"Only--well, hanged if I make you out, lady. This place--it just isn't you--that's all."

"Nonsense! I don't count. I'm just a sort of a means to an end, anyway."

"What end?"

"The wine!"

"The what?"

"Oh, nothing," she said, and laughed.

"Laugh again."

"Why?"

"I like it."

She looked her most serio-comic disapproval and held up a forefinger with a warning little waggle to it.

"Please," she said, with an inlay of something deeper in her voice, "don't begin by spoiling things."

"Rather not," he said. "I'm going to live up to your letter of the law."

Except for the frequent conferences now in the new Forty-second Street offices that commanded a view of two rivers and a vast battledoor and shuttlec.o.c.k of the city, it was the first time in all those years that stretched from the night at the Waldorf that they had sat thus tete-a-tete. The day of the move she had ridden up from the old Union Square offices with him, a stack of files in her lap. Once, too, on a Sat.u.r.day, the day of Zoe's invariable luncheon downtown and subsequent opera matinee, he had strolled by what seemed mischievous chance into the tea room where they were dining, but the occasion had hardly been a success. There had been a great deal of badinage between him and Zoe, but Lilly had finished her meal almost in silence. The day following, a toy piano of complete range and really excellent workmanship had arrived. She returned it without showing it to Zoe. These incidents lay between them now.

"So this is where you live," he repeated, as if his long curiosity could not find satiety in fact.

"That I have an abode seems to amaze you."

"It does. You're such a detached sort. You rise so above the mundane things that clutter up life, that it is pretty much of a shock to realize that you use tooth powder and carry a latchkey. It's hard to reconcile Chopin and George Sand probably to those famous raw-meat sandwiches they loved to eat at midnight. Well, that's about the way I feel about you--hemmed in by--dull reality such as this."

"I like raw-meat sandwiches," she said.

"Me too."

They laughed.

She took up a sheaf of ma.n.u.script.

"If it doesn't bore you too much, I'm going to read it straight through."

"Oh, I forgot; the play, of course."

She looked up at him as if over spectacles.

"What else?"

"You say it has been the rounds?"

"Yes. Peddled in every office in New York. Kline and Alshuler kept it two years. Forensi paid her two hundred and fifty dollars advance on it and then let his option lapse. For another year there was some talk of Comstock and Comstock doing it, and then finally Hy Wolff got hold of it and the very month he died paid her a second two hundred and fifty to renew his option on it. I've always felt that if Ida had kept after Hy Wolff he would have produced it. He had faith in it, but somehow just didn't seem to get to it. You see, Ida hasn't any gumption--not the kind of aggressiveness the game demands. That is why in fifteen years you scarcely know she is in your office. That is why I plunged in and tried to rewrite 'The Web' with her. It's a big story, sweated out of her own agony. She may never write another. Probably won't. My little part in it has merely been to help her co-ordinate--round up the jumble of her ideas, so to speak. There is a big play somewhere in this story. I know you didn't like it as a sketch--I didn't, either. A short play cannot contain this drama. But out of a clear sky it occurred to me that you might see it as a three-act play. Oh, I know it isn't the kind of thing you've your mind's eye on, but why not take that step over into the legitimate _via_ a big popular success? It may pave the way to bigger, finer things. Who knows--Ida Blair--'The Web'--may mean the beginning of your dream come true."

His mouth had straightened and thinned.

"You're right there. Ultimately I'll get into the other. If my brother knew as much about the booking end as he does the realty, I'd have gone over long ago. That is the most the success of the Amus.e.m.e.nt Enterprise can mean to me--to afford some day the legitimate as a plaything. It costs money to educate the public to better things. It's been profitable playing down to its taste--some day it is going to enable me to afford to be sufficiently altruistic to foot the bills for serving up the best.

It costs to educate.",

"Fine! And it is only a question of time until you are ready for that inspiring fray. Meanwhile, why not help foot those bills with a little side flier in 'The Web'?"

"You are a little opportunist, aren't you?".

"I know 'The Web' isn't art. But it is a cross section of reality with the veins exposed and the sap of life running through them. Mrs. Blair, poor dear, can't write. G.o.d knows I can't. That is why the play has been through years of lying around in every office in New York. But the idea is there. You see, it is everything she has lived through. You know her story?"

"Yes."

"There is a scene when he comes screaming out of the room after having been through the third degree, half blind from the terrible lights and the terrible circle of terrible eyes, that isn't writing at all. It's life--a raw, palpitating picture of a social abuse that can touch the public as a reform measure can never hope to. Then the character of the boy--a delinquent. We've one right here in this apartment. One of those sweet, shy, half-frightened boys as gentle as a girl. The kind that tells the neighborhood children Peter Pan and reads his grandmother to sleep. I would trust him anywhere with Zoe, and yet there's the streak!

The criminal, congenital streak through him that is as pathological as measles. Only we handle it under the heading of criminology. It's like taking an earache to the chiropodist. The boy is a thief. It's through him like a rotten spot, but instead of curing him the law wants to punish him. It's like spanking a child for having the measles. But to get back--Mrs. Blair has him in this play--just as if she had lifted him out of this apartment. She wrote him from the life, too. A young fellow who used to be on her husband's beat. It may not be fine writing, but 'The Web' has the throb of reality through it, and it is my opinion that one pulsebeat of life is worth all your chast.i.ty of form."

"Right."

"We're one on that? Good! Well, here is your opportunity to solder the first link into the legitimate. Keep it in mind while I am reading Ida Blair's play and remember I am not talking Ida Blair or Lilly Penny to you. I'm talking this play just as I would talk an act to you. Because I believe in it."

He seemed to look at her through her words, a smile out in his eyes.

"You're not listening."

"I am," he said, "but your hair looks like it is painted on, the way it comes down to that smooth little peak in front. Jove! it's pretty."

She looked off, wanting not to color.

"Come," he said, "I apologize. Read. I'm as predisposed as I can be toward anything conceived by that little dormouse of a person in the office."

"That's the trouble. You men are too often satisfied with a surface inventory. The vault of heart sometimes yields up rare treasures."

"How like you to say that."

"Ready?"

"Go!"

And so, with her head bent so that the light burnished its smoothness, she read him "The Web" through two uninterrupted hours, her voice throbbing into the quiet. In the third act, when a half-crazed victim of the third degree is led out in shuddering and horrible invocation, she sprang to her feet for an instant, her gesture decrying its fullest arc.

She was like Iphigenia praying for death, he thought.

Later, when the shades of the prison house begin to dawn upon the stunned consciousness of the woman, there were tears in her voice and on her lashes, and one fell to the back of her hand, which she wiped off against her skirt, like a child.

At eleven o'clock she finished, regarding him brilliantly through her flush.

He had wanted to smoke, but thrust the case back into his pocket, sitting tilted, his hands locked at the back of his head and gazing at the line of the picture molding. Her lips parted as the paused held.