Kedzie showed him the projection-room and told the operator to run off a bit of a scene in which she was revealed to no disadvantage. She sat alone in the dark with a million dollars that were crazy about her. She could tell that Dyckman was tremendously excited.
Here at last was her long-sought opportunity to rebuff the advances of a wicked plutocrat. But he didn't make any, and she might not have rebuffed them. Still, the air was a-quiver with that electricity generated almost audibly by a man and a woman alone in the dark.
Dyckman was ashamed of himself and of his arm for wanting to gather in that delectable partridge, but he behaved himself admirably.
He told her that she was a “corker,” a “dream,” and “one sweet song,” and that the picture did not do her justice.
Kedzie showed him the other departments of the picture-factory and he was amazed at all she knew. So was she. He stayed a long while and saw everything and yet he said he would come again.
He suggested that it might be nice if Mr. Ferriday and Miss Adair would dine with him soon. Ferriday was free “to-morrow,” and so they made it to-morrow evening at the Vanderbilt.
Kedzie was there and Dyckman was there, but a boy brought a note from Mr. Ferriday saying that he was unavoidably prevented from being present.
Dyckman grinned: “We'll have to bear up under it the best we can. You won't run away just because your chaperon is gone, will you?”
Kedzie smiled and said she would stay. But she was puzzled. What was Ferriday up to? One always suspected that Ferriday was up to something and thinking of something other than what he did or said.
Kedzie was not ashamed of her clothes this time. Indeed, when she gave her opera-cloak to the maid she came out so resplendent that Jim Dyckman said: