The Complete Short Stories of F. Scott Fitzgerald. Francis Scott Fitzgerald
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speech.”
“Satisfied?”
“No, you haven’t kissed me.”
“It’s not in my programme,” demurred Horace. “Understand that I don’t pretend to be above physical things. They have their place, but——”
“Oh, don’t be so darned reasonable!”
“I can’t help it.”
“I hate these slot-machine people.”
“I assure you I——” began Horace.
“Oh shut up!”
“My own rationality——”
“I didn’t say anything about your nationality. You’re Amuricun, ar’n’t you?”
“Yes.”
“Well, that’s O.K. with me. I got a notion I want to see you do something that isn’t in your highbrow programme. I want to see if a what-ch-call-em with Brazilian trimmings—that thing you said you were—can be a little human.”
Horace shook his head again.
“I won’t kiss you.”
“My life is blighted,” muttered Marcia tragically. “I’m a beaten woman. I’ll go through life without ever having a kiss with Brazilian trimmings.” She sighed. “Anyways, Omar, will you come and see my show?”
“What show?”
“I’m a wicked actress from ‘Home James’!”
“Light opera?”
“Yes—at a stretch. One of the characters is a Brazilian rice-planter. That might interest you.”
“I saw ‘The Bohemian Girl’ once,” reflected Horace aloud. “I enjoyed it—to some extent——”
“Then you’ll come?”
“Well, I’m—I’m——”
“Oh, I know—you’ve got to run down to Brazil for the week-end.”
“Not at all. I’d be delighted to come——”
Marcia clapped her hands.
“Goodyforyou! I’ll mail you a ticket—Thursday night?”
“Why, I——”
“Good! Thursday night it is.”
She stood up and walking close to him laid both hands on his shoulders.
“I like you, Omar. I’m sorry I tried to kid you. I thought you’d be sort of frozen, but you’re a nice boy.”
He eyed her sardonically.
“I’m several thousand generations older than you are.”
“You carry your age well.”
They shook hands gravely.
“My name’s Marcia Meadow,” she said emphatically. “‘Member it—Marcia Meadow. And I won’t tell Charlie Moon you were in.”
An instant later as she was skimming down the last flight of stairs three at a time she heard a voice call over the upper banister: “Oh, say——”
She stopped and looked up—made out a vague form leaning over.
“Oh, say!” called the prodigy again. “Can you hear me?”
“Here’s your connection Omar.”
“I hope I haven’t given you the impression that I consider kissing intrinsically irrational.”
“Impression? Why, you didn’t even give me the kiss! Never fret—so long.
Two doors near her opened curiously at the sound of a feminine voice. A tentative cough sounded from above. Gathering her skirts, Marcia dived wildly down the last flight, and was swallowed up in the murky Connecticut air outside.
Up-stairs Horace paced the floor of his study. From time to time he glanced toward Berkeley waiting there in suave dark-red reputability, an open book lying suggestively on his cushions. And then he found that his circuit of the floor was bringing him each time nearer to Hume. There was something about Hume that was strangely and inexpressibly different. The diaphanous form still seemed hovering near, and had Horace sat there he would have felt as if he were sitting on a lady’s lap. And though Horace couldn’t have named the quality of difference, there was such a quality—quite intangible to the speculative mind, but real, nevertheless. Hume was radiating something that in all the two hundred years of his influence he had never radiated before.
Hume was radiating attar of roses.
II.
On Thursday night Horace Tarbox sat in an aisle seat in the fifth row and witnessed “Home James.” Oddly enough he found that he was enjoying himself. The cynical students near him were annoyed at his audible appreciation of time-honored jokes in the Hammerstein tradition. But Horace was waiting with anxiety for Marcia Meadow singing her song about a Jazz-bound Blundering Blimp. When she did appear, radiant under a floppity flower-faced hat, a warm glow settled over him, and when the song was over he did not join in the storm of applause. He felt somewhat numb.
In the intermission after the second act an usher materialized beside him, demanded to know if he were Mr. Tarbox, and then handed him a note written in a round adolescent band. Horace read it in some confusion, while the usher lingered with withering patience in the aisle.
“Dear Omar: After the show I always grow an awful hunger. If you want to satisfy it for me in the Taft Grill just communicate your answer to the big-timber guide that brought this and oblige.
Your friend,
Marcia Meadow.”
“Tell her,”—he coughed—“tell her that it will be quite all right. I’ll meet her in front of the theatre.”
The big-timber guide smiled arrogantly.
“I giss she meant for you to come roun’ t’ the stage door.”
“Where—where is it?”
“Ou’side. Tunayulef. Down ee alley.”
“What?”
“Ou’side. Turn to y’ left! Down ee alley!”
The arrogant person withdrew. A freshman behind Horace snickered.
Then half an hour later, sitting in the Taft Grill opposite the hair that was yellow by natural pigment, the prodigy was saying an odd thing.
“Do you have to do that dance in the last act?” he was asking earnestly—“I mean, would they dismiss you if you refused to do it?”
Marcia grinned.
“It’s fun to do it. I like to do it.”
And then Horace came out with a faux pas.
“I should think you’d detest it,” he remarked succinctly. “The people behind me were making remarks about your bosom.”
Marcia blushed fiery red.
“I can’t help that,” she said quickly. “The dance to me is only a sort of acrobatic stunt. Lord, it’s hard enough to do! I rub liniment into my shoulders for an hour every night.”
“Do you have—fun while you’re on the stage?”
“Uh-huh—sure! I got in the habit of having people look at me, Omar, and I like it.”
“Hm!” Horace sank into a brownish study.
“How’s the Brazilian