them. It was impossible for their joint imaginations to conjure up a world where any one might object any one else having champagne for breakfast. The waiter drew the cork with an enormous pop and their glasses immediately foamed with pale yellow froth.
“Here’s health, Mr. In.”
“Here’s same to you, Mr. Out.”
The waiter withdrew; the minutes passed; the champagne became low in the bottle.
“It’s — it’s mortifying,” said Dean suddenly.
“Wha’s mortifying?”
“The idea their objecting us having champagne breakfast.”
“Mortifying?” Peter considered. “Yes, tha’s word — mortifying.”
Again they collapsed into laughter, howled, swayed, rocked back and forth in their chairs, repeating the word “mortifying” over and over to each other — each repetition seeming to make it only more brilliantly absurd.
After a few more gorgeous minutes they decided on another quart. Their anxious waiter consulted his immediate superior, and this discreet person gave implicit instructions that no more champagne should be served. Their check was brought.
Five minutes later, arm in arm, they left the Commodore and made their way through a curious, staring crowd along Forty-second Street, and up Vanderbilt Avenue to the Biltmore. There, with sudden cunning, they rose to the occasion and traversed the lobby, walking fast and standing unnaturally erect.
Once in the dining-room they repeated their performance. They were torn between intermittent convulsive laughter and sudden spasmodic discussions of politics, college, and the sunny state of their dispositions. Their watches told them that it was now nine o’clock, and a dim idea was born in them that they were on a memorable party, something that they would remember always. They lingered over the second bottle. Either of them had only to mention the word “mortifying” to send them both into riotous gasps. The dining-room was whirring and shifting now; a curious lightness permeated and rarefied the heavy air.
They paid their check and walked out into the lobby.
It was at this moment that the exterior doors revolved for the thousandth time that morning, and admitted into the lobby a very pale young beauty with dark circles under her eyes, attired in a much-rumpled evening dress. She was accompanied by a plain stout man, obviously not an appropriate escort.
At the top of the stairs this couple encountered Mr. In and Mr. Out.
“Edith,” began Mr. In, stepping toward her hilariously and making a sweeping bow, “darling, good morning.”
The stout man glanced questioningly at Edith, as if merely asking her permission to throw this man summarily out of the way.
“‘Scuse familiarity,” added Peter, as an afterthought. “Edith, good-morning.”
He seized Dean’s elbow and impelled him into the foreground.
“Meet Mr. In, Edith, my bes’ frien’. Inseparable. Mr. In and Mr. Out.”
Mr. Out advanced and bowed; in fact, he advanced so far and bowed so low that he tipped slightly forward and only kept his balance by placing a hand lightly on Edith’s shoulder.
“I’m Mr. Out, Edith,” he mumbled pleasantly. “S’misterin Misterout.”
“‘Smisterinanout,” said Peter proudly.
But Edith stared straight by them, her eyes fixed on some infinite speck in the gallery above her. She nodded slightly to the stout man, who advanced bull-like and with a sturdy brisk gesture pushed Mr. In and Mr. Out to either side. Through this alley he and Edith walked.
But ten paces farther on Edith stopped again — stopped and pointed to a short, dark soldier who was eying the crowd in general, and the tableau of Mr. In and Mr. Out in particular, with a sort of puzzled, spellbound awe.
“There,” cried Edith. “See there!”
Her voice rose, became somewhat shrill. Her pointing finger shook slightly.
“There’s the soldier who broke my brother’s leg.”
There were a dozen exclamations; a man in a cutaway coat left his place near the desk and advanced alertly; the stout person made a sort of lightning-like spring toward the short, dark soldier, and then the lobby closed around the little group and blotted them from the sight of Mr. In and Mr. Out.
But to Mr. In and Mr. Out this event was merely a particolored iridescent segment of a whirring, spinning world.
They heard loud voices; they saw the stout man spring; the picture suddenly blurred.
Then they were in an elevator bound skyward.
“What floor, please?” said the elevator man.
“Any floor,” said Mr. In.
“Top floor,” said Mr. Out.
“This is the top floor,” said the elevator man.
“Have another floor put on,” said Mr. Out.
“Higher,” said Mr. In.
“Heaven,” said Mr. Out.
XI
In a bedroom of a small hotel just off Sixth Avenue Gordon Sterrett awoke with a pain in the back of his head and a sick throbbing in all his veins. He looked at the dusky gray shadows in the corners of the room and at a raw place on a large leather chair in the corner where it had long been in use. He saw clothes, dishevelled, rumpled clothes on the floor and he smelt stale cigarette smoke and stale liquor. The windows were tight shut. Outside the bright sunlight had thrown a dust-filled beam across the sill — a beam broken by the head of the wide wooden bed in which he had slept. He lay very quiet — comatose, drugged, his eyes wide, his mind clicking wildly like an unoiled machine.
It must have been thirty seconds after he perceived the sunbeam with the dust on it and the rip on the large leather chair that he had the sense of life close beside him, and it was another thirty seconds after that before that he realized that he was irrevocably married to Jewel Hudson.
He went out half an hour later and bought a revolver at a sporting goods store. Then he took a took a taxi to the room where he had been living on East Twenty-seventh Street, and, leaning across the table that held his drawing materials, fired a cartridge into his head just behind the temple.
Porcelain and Pink
A room in the downstairs of a summer cottage. High around the wall runs an art frieze of a fisherman with a pile of nets at his feet and a ship on a crimson ocean, a fisherman with a pile of nets at his feet and a ship on a crimson ocean, a fisherman with a pile of nets at his feet and so on. In one place on the frieze there is an overlapping — here we have half
