Lucinda. Anthony Hope

dear. I understand. And—and there’s no harm done. You only loved me too much—and if you can’t do what—what I know you want to do——”

      He raised his head and said (in what she called “a dead voice”), “I’m what he called me, that’s the truth. He called me a dirty Spaniard; he said no English gentleman would do what I did. The night I kissed you at Cragsfoot! Waldo!”

      “He said that to you? He told you that? Waldo? Oh, I knew he was very angry; but you’ve never told me that he said that.”

      “Then,” said Lucinda, as she told her story to me, “I did something, or said something, that seemed to make him suddenly angry. What he repeated—what Waldo had said—somehow struck me with a queer sense of puzzle. It seemed to put him and Waldo back into the same sort of conflict—or, at least, contrast—that I had seen them in at Cragsfoot. I didn’t, of course, accept the ‘dirty Spaniard’ part; Waldo was just angry when he said that. But the words did bring Waldo back to my mind—over against Arsenio, so to speak. I don’t know whether you’ve ever noticed that I sometimes fall into what they call a brown study? I get thinking things over, and rather forget that I’m talking to people. I wasn’t angry with Arsenio; I was feeling sorry for him; I loved him and wanted to comfort him. But I had to think over what he had told me—not only (perhaps not so much) as it bore on Arsenio, but as it bore on myself—on what I had done and felt, and—and allowed, you know. Well, Arsenio suddenly called out, quite angrily, ‘You needn’t pull your arms away like that!’ I had done it, but I hadn’t been conscious of doing it; I didn’t think about it even then. I was thinking of him—and Waldo. And I know that I was smiling, as the old Cragsfoot days came back to me. I wasn’t thinking in the least about where my arms were! ‘Of course you and Waldo are curiously different,’ I said.

      “He jumped to his feet as if I had struck him, and broke out in a torrent of accusation against me. A few minutes before he had himself said that Waldo had told the truth about him. Now he declared that it was I who had said it. I hadn’t said anything of the sort—at all events, meant anything of the sort. I suppose I was sore in my heart, but I should never have said a word. But he would have it that I had meant it. He talked very fast, he never stopped. And—I must tell you the truth, Julius—it all seemed rather ridiculous to me, rather childish. I believe that I listened to most of it smiling—oh, not a merry smile, but a smile all the same. I was waiting for him to work himself out, to run down; it was no good trying to interrupt. And all the time the contrast was in my mind—between him and Waldo, between Waldo’s anger and—this! I felt as I suppose a woman feels towards her naughty child; I wanted to scold and to kiss him both at once. I even thought of that wicked nickname that Waldo has for him! At last—after a great deal of it—he dashed one hand through his hair, thumped the table with the other, and flung out at me, ‘Then go to him! Go to your English gentleman! Leave me in the gutter, where I belong!’ And he rushed out of the room. I heard his steps pattering up the stone stairs to his own floor.”

      “You must have been terribly distressed,” I said—or something formal of that kind.

      “No. I didn’t believe that anything had really happened. I waited half an hour to let him cool down. But Mother might be back every minute; there was still that question about Cragsfoot! I had to have some answer! I went up to his apartment and knocked. I got no answer. I went down to Amedeo the portière, and he told me that Arsenio had gone out ten minutes before—I hadn’t heard his footsteps coming down again, he must have stolen down softly; he was carrying a bag, had a gondola called, and went off in the direction of the station, saying that he would be back in a few days. That was the end of—Venice!”

      She came to a stop, gently strumming her fingers on the arm of her chair. On an impulse I leant forward and asked her a question: “Are you Madame Valdez now, Lucinda?”

      “Donna Lucinda Valdez, at your service, sir! Since the day after you saw me in the taxi.”

      “Then he must have explained—Venice?”

      “Never. From the first day that we met again, we have never mentioned Venice.” She touched my arm for a moment. “I rather like that. It seems to me rather a tactful apology, Julius. He began courting me all afresh when he came to England. At least he took it up from where it had stopped at Cragsfoot.”

      “It may be tactful; it’s also rather convenient,” I commented gruffly. “It avoids explanations.”

      A gleam of amusement lit up her eyes. “Poor Arsenio! He was in a difficulty—in a corner. And he’d been losing, his nerves were terribly wrong. There was the question of—me! And the question of Cragsfoot! And then Waldo came into it—oh, I’m sure of that. Those two men—it’s very odd. They seem fated to—to cross one another—to affect one another sometimes. I wonder whether——!” She broke off, knitting her brow. “He sounded most genuine in that outbreak of his when he mentioned Waldo. I think he was somehow realizing what Waldo would think and say, if he knew about Venice. Perhaps so, perhaps not! As for the rest of it——”

      “You think he wasn’t quite as angry as he pretended to be?”

      She seemed to reflect for a moment. “I didn’t say his anger was unreal, did I? I said it was childish. When a child runs heedlessly into something and hurts himself, he kicks the thing and tells his mother that it’s horrid. I was the thing, you see. Arsenio’s half a child.” Again she paused. “He’s also an actor. And he contrived, on the whole, a pretty effective exit!”

      “That you ever let him come back again is the wonder!” I cried.

      “No. It’s what happened before he came back that puzzles me,” she said.