Even through the baize doors behind me I could hear the beat and patter of the rain. It was a case of any port in a storm.
"That will do nicely," I told him and a moment later he was leading me down a side aisle into the curtained recess of the box entrance.
Yet it was not ordained that I should occupy that box in lonely and unrivaled splendor. One of its chairs, set close to the brass rail and plush-covered parapet that barred it off from the more protuberant stage box, was already occupied by a man in full evening dress. He, like myself, perhaps, had never before shared a box with other than his own acquaintances. At any rate, before favoring me with the somewhat limited breadth of his back, he turned on me one sidelong and unmistakably resentful stare.
Yet I looked at this neighbor of mine, as I seated myself, with more interest than I looked at the play-actors across the foot-lights, for I rather preferred life in the raw to life in the sirups of stage emotionalism.
It startled me a little to find that the man, at the moment, was equally oblivious of anything taking place on the stage. His eyes, in fact, seemed fixed on the snowy shoulders of the woman who sat at the back of the stage box, directly in front of him. As I followed the direction of his gaze I was further surprised to discover the object on which it was focused. He was staring, not at the woman herself, but at a pigeon-blood ruby set in the clasp of some pendant or necklace encircling her throat.
There was, indeed, some excuse for his staring at it. In the first place it was an extraordinarily large and vivid stone. But against the background where it lay, against the snow-white column of the neck (whitened, perhaps, by a prudent application of rice powder) it stood out in limpid ruddiness, the most vivid of fire against the purest of snow. It was a challenge to attention. It caught and held the eye. It stood there, just below where the hair billowed into its crown of Venetian gold, as semaphoric as a yard-lamp to a night traveler. And I wondered, as I sat looking at it, what element beyond curiosity could coerce the man at my side into studying it so indolently and yet so intently.
About the man himself there seemed little that was exceptional. Beyond a certain quick and shrewd alertness in his eye-movements as he looked about at me from time to time with muffled resentment which I found not at all to my liking, he seemed medium in everything, in coloring, in stature, in apparel. His face was of the neutral sallowness of the sedentary New Yorker. His intelligence seemed that of the preoccupied office-worker who could worm his way into an ill-fitting dress suit and placidly approve of second-rate melodrama. He seemed so without interest, in fact, that I was not averse to directing my glance once more toward the pigeon-blood ruby which glowed like a live coal against the marble whiteness of the neck in front of me.
It may have been mere accident, or it may have been that out of our united gaze arose some vague psychic force which disturbed this young woman. For as I sat there staring at the shimmering jewel, its wearer suddenly turned her head and glanced back at me. The next moment I was conscious of her nod and smile, unmistakably in my direction.
Then I saw who it was. I had been uncouthly staring at the shoulder-blades of Alice Churchill—they were the Park Avenue Churchills—and farther back in the box I caught a glimpse of her brother Benny, who had come north, I knew, from the Nicaraguan coast to recuperate from an attack of fever.
Yet I gave little thought to either of them, I must confess. At the same time that I had seen that momentarily flashing smile I had also discovered that the jeweled clasp on the girl's neck was holding in place a single string of graduated pearls, of very lovely pearls, the kind about which the frayed-cuff garret-author and the Sunday "yellows" forever love to romance. I was also not unconscious of the quick and covert glance of the man who sat so close to me.