Phantom Wires | Page 5

Durkin testily. Yes, he told himself, he was sick of it, sick of the monotony, of the idleness, of the sullen malevolence of it all. It was gay only to the eyes; and to him it would never seem gay again.
"Oh, that comes of not speaking the language, you know!" maintained the other stoutly, and, at the same time, comprehensively.
He was still very young, Durkin remembered. He had toyed with art for two winters in Paris, so scene by scene he had been able to translate the little drama that had appeared so farcical and Frenchy to his older countryman in exile.
Durkin's lip curled a little.
"No--it comes of knowing life!" he answered, with a touch of impatience. He felt the gulf that separated their two oddly diverse lives--the one the youth eager to dip into experience, the other a fugitive from a many-sided past that still shadowed and menaced him. He listened with only half an ear as the Chicagoan expounded some glib and ancient principle about the fairy tale being even truer than truth itself.
"Why," he continued argumentatively, "everything that happened in that play might happen here, tonight, to you or me!"
"Rubbish!" ejaculated Durkin, brusquely, remembering how lonely he must indeed have been thus to attach himself to this youth of the studios. But he added, as a matter of form: "You think, then, that life today is as romantic as it once was?"
"Mon Dieu!" cried the other. "Look at Monte Carlo here! Of course it is. It's more crowded, more rapid; it holds more romance. We didn't put it all off, you know, with doublet and hose!"
"No, of course not," answered Durkin absently. Life, at that moment, was confronting him so grimly, so flat and sterile and uncompromising in its secret exactions, that he had no heart to theorize about it.
"And a thing isn't romantic just because it's moss-grown!" continued the child of the studios, warming to his subject. "It's romantic when we've emotionalized it, when we've felt it, when it's hit home with us, as it were!"
"If it doesn't hit too hard!" qualified the older man.
"For instance," maintained the young Chicagoan, once more proffering his cigarette-case to Durkin, "for instance, take that big Mercedes touring-car with the canopy top, coming down through the crowd there. You'll agree, at first sight, that such things mean good-bye to the mounted knight, to chivalry, and all that romantic old horseman business."
"I suppose so."
"But, don't you see, the horse and armor was only a frame, an accidental setting, for the romance itself! It's up to date and practical and sordid and commonplace, you'd say, that puffing thing with a gasoline engine hidden away in its bowels. It's what we call machinery. But, supposing, now, instead of holding Monsieur le Duc Somebody, or Milord So-and-So, or Signor Comte Somebody-Else, with his wife or his mistress--I say, supposing it held--well, my young sister Alice, whom I left so sedately contented at Brighton! Supposing it held my young sister, running away with an Indian rajah!"
"And you would call that romance?"
"Exactly!"
Durkin turned and looked at the approaching car.
"While, as a matter of fact," he continued, with his exasperatingly smooth smile, "it seems to be holding a very much overdressed young lady, presumably from the Folies-Berg��re or the Olympia."
The younger man, looking back from his place beside him, turned to listen, confronted by the sudden excited comments of a middle-aged woman, obviously Parisian, on the arm of a lean and solemn man with dyed and waxed mustachios.
"You're quite wrong," cried the young Chicagoan, excitedly. "It's young Lady Boxspur--the new English beauty. See, they're crowding out to get a glimpse of her!"
"Who's Lady Boxspur?" asked Durkin, hanging stolidly back. He had seen quite enough of Riviera beauty on parade.
"She's simply ripping. I got a glimpse of her this afternoon in front of the Terrasse, after she'd first motored over from Nice with old Szapary!" He lowered his voice, more confidentially. "This Frenchman here has just been telling his wife that she's the loveliest woman on the Riviera today. Come on!"
Durkin stood indifferently, under the white glare of the electric lamp, watching the younger man push through to the centre of the roadway. The slowly-moving touring-car, hemmed in by the languid midnight movement of the street, came to a full stop almost before where he stood. It shuddered and panted there, leviathan-like, and Durkin saw the sea breeze sway back the canopy drapery.
He followed the direction of the excited young Chicagoan's gaze, smilingly, now, and with a singularly disengaged mind.
He saw the woman's clear profile outlined against the floating purple curtain, the quiet and shadowy eyes of violet, the glint of the chestnut hair that showed through the back-thrust folds of the white silk automobile veil swathing the small head, and the nervous, bird-like movement of the head