Friends were there from Greenwich Village. There was a high buzz of excitement. Jaded1 critics were smiling with pleasure; it was a relief, now and then, to be spared boredom2. Peter had spared them.
Peter himself appeared, wearing his high hat—flushed, his eyes blazing, but unsmiling. He held a folded envelope against his shirt-front.
Acquaintances caught at him as he passed. One critic publicly congratulated him. It was an ovation3; or it would have been had he responded. But he saw, out near the entrance, through the crowd, the face of Sue Wilde. He pressed through to her side.
“Sue,” he murmured in her ear. “I want to see you? How about to-morrow? Lunch with me perhaps? I've written something....”
His excited eyes wandered down to the paper in his hand.
Sue, smiling a little, suddenly rather excited herself, pulled at the Worm's elbow. That young man turned.
Peter glared at him.
But the words he might have uttered, by way of putting this too casual old friend in his place, remained unsaid. For Sue, demure5 of everything excepting eyes, remarked:
“My husband, Peter. We were married to-day.”
The playwright6 dropped, in one instant, from the pinnacle7 of fame, money power, on which, for nearly two hours, he had been exultingly8 poised9. His chin sagged10. His eyes were dazed. A white pinched expression came over his long face.
“Married—to-day!” He repeated the words in a flat voice.
She nodded. “You must congratulate us, Peter. We're dreadfully happy.”
Peter seemed unable, however, to say anything more. He continued to stare. The beginnings of a low laugh of sheer delight bubbled upward within Sue's radiant being. Peter heard it, or felt it. Suddenly he bolted—out through the crowd to the sidewalk. He brushed aside the enthusiastic hands that would detain him. He disappeared.
There are conflicting reports as to what occurred after this. The Evening Earth described the incident as taking place on the sidewalk directly in front of the theater. The Press-Record had it on the farther corner, across the side street. The Morning Bulletin and The Continental11 agreed that the woman pursued him through the stage door.
Outside there, the traffic was heavy. Street-cars and motors filled the street from curb12 to curb. Women and their escorts were passing out of and into the famous restaurant that is next door but one to the Astoria. The sidewalk was crowded as always in the theater district on a fine September evening.
MacMerry, dramatic critic of The Standard, was the one closest to it. He had stepped outside to smoke his cigarette, found himself at the playwright's elbow, and spoke13 pleasantly to him of the play. He noted14 at the time, as he explained later at his club, that Mann was oblivious15. He was very pale, stared straight ahead, and appeared to be drifting with the crowd.
The stage entrance to the Astoria is not around the corner, but is a narrow passage leading back from the street on the farther side of the restaurant. It was at this point, said MacMerry, that Mann came to a stop. He seemed dazed. Which was not unnatural16, considering the occasion.
As he stood there, a young woman rushed forward. She was of an Italian cast of countenance17, not bad-looking, but evidently in a state of extreme excitement. Apparently18 she had been standing19 close to the building, watching the crowd. She had a knife in her hand.
This knife she wielded20 on the playwright. Three or four separate times she stabbed at his chest, evidently striking for the heart. Trying to seize her hand, Mann received a slight cut on the fingers. MacMerry himself finally caught her forearm, threw her back against the building, and took the knife away from her. By this time, of course, a dense21 crowd had pressed about them. And Mann, without a word, had slipped into the passage leading to the stage. Certainly, when the policeman got through to the critic's side, Mann was not there.
They talked it over in the lobby. There the Worm, catching22 an inkling of the catastrophe23, took a hand. Learning from MacMerry that the girl was evidently an Italian, he put forth24 the theory that she had probably mistaken Pete for a man of her own blood. Peter was dark of hair and skin. Considering this, MacMerry recalled that Peter had given no sign of knowing the woman. And he could not recall that she had spoken his name. He and the Worm then talked this over with the newspaper men that came rushing to the scene. The theory-found its acceptors. The Worm pointed25 out that Peter was a man of quiet manners and of considerable dignity. He was never a roysterer. His ideas were serious. It was not likely that the woman had any claim upon him.
Perhaps the strongest influence working in Peter's interest was the fact that he was actually, at the moment, bursting into a big success. Every one, newspaper workers among the others, was glad to help him along. It was the thing to do. So by midnight all had agreed that it was a case of mistaken identity. Peter's luck held.
Meantime a little drama more real than any Peter had yet been credited with writing was taking place behind the scenes.
Act four was short; and from curtain to curtain Miss Derring held the stage. Therefore she had no knowledge of what was taking place in her dressing-room. Whether Peter came back with any coherent intention of finding Grace. I can not say. It is not likely. The most intensely exciting evening of his life had reached its climax26 in a short scene in which a young woman had stabbed him. Immediately preceding this event, he had encountered the astounding27 fact that the girl it seemed to him he had always loved more than any one else in the world was married—married to his old chum.
