The second scene was just closing, and I was lost in dreams of the fine things that I shall do for art and music when I'm a great society leader, when the box door opened, and there entered an elderly couple, much alike—tall, thin, rather stately and withered. I knew that they must be Mrs. Marmaduke Van Dam, the General's mother-in-law, and her husband. Impulsively I sprang up to allow them to come to the front places.
And then—the catastrophe!
I was conscious at first only of an instant's confusion, of a hurried introduction in undertones. Then I found myself again sitting, my arm tingling to the clutch of Milly's fingers. In her pale, pretty face her light eyes glowed with a fright that was not all painful.
The blood seemed to flow back to my heart as I realised what I had done. The sudden stir in our box had called attention, and I had been standing in the glare of electric lights overhead and at my feet, my white dress outlined against the blood-red curtains.
"Take this fan," Milly whispered from behind me. "Will you have my seat?"
Shame dyed my face. After such a heedless act I couldn't look at the General. I knew that, in his surprise at my appearance, Mr. Marmaduke Van Dam had fumbled noisily with his chair, and that Mrs. Marmaduke had dropped her shoulder wrap—she was in evening dress; how can elderly women do it?—I knew that in spite of their rigid politeness they found it hard to keep their eyes from me. I hoped the General had been too busy to appreciate my folly, and I drew a quivering breath of relief that it had had no more serious consequences.
Yet I was queerly dissatisfied. The Metropolitan Opera House is a big building, and the part of the audience to which I could have been conspicuous was small. Yet some people must have seen; had they taken no notice?
For some space—minutes or seconds—it seemed so.
Then a confused murmur, a shifting, restless movement, began near us in the orchestra. A good many people down there, as well as in the boxes at each side, had noticed me earlier. Now they began whispering to their neighbours. Heads were turned our way; people were asking, answering, almost pointing. I could see the knowledge of me spread from seat to seat, from row to row, as ripples spread from a stone thrown into still water. Opera glasses were levelled. Comment grew, swelled to a stir of surprise. The curtain had dropped for the interval between scenes; our box became for the moment the centre of interest, and the lights were high. Even the orchestra was resting.
Then it was given me to see how in a great audience Panic may leap without cause from Opportunity.