Mrs. Jerome's gloomy view rolled off Janet like water off a duck's back. She had youth, enthusiasm, vigor; there was a great civilizing work to be done. And though, as Mark Pryor took pains to assure her, it might take a thousand years to do it, she threw herself into it heart and soul, just as if the goal were attainable next year.
Two weeks after their arrival in New York, the Susan B. Anthony House had been opened, undemonstratively but successfully. Mrs. R. H. L. Jerome, an omnipresent deity at first, relinquished the reins of government gradually; all the reins save one, for it was well understood that she was to be the power behind the scenes. Within a week, every suite in the house was occupied and hundreds of applicants were turned away. The rents, though far from low, were not unreasonable; and, as special provision had been made for the care of children, and competent experts placed in control of each department ("quality not quantity" was the specific motto throughout), the house was a godsend for precisely the ones it was designed to serve, that is, for self-supporting professional women with one or two children.
For a time, things had gone swimmingly. Almost too swimmingly. As the news spread, social workers and social science students began to pay the place a visit. Before long the unofficial busybodies followed and, with the kindliest intentions in the world, did their level best to disorganize the machinery of the house and subvert the discipline.
And the reporters took up the scent! All the magazine sections of the Sunday newspapers had articles describing Mrs. Jerome's "latest hobby." Interviews with Mrs. Jerome—some real, some alleged—appeared in increasing numbers and with increasingly pungent specimens of this lady's sprightly wit. Writers of special features in the evening sheets praised or deplored the "communal upbringing" of the children. The photogravure supplements took up the sport and favored their readers with pictures of every conceivable corner of the house, and also with tableaux in which the children, looking remarkably happy and well dressed, were grouped about three adults (from left to right): the Duchess of Keswick, Mrs. R. H. L. Jerome and Miss J. Barr.
Finally, the Infamous Players-Smartcraft Company offered a fabulous sum for the use of the Susan B. Anthony House as the scene of an "action" (with adagio "close-ups"), which it insisted on calling (doubtless in irony) a "moving" picture.
But the marvel of marvels was that, throughout this period of unbought, unsought advertising, nobody breathed the suspicion that Miss J. Barr, the calm, collected young manageress in the neat blouse and trim skirt, might be the notorious Janet Barr who had eloped two years before with Claude Fontaine!
Then, one fine day, as she was leaving the Broadway side of Wanamaker's, a man had leapt out of a magnificent limousine drawn up at the curb, and had seized her hands.
It was Claude himself! Handsome and imposing as ever, with perhaps a dash less of self-confidence.
He had implored her for a meeting later in the day. No, no, he wouldn't make love to her, he solemnly swore he wouldn't! He wanted to get a load off his conscience. His wife? Oh, he got along well enough with Marjorie, only— Well, surely Janet knew why he had married her? There had simply been no alternative! If Colonel Armstrong hadn't stood back of Fontaine and Company at the time of the smuggling exposure, the firm would have gone to smash. And so on—
Janet peremptorily refused to meet him. There was no sense in a meeting, she urged. He was importunate. "What about my House?" said she. "What about my state of mind?" said he. She had tried hard to be firm.