as she realized what she had been saying. But Larry's fingers had found hers in the corner, and she looked up into his eyes and went on resolutely. "I do love you, Larry. I think I always have. Are you glad?"

Then Larry kissed her.

* * * * *

On the other side of the screen, to her own accompaniment on the piano, the Baroness Charny began singing:

"Tes doux baisers sont des oiseauxQui voltigent fous sur mes lèvres,Ils y versent l'oubli des fièvresTes doux baisers sont des oiseaux,Aussi légers que des roseaux,Foulés par les pieds blancs des chèvresTes doux baisers sont des oiseauxQui voltigent fous, sur mes lèvres."

Amid the chorus of approval, as the Baroness paused, a thin little lisping voice was heard.

"Oh, how too utterly thweetly exthquithite! I never thought of kitheth being like the flight of little birdth. Are they, Mr. Bent? I thought they lathted longer."

Bent shrugged his shoulders and laughed. "How should I know, Miss Champney? I've never been married."

"Married? How thilly! Of courthe not! It would be thtupid to kith then– tho unneth-eth – unneth-eth – oh, you know what I mean, don't you?"

"I'm afraid I don't. I'd be tempted not to understand, just to hear you say 'unnecessary' again."

"Now you're making fun of me. You're perfectly horrid. Ithn't he, Mr. Perot?"

"He's a brute, Miss Champney – an utter brute; that's because he's never been kissed."

"Oh, how very interethting! Haven't you really, Mr. Bent? Oh, you're really quite hopeleth."

Mrs. Cheyne sipped her tea quite fastidiously and listened, bored to the point of extinction. Nor did her expression change when, some moments later, Jeff Wray was announced. Camilla's face was the only one in the room which showed surprise. She had not seen her husband for several days, and she noticed, as he came over and spoke to Mrs. Rumsen, that he looked more than ordinarily tired and worried. With Camilla he exchanged a careless greeting and then passed her on his way to the others. The servant brought the decanter and soda bottle, and he sank on the divan by the side of Rita Cheyne. It surprised him a little when she began talking quite through him to their host and the Baroness, whom they were asking to sing again.

It was a Chanson Galante of Bemberg

"A la courA la courAimer est un badinageEt l'amourEt l'amourN'est dangereux qu'au villageUn bergerUn bergerSi la bergere n'est tendreSait se prendreSait se prendreMais il ne saurait changer.Et parmi nous quand les bellesSont legeres ou cruelles,Loin d'en mourir de depitOn en rit, on en rit,Et l'on change aussi-tot qu'elles."

Jeff listened composedly and joined perfunctorily in the applause. Rita Cheyne laughed.

"Charming, Baroness. I'm so in sympathy with the sentiment, too. It's delightfully French."

"What is the sentiment?" asked Jeff vaguely of any one.

Mrs. Cheyne undertook to explain.

"That love is only dangerous to the villager, Mr. Wray. In the city it's a joke – it amuses and helps to pass the time."

"Oh!" said Jeff, subsiding, conscious, that the question and reply had been given for the benefit of the entire company.

"Rather dainty rubbish, I should say," said Perot, with a sense of saving a situation (and a client). "Love is less majestic in the village – that's all, but perhaps a little sweeter. Ah, Baroness!" – he sighed tumultuously – "Why should you recall – these memories?"

The conversation became general again, and Wray finished his glass and set it down on the edge of the transom.

"What is the matter, Mrs. Cheyne?" he asked. "Aren't you glad to see me?"

"Why should I be?" coolly.

"I don't know. I thought you might be. I stopped at your house. They told me you were here, so I came right down."

"You're very kind – but I didn't leave any instructions."

"No, but they told me. I wanted to see you." "You didn't want to see me the other night."

"I couldn't – I 'phoned you."

"Don't you think it would have been in better taste if you had come yourself?"

"I left in the morning for Washington. I've just returned. I'm sorry you didn't understand."

