She said there was a difference between conceit and self-confidence.
She adored self-confidence in men.
“Is Froggy a good friend of yours?” she asked.
“Rather—why?”
“He’s a bum dancer.”
Amory laughed.
“He dances as if the girl were on his back instead of in his arms.”
She appreciated this.
“You’re awfully good at sizing people up.”
Amory denied this painfully. However, he sized up several people for her.
Then they talked about hands.
“You’ve got awfully nice hands,” she said. “They look as if you played the piano.
Do you?”
I have said they had reached a very definite stage—nay, more, a very critical stage.
Amory had stayed over a day to see her, and his train left at twelve-eighteen that night. His trunk and suitcase awaited him at the station; his watch was beginning to hang heavy in his pocket.
“Isabelle,” he said suddenly, “I want to tell you something.”
They had been talking lightly about “that funny look in her eyes,” and Isabelle knew from the change in his manner what was coming—indeed, she had been wondering how soon it would come.
Amory reached above their heads and turned out the electric light, so that they were in the dark, except for the red glow that fell through the door from the reading-room lamps.
Then he began:
“I don’t know whether or not you know what you—what I’m going to say.
Lordy, Isabelle—this sounds like a line, but it isn’t.”
“I know,” said Isabelle softly.
“Maybe we’ll never meet again like this—I have darned hard luck sometimes.” He was leaning away from her on the other arm of the lounge, but she could see his eyes plainly in the dark.
“You’ll meet me again—silly.” There was just the slightest emphasis on the last word—so that it became almost a term of endearment.
He continued a bit huskily:
“I’ve fallen for a lot of people—girls—and I guess you have, too—boys, I mean, but, honestly, you—” he broke off suddenly and leaned forward, chin on his hands:
“Oh, what’s the use—you’ll go your way and I suppose I’ll go mine.”
Silence for a moment.
Isabelle was quite stirred; she wound her handkerchief into a tight ball, and by the faint light that streamed over her, dropped it deliberately on the floor.
Their hands touched for an instant, but neither spoke.
Silences were becoming more frequent and more delicious.
Outside another stray couple had come up and were experimenting on the piano in the next room.
After the usual preliminary of “chopsticks,” one of them started
“Babes in the Woods” and a light tenor carried the words into the den:“Give me your hand— I’ll understand We’re off to slumberland.”
Isabelle hummed it softly and trembled as she felt Amory’s hand close over hers.
“Isabelle,” he whispered. “You know I’m mad about you.
You do give a darn about me.”
“Yes.”
“How much do you care—do you like any one better?”
“No.”
He could scarcely hear her, although he bent so near that he felt her breath against his cheek.
“Isabelle, I’m going back to college for six long months, and why shouldn’t we—if I could only just have one thing to remember you by——”
“Close the door....” Her voice had just stirred so that he half wondered whether she had spoken at all.
As he swung the door softly shut, the music seemed quivering just outside.“Moonlight is bright, Kiss me good night.”
What a wonderful song, she thought—everything was wonderful to-night, most of all this romantic scene in the den, with their hands clinging and the inevitable looming charmingly close.
The future vista of her life seemed an unending succession of scenes like this: under moonlight and pale starlight, and in the backs of warm limousines and in low, cosy roadsters stopped under sheltering trees—only the boy might change, and this one was so nice.
He took her hand softly.
With a sudden movement he turned it and, holding it to his lips, kissed the palm.
“Isabelle!” His whisper blended in the music, and they seemed to float nearer together.
Her breath came faster. “Can’t I kiss you, Isabelle—Isabelle?” Lips half parted, she turned her head to him in the dark.