He had sailed the uncertain waters of finance for twenty years or more, and had been nearly shipwrecked more than once, but at the time of this story he was on the top of the wave; and as his past was even more entirely a matter of conjecture than his future, it would be useless to inquire into the former or to speculate about the latter.

Moreover, in these break-neck days no time counts but the present, so far as reputation goes; good fame itself now resembles righteousness chiefly because it clothes men as with a garment; and as we have the highest authority for a.s.suming that charity covers a mult.i.tude of sins, we can hardly be surprised that it should be so generally used for that purpose. Rufus Van Torp's charities were notorious, aggressive, and profitable. The same sums of money could not have bought as much mingled advertis.e.m.e.nt and immunity in any other way.

'Of course,' observed Alphonsine, seeing that Margaret would soon be able to speak again, 'money is no object to Madame either!'

This subtle flattery was evidently meant to forestall reproof. But Margaret was now splashing vigorously, and as both taps were running the noise was as loud as that of a small waterfall; possibly she had not even heard the maid's last speech.

Some one knocked at the door, and knocked a second time almost directly. The Primadonna pushed Alphonsine with her elbow, speaking being still impossible, and the woman understood that she was to answer the summons.

She asked who was knocking, and some one answered.

'It is Mr. Griggs,' said Alphonsine.

'Ask him to wait,' Margaret succeeded in saying.

Alphonsine transmitted the message through the closed door, and listened for the answer.

'He says that there is a lady dying in the manager's room, who wants Madame,' said the maid, repeating what she heard.

Margaret stood upright, turned quickly, and crossed the room to the door, mopping her face with a towel.

'Who is it?' she asked in an anxious tone.

'I'm Griggs,' said a deep voice. 'Come at once, if you can, for the poor girl cannot last long.'

'One minute! Don't go away--I'm coming out.'

Alphonsine never lost her head. A theatrical dresser who does is of no use. She had already brought the wide fur coat Margaret always wore after singing. In ten seconds the singer was completely clothed in it, and as she laid her hand on the lock to let herself out, the maid placed a dark Russian hood on her head from behind her and took the long ends twice round her throat.

Mr. Griggs was a large bony man with iron-grey hair, who looked very strong. He had a sad face and deep-set grey eyes. He led the way without speaking, and Cordova walked quickly after him. Alphonsine did not follow, for she was responsible for the belongings that lay about in the dressing-room. The other doors on the women's side, which is on the stage left and the audience's right at the Opera, were all tightly closed. The stage itself was not dark yet, and the carpenters were putting away the scenery of the last act as methodically as if nothing had happened.

'Do you know her?' Margaret asked of her companion as they hurried along the pa.s.sage that leads into the house.

'Barely. She is a Miss Bamberger, and she was to have been married the day after to-morrow, poor thing--to a millionaire. I always forget his name, though I've met him several times.'

'Van Torp?' asked Margaret as they hastened on.

'Yes. That's it--the Nickel Trust man, you know.'

'Yes,' Margaret answered in a low tone. 'I was asked to sing at the wedding.'

They reached the door of the manager's room. The clerks from the box-office and several other persons employed about the house were whispering together in the little lobby. They made way for Cordova and looked with curiosity at Griggs, who was a well-known man of letters.

Schreiermeyer stood at the half-closed inner door, evidently waiting.

'Come in,' he said to Margaret. 'The doctor is there.'

The room was flooded with electric light, and smelt of very strong Havana cigars and brandy. Margaret saw a slight figure in a red silk evening gown, lying at full length on an immense red leathern sofa. A young doctor was kneeling on the floor, bending down to press his ear against the girl's side; he moved his head continually, listening for the beating of her heart. Her face was of a type every one knows, and had a certain half-pathetic prettiness; the features were small, and the chin was degenerate but delicately modelled. The rather colourless fair hair was elaborately done; her thin cheeks were dreadfully white, and her thin neck shrank painfully each time she breathed out, though it grew smooth and full as she drew in her breath. A short string of very large pearls was round her throat, and gleamed in the light as her breathing moved them.

Schreiermeyer did not let Griggs come in, but went out to him, shut the door and stood with his back to it.

Margaret did not look behind her, but crossed directly to the sofa and leaned over the dying girl, who was conscious and looked at her with inquiring eyes, not recognising her.

'You sent for me,' said the singer gently.

'Are you really Madame Cordova?' asked the girl in a faint tone.

It was as much as she could do to speak at all, and the doctor looked up to Margaret and raised his hand in a warning gesture, meaning that his patient should not be allowed to talk. She saw his movement and smiled faintly, and shook her head.

'No one can save me,' she said to him, quite quietly and distinctly.

'Please leave us together, doctor.'

'I am altogether at a loss,' the doctor answered, speaking to Margaret as he rose. 'There are no signs of asphyxia, yet the heart does not respond to stimulants. I've tried nitro-glycerine--'

'Please, please go away!' begged the girl.

The doctor was a young surgeon from the nearest hospital, and hated to leave his case. He was going to argue the point, but Margaret stopped him.

'Go into the next room for a moment, please,' she said authoritatively.

He obeyed with a bad grace, and went into the empty office which adjoined the manager's room, but he left the door open. Margaret knelt down in his place and took the girl's cold white hand.

'Can he hear?' asked the faint voice.

'Speak low,' Margaret answered. 'What can I do?'

'It is a secret,' said the girl. 'The last I shall ever have, but I must tell some one before I die. I know about you. I know you are a lady, and very good and kind, and I have always admired you so much!'

'You can trust me,' said the singer. 'What is the secret I am to keep for you?'

'Do you believe in G.o.d? I do, but so many people don't nowadays, you know. Tell me.'

'Yes,' Margaret answered, wondering. 'Yes, I do.'

'Will you promise, by the G.o.d you believe in?'

'I promise to keep your secret, so help me G.o.d in Heaven,' said Margaret gravely.

The girl seemed relieved, and closed her eyes for a moment. She was so pale and still that Margaret thought the end had come, but presently she drew breath again and spoke, though it was clear that she had not much strength left.

'You must not keep the secret always,' she said. 'You may tell him you know it. Yes--let him know that you know--if you think it best--'

'Who is he?'

'Mr. Van Torp.'

'Yes?' Margaret bent her ear to the girl's lips and waited.

Again there was a pause of many seconds, and then the voice came once more, with a great effort that only produced very faint sounds, scarcely above a whisper.