Luke writhed in his chair opposite Porcellis. He could withhold the question no longer.
"Then"—he almost blurted it out at last—"those campaign contributions——"
But Porcellis was scandal-proof.
"Those!" he said lightly. "You'll have to ask Brouwer Leighton about them."
§3. After they left the theater, the two young men were driven, again in the motor belonging to Mrs. Porcellis, up the noisy river of yellow light that was Broadway, where their vehicle joined a long procession, until they reached a cross-street in the early Fifties. Then their car darted from the parade and plunged through a dark thoroughfare to Fifth Avenue. They drew up before a house where Luke could at first see little save that from its doorway, high above the pavement, a long and narrow tent of white canvas striped with red ran to the curb. Several other motors were ahead of theirs, so theirs had to wait its turn.
"Is this the place?" asked Luke.
Porcellis nodded.
"It does look rather like a barn from the outside," he said, guessing his companion's thought and agreeing with it. "That's a Ruysdael way: they maintain the old tradition of severe exteriors; they don't believe in flaunting their wealth in the face of the public; they believe in keeping the best for their friends."
Luke leaned shamelessly forward. Whenever he had gone to dances heretofore, the houses of his hostesses had shown lights in every window and dispensed a glow of festivity to the streets; but this house, essentially forbidding, stood dark and silent, its windows masked. Except for the faint illumination of a street-lamp that sputtered bluely at the corner, the only scintillations visible were two thin lines of radiance, one along the pavement, at the bottom of the entrance-tent, and a corresponding one above, between the walls of the tent and the loose overhang of its roof: these and a glowing spot at the end of the tent upon the curb where, between rows of ragged night figures watching the scene, dismounting guests appeared and disappeared—white shirt-fronts, and opera-cloaks, and the glint of jewels—like pictures in dissolving views.
With each arrival, motors swung away from the entrance, turned to the other side of the street, and proceeded to the farther corner there to await their recall, while their drivers gossiped in the darkness or drank beer at a convenient bar. Thus, with starts and stops like those of an American railway train leaving a station, the Porcellis car slowly approached the canvas mouth.