of that old woman of nursery fame, who sits within the alcove, leaning upon her oaken staff, and peering out from beneath the broad frill of her cap, her gaze eagerly following the movements of the animated child.
“Oh Mamma!” continues the little one, “can’t I stay with Mother Goose? Millie says I must go to bed.”
At another time Leslie Warburton would have listened more attentively, have answered more thoughtfully, and have noted more closely the manner of guest that was thus absorbing the attention of the little one. Now she only says hurriedly:
“Yes, yes, Daisy; you may stay a little longer, – only,” with a hasty glance toward the alcove, “you must not trouble the lady too much.”
“The lady wants me, mamma.”
“Then go, dear.”
And Leslie gathers up her glimmering train and hastens on without once glancing backward.
Pausing a few paces behind her, Alan Warburton has noted each word that has passed between the lady and the child. And now, as the little one bounds back to Mother Goose, who receives her with evident pleasure, he moves on, still following Leslie.
She glides past the dancers, through the drawing rooms, across the music room, and then, giving a hasty glance at the few who linger there, she pulls aside a silken curtain, and looks into the library. The lights are toned to the softness of moonlight; there is silence there, and solitude.
With a long, weary sigh, Leslie enters the library and lets the curtain fall behind her.
Alan Warburton pauses, hesitates for a moment, and then, seeing that the little group of maskers near him seem wholly absorbed in their own merriment, he moves boldly forward, parts the curtain a little way, and peers within.
He sees a woman wearing the garments of Sunlight and the face of despair. She has torn off her mask, and it lies on the floor at her feet. In her hand is a crumpled scrap of paper, and, as she holds it nearer the light and reads what is written thereon, a low moan escapes her lips.
“Again!” she murmurs; “how can I obey them? – and yet I must go.” Then, suddenly, a light of fierce resolve flames in her eyes. “I will go,” she says, speaking aloud in her self-forgetfulness; “I will go, – but it shall be for the last time!”
She thrusts the crumpled bit of paper into her bosom, goes to the window and looks out. Then she crosses to a door opposite the curtained entrance, opens it softly, and glides away.
In another moment, Alan Warburton is in the library. Tearing off the black and scarlet domino he flings it into a corner, and, glancing down at his nautical costume mutters:
“Sailors of this description are not uncommon. Wherever she goes, I can follow her – in this.”
Ten minutes later, while Leslie Warburton’s guests are dancing and making merry, Leslie Warburton, with sombre garments replacing the robes of Sunlight, glides stealthily out from her stately home, and creeps like a hunted creature through the darkness and away!
But not alone. Silently, with the tread of an Indian, a man follows after; a man in the garments of a sailor, who pulls a glazed cap low down across his eyes, and mutters as he goes:
“So, Madam Intrigue, Van Vernet advised me well. Glide on, plotter; from this moment until I shall have unmasked you, I am your shadow!”
CHAPTER XI.
“DEAR MRS FOLLINGSBEE.”
While the previously related scenes of this fateful night are transpiring Richard Stanhope finds his silken-trained disguise a snare in which his own feet become entangled, both literally and figuratively.
Moving with slow and stately steps through the vista of splendid rooms, taking note of all that he sees from behind his white and blue mask, he suddenly becomes the object of too much attention. A dashing Troubador presents himself, and will not be denied the pleasure of a waltz with “the stately and graceful Miss Columbia.”
The detective’s feet are encased in satin shoes that, if not small, are at least shapely. He has yet nearly an hour to spare to the masquerade, and his actual business is done. Why not yield to the temptation? He dances with the grace and abandon of the true music worshipper; he loves brightness and gayety, laughter and all sweet sounds; above all, he takes such delight in a jest as only healthy natures can.
“It would be a pity to disappoint such a pretty Troubador,” muses Richard while he seems to hesitate; “he may never have another opportunity to dance with a lady like me.”
And then, bowing a stately consent, he moves away on the arm of the Troubador, who, chuckling at his success, mentally resolves to make a good impression on this mysterious uninvited lady.
Van Vernet’s plot works famously. The Troubador is enchanted with the dancing of the mysterious Goddess, who looks at him with the handsomest, most languid and melting of brown, brown eyes, letting these orbs speak volumes, but saying never a word. And when his fellow-plotter claims the next dance, he yields his place reluctantly, and sees the waist of the Goddess encircled by the arm of the Celestial, with a sigh of regret.
Richard Stanhope, now fully given over to the spirit of mischief, leans confidingly upon the arm of this second admirer, looking unutterable things with his big brown eyes.
They hover about him after this second dance, and he dances again with each. If the Troubador is overflowing with flattery, the Celestial is more obsequious still. Stanhope finds the moments flying, and the attention of the two gallants cease to amuse, and begin to annoy. In vain he tries to shake them off. If one goes, the other remains.
After many futile efforts to free himself from his tormentors, he sees Mr. Follingsbee approach, and beckons him forward with a sigh of relief.
The two maskers, recognizing Uncle Sam as a fitting companion for Miss Columbia, reluctantly yield their ground and withdraw.
“Have those fellows been pestering you?” queries the lawyer, with a laugh.
“Only as they bade fair to prove a hindrance,” with an answering chuckle. “They’re such nice little lady killers: but I must get away from this in a very few minutes. My disguise has been very successful.”
“I should think so! Why, my boy, half the people here, at least those who have recognized me through my costume, think you are – ha! ha! – my wife!”
“So much the better.”
“Why, little Winnie French – she found me out at once – has been looking all through the card rooms for “Dear Mrs. Follingsbee.”” And the jolly lawyer laughs anew.
“Mr. Follingsbee,” – Stanhope has ceased to jest, and speaks with his usual business brusqueness – “Mrs. Warburton, I don’t know for what reason, wished to be informed when I left the house. Will you tell her I am about to go, and that I will let her hear from me further through you? I will go up to the dressing room floor, and wait in the boudoir until you have seen her.”
The boudoir opening upon the ladies’ dressing rooms, is untenanted. But from the inner room, Stanhope catches the hum of feminine voices, and in a moment a quartette of ladies come forth, adjusting their masks as they move toward the stairway.
Suddenly there is a little exclamation of delight, and our detective, standing near
