The Beckoning Hand, and Other Stories. Allen Grant
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wrap coldly, in a significant fashion, and turned with her opera-glass in the opposite direction, as if on purpose to avoid looking towards us.
A minute later the curtain rose, and the first act of Halévy's "Faustine" distracted my attention for the moment from the beautiful stranger.
Marie Leroux took the part of the great empress. She was grand, stately, imposing, no doubt, but somehow it seemed to me she didn't come up quite so well as usual that evening to one's ideal picture of the terrible, audacious, superb Roman woman. I leant over and murmured so to Irene. "Don't you know why?" Irene whispered back to me with a faint movement of the play-bill toward the beautiful stranger.
"No," I answered; "I haven't really the slightest conception."
"Why," she whispered, smiling; "just look beside you. Could anybody bear comparison for a moment as a Faustine with that splendid creature in the stall next to you?"
I stole a glance sideways as she spoke. It was quite true. The girl by my side was the real Faustine, the exact embodiment of the dramatist's creation; and Marie Leroux, with her stagey effects and her actress's pretences, could not in any way stand the contrast with the genuine empress who sat there eagerly watching her.
The girl saw me glance quickly from her towards the actress and from the actress back to her, and shrank aside, not with coquettish timidity, but half angrily and half as if flattered and pleased at the implied compliment. "Papa," she said to the very English-looking gentleman who sat beyond her, "ce monsieur-ci...." I couldn't catch the end of the sentence.
She was French, then, not Italian or Spanish; yet a more perfect Englishman than the man she called "papa" it would be difficult to discover on a long summer's day in all London.
"My dear," her father whispered back in English, "if I were you...." and the rest of that sentence also was quite inaudible to me.
My interest was now fully roused in the beautiful stranger, who sat evidently with her father and sister, and drank in every word of the play as it proceeded with the intensest interest. As for me, I hardly cared to look at the actors, so absorbed was I in my queenly neighbour. I made a bare pretence of watching the stage every five minutes, and saying a few words now and again to Irene or her mother; but my real attention was all the time furtively directed to the girl beside me. Not that I was taken with her; quite the contrary; she distinctly repelled me; but she seemed to exercise over me for all that the same strange and indescribable fascination which is often possessed by some horrible sight that you would give worlds to avoid, and yet cannot for your life help intently gazing upon.
Between the third and fourth acts Irene whispered to me again, "I can't keep my eyes off her, Harry. She's wonderfully beautiful. Confess now: aren't you over head and ears in love with her?"
I looked at Irene's sweet little peaceful English face, and I answered truthfully, "No, Irene. If I wanted to fall in love, I should find somebody——"
"Nonsense, Harry," Irene cried, blushing a little, and holding up her fan before her nervously. "She's a thousand times prettier and handsomer in every way——"
"Prettier?"
"Than I am."
At that moment the curtain rose, and Marie Leroux came forward once more with her imperial diadem, in the very act of defying and bearding the enraged emperor.
It was a great scene. The whole theatre hung upon her words for twenty minutes. The effect was sublime. Even I myself felt my interest aroused at last in the consummate spectacle. I glanced round to observe my neighbour. She sat there, straining her gaze upon the stage, and heaving her bosom with suppressed emotion. In a second, the spell was broken again. Beside that tall, dark southern girl, in her queenly beauty, with her flashing eyes and quivering nostrils, intensely moved by the passion of the play, the mere actress who mouthed and gesticulated before us by the footlights was as sounding brass and a tinkling cymbal. My companion in the stalls was the genuine Faustine: the player on the stage was but a false pretender.
As I looked a cry arose from the wings: a hushed cry at first, a buzz or hum; rising louder and ever louder still, as a red glare burst upon the scene from the background. Then a voice from the side boxes rang out suddenly above the confused murmur and the ranting of the actors "Fire! Fire!"
Almost before I knew what had happened, the mob in the stalls, like the mob in the gallery, was surging and swaying wildly towards the exits, in a general struggle for life of the fierce old selfish barbaric pattern. Dense clouds of smoke rolled from the stage and filled the length and breadth of the auditorium; tongues of flame licked up the pasteboard scenes and hangings, like so much paper; women screamed, and fought, and fainted; men pushed one another aside and hustled and elbowed, in one wild effort to make for the doors at all hazards to the lives of their neighbours. Never before had I so vividly realized how near the savage lies to the surface in our best and highest civilized society. I had to realize it still more vividly and more terribly afterwards.
One person alone I observed calm and erect, resisting quietly all pushes and thrusts, and moving with slow deliberateness to the door, as if wholly unconcerned at the universal noise and hubbub and tumult around her. It was the dark girl from the stalls beside me.
For myself, my one thought of course was for poor Irene and Mrs. Latham. Fortunately, I am a strong and well-built man, and by keeping the two women in front of me, and thrusting hard with my elbows on either side to keep off the crush, I managed to make a tolerably clear road for them down the central row of stalls and out on to the big external staircase. The dark girl, now separated from her father and sister by the rush, was close in front of me. By a careful side movement, I managed to include her also in our party. She looked up to me gratefully with her big eyes, and her mouth broke into a charming smile as she turned and said in perfect English, "I am much obliged to you for your kind assistance." Irene's cheek was pale as death; but through the strange young lady's olive skin the bright blood still burned and glowed amid that frantic panic as calmly as ever.
We had reached the bottom of the steps, and were out into the front, when suddenly the strange lady turned around and gave a little cry of disappointment. "Mes lorgnettes! Mes lorgnettes!" she said. Then glancing round carelessly to me she went on in English: "I have left my opera-glasses inside on the vacant seat. I think, if you will excuse me, I'll go back and fetch them."
"It's impossible," I cried, "my dear madam. Utterly impossible. They'll crush you underfoot. They'll tear you to pieces."
She smiled a strange haughty smile, as if amused at the idea, but merely answered, "I think not," and tried to pass lightly by me.
I held her arm. I didn't know then she was as strong as I was. "Don't go," I said imploringly. "They will certainly kill you. It would be impossible to stem a mob like this one."
She smiled again, and darted back in silence before I could stop her.
Irene and Mrs. Latham were now fairly out of all danger. "Go on, Irene," I said loosing her arm. "Policeman, get these ladies safely out. I must go back and take care of that mad woman."
"Go, go quick," Irene cried. "If you don't go, she'll be killed, Harry."
I rushed back wildly after her, battling as well as I was able against the frantic rush of panic-stricken fugitives, and found my companion struggling still upon the main staircase. I helped her to make her way back into the burning theatre, and she ran lightly through the dense smoke to the stall she had occupied, and took the opera-glasses from the vacant place. Then she turned to me once more with a smile of triumph. "People lose their heads so," she said, "in all these crushes. I came back on purpose to show papa I wasn't going to be frightened into leaving my opera-glasses. I should have been eternally ashamed of myself if I had come away and left them in the theatre."
"Quick," I answered, gasping for breath. "If you don't make haste, we shall be choked to death, or the roof itself will fall in upon us and crush us!"
She looked up where I pointed with a hasty glance, and then made her way back again quickly to the staircase. As we hurried out, the timbers of the stage were beginning to fall in, and the