Mr. Longcluse's chin rests on his breast as, with a faint smile, he thus ruminates.
The cab stops. The light frown that had contracted his eyebrows disappears, he glances quickly up at the drawing-room windows, mounts the steps, and knocks at the hall door.
Was it fancy, or was there in his reception something a little unusual, and ominous of exclusion?
He was, notwithstanding, shown up-stairs. Mr. Longcluse enters the drawing-room: Lady May will see him in a few minutes. He is alone. At the further end of this room is a smaller one, furnished like the drawing-room, the same curtains, carpet, and style, but much more minute and elaborate in ornamentation--an extremely pretty boudoir. He just peeps in. No, no one there. Then slowly he saunters into the other drawing-room, picks up a book, lays it down, and looks round. Quite solitary is this room also. His countenance changes a little. With a swift, noiseless step, he returns to the room he first entered. There is a little marqueterie table, to which he directs his steps, just behind the door from the staircase, under the pretty old buhl clock that ticks so merrily with its old wheels and lever, exciting the reverential curiosity of Monsieur Racine, who keeps it in order, and comments on its antique works with a mysterious smile every time he comes, to any one who will listen to him. The door is a little bit open. All the better, Mr. Longcluse will hear any step that approaches. On this little table lies an open note, hastily thrown there, and the pretty handwriting he has recognised. He knows it is Alice Arden's. Without the slightest scruple, this odd gentleman takes it up and reads a bit, and looks toward the door; reads a little more, and looks again, and so on to the end.
On the principle that listeners seldom hear good of themselves, Mr. Longcluse's cautious perusal of another person's letter did not tell him a pleasant tale.
The letter which Mr. Longcluse held before his eyes was destined to throw a strong light upon the character of Alice Arden's feelings respecting himself. After a few lines, it went on to say:--"And, darling, about going to you this evening, I hardly know what to say, or, I mean, I hardly know how to say it. Mr. Longcluse, you know, may come in at any moment, and I have quite made up my mind that I cannot know him. I told you all about the incredible scene in the garden at Mortlake, and I showed you the very cool letter with which he saw fit to follow it--and yesterday the scene at the races, by which he contrived to make everything so uncomfortable--so, my dear creature, I mean to be cruel, and cut him. I am quite serious. He has not an idea how to behave himself; and the only way to repair the folly of having made the acquaintance of such an ill-bred person is, as I said, to cut him--you must not be angry--and Richard thinks exactly as I do. So, as I long to see you, and, in fact, can't live away from you very long, we must contrive some way of meeting now and then, without the risk of being disturbed by him. In the meantime, you must come more to Mortlake. It is too bad that an impertinent, conceited man should have caused me all this very real vexation."