As he ran through the dark passage from the street to the stage door, his hand still clutched the paper on which he had written the sonnet28 that was to touch her heart. You are to remember that this bit of verse had considerable emotional quality and more than a touch of grace. He had written it on an old envelope, seated in a crowded theater; but then, Schubert wrote wonderful songs on restaurant menus. It is so that things are done in the world of temperament29.... I don't believe he knew what he was doing, then or later; perhaps, until the next morning. If Peter ever knew what he was doing!
The curtain was already up when he slipped sidewise past the doorman, through the vestibule, on to the stage. It was dim and still back there. Far away, beyond the great shadowy cluster of canvas and wood structures that made up the fourth act set, he could hear Grace's voice. Down front, by the prompt corner stood a silent little group—four or five actors, the electrician, the mighty30 Max Neuerman in his shirt-sleeves.
Scene flats, six deep, were propped31 against the wall. He had to pick his way between piled-up properties and furniture. Two stage hands moved aside and let him by. He was conscious of feeling weak. His head was a maelstrom32 of whirling emotions. He was frightened. He couldn't get his breath. It wouldn't do to stay around here—perhaps make a scene and spoil his own play. He had no means of knowing for certain that Maria had not escaped MacMerry and pursued him up the passage. What if she should overpower the doorman—a superannuated33 actor—and get at him again! Even if she shouldn't, he might faint, or die. It was curiously34 hard to breathe.
He felt his way past more scenery, more properties. There was a doorway35 in the concrete stage wall, leading to dressing-rooms on a corridor, and more dressing-rooms up a twisting iron stairway.
Grace would have the star's room, of course. She wasn't a star yet, but Neuerman was featuring her name in all the advertising36. That would naturally entitle her to the star's room. That would be the end room with the outside light. The door was ajar. It was a large room. Yes, he could see her first act frock, over a chair. And Minna, the maid who had been with her when—when he and she had been on rather good terms, very good terms—was sitting quietly by the dresser, sewing. Minna was a discreet37 little person. She had carried notes and things. Still, it was awkward. He would prefer not having Minna see him just now.... He was weak.
He found it necessary to catch at the iron stair rail and steady himself... Grace, you had to admit, was a good deal of a girl. It was rather remarkable38, considering her hard life, the work, the travel, the—well, the one or two experiences—how fresh she looked, how young, how full of magnetic charm. Why, Grace was twenty-eight if she was a day! But she was putting the play over in great style. You had to admire her for that. It was too bad, thinking it all ever, that their relations hadn't gone quietly along on a friendly basis, that emotions should have torn her so, intensifying39 her demands on him, making it really necessary for him to break off with her.
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1
jaded
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| adj.精疲力竭的；厌倦的；（因过饱或过多而）腻烦的；迟钝的 | |
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boredom
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| n.厌烦，厌倦，乏味，无聊 | |
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ovation
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| n.欢呼，热烈欢迎，热烈鼓掌 | |
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casually
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| adv.漠不关心地，无动于衷地，不负责任地 | |
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demure
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| adj.严肃的；端庄的 | |
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playwright
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| n.剧作家，编写剧本的人 | |
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pinnacle
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| n.尖塔，尖顶，山峰；(喻)顶峰 | |
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exultingly
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| 兴高采烈地，得意地 | |
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poised
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| a.摆好姿势不动的 | |
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sagged
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| 下垂的 | |
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continental
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| adj.大陆的，大陆性的，欧洲大陆的 | |
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curb
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| n.场外证券市场，场外交易；vt.制止，抑制 | |
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13
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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14
noted
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| adj.著名的，知名的 | |
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oblivious
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| adj.易忘的，遗忘的，忘却的，健忘的 | |
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unnatural
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| adj.不自然的；反常的 | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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wielded
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| 手持着使用（武器、工具等）( wield的过去式和过去分词 )； 具有； 运用（权力）； 施加（影响） | |
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21
dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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catastrophe
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| n.大灾难，大祸 | |
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forth
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| adv.向前；向外，往外 | |
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pointed
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| adj.尖的，直截了当的 | |
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climax
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| n.顶点；高潮；v.(使)达到顶点 | |
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astounding
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| adj.使人震惊的vt.使震惊，使大吃一惊astound的现在分词) | |
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sonnet
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| n.十四行诗 | |
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temperament
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| n.气质，性格，性情 | |
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mighty
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| adj.强有力的；巨大的 | |
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propped
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| 支撑，支持，维持( prop的过去式和过去分词 ) | |
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maelstrom
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| n.大乱动；大漩涡 | |
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33
superannuated
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| adj.老朽的，退休的；v.因落后于时代而废除，勒令退学 | |
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34
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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doorway
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| n.门口，(喻)入门；门路，途径 | |
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36
advertising
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| n.广告业；广告活动 a.广告的；广告业务的 | |
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37
discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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39
intensifying
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| v.（使）增强， （使）加剧( intensify的现在分词 )；增辉 | |
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40
plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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