obvious.
Nobody ever before had seen that sort of magic in America. People scarcely knew whether or not they quite liked it. The lightning of innovation stupefies the dull; ignorance is always suspicious of innovation—always afraid to put itself on record until its mind is made up by somebody else.
So in this typical New York audience approbation was cautious, but every fascinated eye remained focused on this young girl who continued to do incredible things, which seemed to resemble "putting something over" on them; a thing which no uneducated American conglomeration ever quite forgives.
The girl's silence, too, perplexed them; they were accustomed to gabble, to noise, to jazz, vocal and instrumental, to that incessant metropolitan clamour which fills every second with sound in a city whose only distinction is its din. Stage, press, art, letters, social existence unless noisy mean nothing in Gotham; reticence, leisure, repose are the three lost arts. The megaphone is the city's symbol; its chiefest crime, silence.
The girl having finished with the big glass bubble full of tiny fish, picked it up and tossed it aside. For a moment it apparently floated there in space like a soap-bubble. Changing rainbow tints waxed and waned on the surface, growing deeper and more gorgeous until the floating globe glowed scarlet, then suddenly burst into flame and vanished. And only a strange, sweet perfume lingered in the air.
But she gave her perplexed audience no time to wonder; she had seated herself on the stage and was already swiftly busy unfolding a white veil with which she presently covered herself, draping it over her like a tent.
The veil seemed to be translucent; she was apparently visible seated beneath it. But the veil turned into smoke, rising into the air in a thin white cloud; and there, where she had been seated, was a statue of white stone the image of herself!—in all the frail springtide of early adolescence—a white statue, cold, opaque, exquisite in its sculptured immobility.
There came, the next moment, a sound of distant thunder; flashes lighted the blank curtain; and suddenly a vein of lightning and a sharper peal shattered the statue to fragments.
There they lay, broken bits of her own sculptured body, glistening in a heap behind the footlights. Then each fragment began to shimmer with a rosy internal light of its own, until the pile of broken marble glowed like living coals under thickening and reddening vapours. And, presently, dimly perceptible, there she was in the flesh again, seated in the fiery centre of the conflagration, stretching her arms luxuriously, yawning, seemingly awakening from refreshing slumber, her eyes unclosing to rest with a sort of confused apology upon her astounded audience.
As she rose to her feet nothing except herself remained on the stage—no débris, not a shred of smoke, not a spark.
She came down, then, across an inclined plank into the orchestra among the audience.
In the aisle seat nearest her sat Victor Cleves. His business was to be there that evening. But she didn't know that, knew nothing about him—had never before set eyes on him.
At her gesture of invitation he made a cup of both his hands. Into these she poured a double handful of unset diamonds—or what appeared to be diamonds—pressed her own hands above his for a second—and the diamonds in his palms had become pearls.
These were passed around to people in the vicinity, and finally returned to Mr. Cleves, who, at her request, covered the heap of pearls with both his hands, hiding them entirely from view.
At her nod he uncovered them. The pearls had become emeralds. Again, while he held them, and without even touching him, she changed them into rubies. Then she turned away from him, apparently forgetting that he still held the gems, and he sat very still, one cupped hand over the other, while she poured silver coins into a woman's gloved hands, turned them into gold coins, then flung each coin into the air, where it changed to a living, fragrant rose and fell among the audience.
Presently she seemed to remember Cleve, came back down the aisle, and under his close and intent gaze drew from his cupped hands, one by one, a score of brilliant little living birds, which continually flew about her and finally perched, twittering, on her golden headdress—a rainbow-crest of living jewels.
As she drew the last warm, breathing little feathered miracle from Cleves's hands and released it, he said rapidly under his breath: "I want a word with you later. Where?"
She let her clear eyes rest on him for a moment, then with a shrug so slight that it was perceptible, perhaps, only to him, she moved on along the inclined way, stepped daintily over the footlights, caught fire, apparently, nodded to a badly rattled audience, and sauntered off, burning from head to foot.
What applause there was became merged in a dissonant instrumental outburst from the orchestra; the great god Jazz resumed direction, the mindless audience breathed freely again as the curtain rose upon a familiar, yelling turbulence, including all that Gotham really understands and cares for—legs and noise.
Victor Cleves glanced up at the stage, then continued to study the name of the girl on the programme. It was featured in rather pathetic solitude under "Entr' acte." And he read further: "During the entr' acte Miss Tressa Norne will entertain you with several phases of Black Magic. This strange knowledge was acquired by Miss Norne from the Yezidees, among which almost unknown people still remain descendants of that notorious and formidable historic personage known in the twelfth century as The Old Man of the Mountain—or The Old Man of Mount Alamout.
"The pleasant profession of this historic individual was assassination; and some historians now believe that genuine occult power played a part in his dreadful record—a record which terminated only when the infantry of Genghis Khan took Mount Alamout by storm and hanged the Old Man of the Mountain and burned his body under a boulder of You-Stone.
"For Miss Norne's performance there appears to be no plausible, practical or scientific explanation.
"During her performance the curtain will remain lowered for fifteen minutes and will then rise on the last act of 'You Betcha Life.'"
The noisy show continued while Cleves, paying it scant attention, brooded over the programme. And ever his keen, grey eyes reverted to her name, Tressa Norne.
Then, for a little while, he settled back and let his absent gaze wander over the galloping battalions of painted girls and the slapstick principals whose perpetual motion evoked screams of approbation from the audience amid the din of the great god Jazz.
He had an aisle seat; he disturbed nobody when he went out and around to the stage door.
The aged man on duty took his card, called a boy and sent it off. The boy returned with the card, saying that Miss Norne had already dressed and departed.
Cleves tipped him and then tipped the doorman heavily.
"Where does she live?" he asked.
"Say," said the old man, "I dunno, and that's straight. But them ladies mostly goes up to the roof for a look in at the 'Moonlight Masque' and a dance afterward. Was you ever up there?"
"Yes."
"Seen the new show?"
"No."
"Well, g'wan up while you can get a table. And I bet the little girl will be somewheres around."
"The little girl" was "somewheres around." He secured a table, turned and looked about at the vast