"I did. You had other fish to fry. Did you know I came all the way in from the country to see you? No woman cares to throw herself at the head of a man. Personally I prefer an insult to a slight, Mr. Wray."

"Good Lord! I hope you don't think I could do that. I certainly have never showed you anything but friendship. I've been worried over – over business matters."

"That's a man's excuse. It lacks originality. I'm not accustomed to rebuffs, Mr. Wray. I made the mistake of showing that I liked you. That's always fatal, I thought you were different. I know better now. There's no depth too great for the woman who cheapens herself – I'm glad I learned that in time."

"Don't talk like that. I tell you I've been away," he protested.

"Really! Why didn't you write to me then?"

"Write?"

"Or send me some roses?"

"I'll send you a wagon-load."

"It's too late," she sighed. "It was the thought I wanted."

Wray rubbed his chin pensively. It occurred to him that there were still many things with which he was unfamiliar.

"I did think of you."

"Why didn't you tell me so then?"

"I'm telling you now."

She leaned toward him with a familiar gesture of renewed confidences.

"There are a thousand ways of telling a woman you're thinking of her, Mr. Wray. The only way not to tell her is to say that you are. What a man says is obvious and unimportant. A woman always judges a man by the things that he ought to have done – and the things he ought not to have done."

"I don't suppose I'll ever learn – "

"Not unless some woman teaches you."

"Won't you try me again?"

"I'll think about it." And then with one of her sudden transitions, she added in a lower tone, "I am at home to-night. It is your last chance to redeem yourself."

"I'll take it. I can't lose you, Mrs. Cheyne."

"No – not if I can help it," she whispered.

A general movement among Perot's visitors brought the conversation to a pause. Mrs. Rumsen, after a final word with Camilla, departed with her small brood. Cortland Bent, with a mischievous intention of supplying evidence of the inefficacy of the parental will, removed one wing of the screen which sheltered Berkely and his own ex-fiancée. But Miss Janney was not in the least disconcerted, only turning her head over her shoulder to throw at him:

"Please go away, Cort. I'm extremely busy."

Camilla smiled, but was serious again when Bent whispered at her ear, "My refuge!" he said. "Yoursis yonder."

She followed his glance toward Wray and Rita Cheyne, who were so wrapped in each other's conversation that they were unconscious of what went on around them.

"Come," said Camilla, her head in the air, "let us go."

CHAPTER XIII

GOOD FISHING

A clock struck the hour of nine. Mrs. Cheyne lowered the volume of Shaw's plays, the pages of which she had made a pretence of reading, and frowned at the corner of the rug. She now wore a house gown of clinging material whose colors changed from bronze to purple in the shadow of the lamps. It fitted her slim figure closely like chain-mail and shimmered softly like the skin of a dusky chameleon. Mrs. Cheyne was fond of uncertain colors in a low key, and her hour was in the dim of twilight, which lent illusions, stimulated the imagination to a perception of the meaning of shadows – softened shadows which hung around her eyes and mouth, which by day were merely lines – a little bitter, a little hard, a little cynical. Mrs. Cheyne's effects were all planned with exquisite care; the amber-colored shades, the warmish rug and scarlet table cover, the Chinese mandarin's robe on her piano, the azaleas in the yellow pots, all were a part of a color scheme upon which she had spent much thought. Her great wealth had not spoiled her taste for simplicity. The objects upon her table and mantel-shelf were few but choice, and their arrangement, each with reference to the other, showed an artistry which had learned something from Japan. She hated ugliness. Beauty was her fetich. The one great sorrow of her life was the knowledge that her own face was merely pretty; but the slight irregularity of her features somewhat condoned for this misfortune, and she had at last succeeded in convincing herself that the essence of beauty lies rather in what it suggests than in what it reveals. Nature, by way of atoning for not making each feature perfect, had endowed them all with a kind of Protean mobility, and her mind with a genius for suggestion, which she had brought to a high degree of usefulness. Without, therefore, being beautiful at all, she gave the impression of beauty, and she rejoiced in the reputation which she possessed of being marked "Dangerous."