Vision House. Williamson Charles Norris

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      Miss Sorel sat between her mother and Lord Severance. She glanced at the former as if to begin a conversation, but Mrs. Sorel had opened her lorgnettes and a novel. The girl knew the signal: "Don't talk to me. Talk to him." But she was lazy in obeying. She felt so sure of Severance, that she needn't try to hold him by any tricks. She might now treat him as she chose. Not that she had ever let him see that she was anxious to please. But there had been an anxious time. The girl didn't want to talk, so she sat deliciously still, deliciously happy. She was thinking. The restful peace of the sea after stormy days made her think of herself.

      She often thought of herself; more, indeed, than of any other subject, because, like most beautiful young actresses, she had been encouraged to form the habit. But this was special – extra special.

      The girl was so content with her world that she shut herself in with it by shutting her eyes. Then she faintly smiled in order that (just in case they happened to look) people shouldn't suppose she was seasick.

      How odd that it should be her mother's lorgnettes which had reminded her suddenly of her own good luck – the lorgnettes, and the delicate ringed fingers grasping the tortoiseshell handle!

      Once that little hand had not been so white. There had been no leisure for manicuring nails, and polishing them to the sheen of pink coral. There had been no rings – no lorgnettes monogramed with rose diamonds. That was before the "Marise" days; before clever Mums had linked together in the French way her daughter's name of Mary Louise (after father and mother) and begun training the girl into superlative beauty and grace for the stage. Oh yes, Marise owed a lot to ambitious little Mums! But at last she had been able to make generous payment for all the trouble, all the sacrifices. She, Marise, had bought the lorgnettes, and the sables, and the antique rings which Mums told everyone were heirlooms in the Sorel family, bequeathed to a great-grandfather of "poor dear Louis by a Countess Sorel beheaded in the Revolution." She, Marise, had easily earned money for all the other lovely things they both possessed.

      It was like a dream to remember how, three years ago, she had been just a pretty "actorine" among other "actorines" in New York, struggling for a chance to "show what she could really do," her heart jumping like a fish at the sight of a Big Manager. Why, hadn't she literally squeaked with joy when she got a contract for "fifty per"? And hadn't she soon after nearly fallen dead when Dunstan Belloc let her understudy Elsa Fortescue in "The Spring Song"?

      Of course, even at that time, she and Mums had both been sure she was born to play "Dolores," and that Elsa wasn't. Belloc hadn't been so sure. He had given her the part only because she looked irresistible when she begged for it. Oh, and perhaps a little because her dead father, Louis Sorel, had been an old friend of his. Marise had had to "make good," and she had made good.

      Not that the girl had wished harm to Elsa Fortescue. But Elsa was a "Has Been," whereas "Dolores" was supposed to be in the springtime of youth, and possessed of an annihilating beauty – the beauty which draws men as the moon draws the sea. Marise didn't think it conceited to face facts, and admit that this description fitted her like a glove. These gifts had brought her sensational success in a single night, whereas the piece had simply "flivvered" with Elsa as star. The critics had been cold if not cruel, and grief mixed with grippe laid Elsa low. Then little Marise Sorel (only figuratively "little," she being one of those willowy, long-limbed nymphs who are the models and manikins of the moment), "little Marise," in whom author and manager felt scant faith, had saved the play and made herself. Both had boomed for a wonderful year, and at the end of that time England had called for "Dolores" and "The Song."

      Oh, and those two years in London that followed! Never could another girl have known anything like them since the days of the great professional beauties whom crowds had mobbed in Hyde Park. Papers and people had praised Miss Sorel's looks, her voice, and her talent. It was thought quite amazing that a girl so lovely should take the trouble to act well, but Marise explained to interviewers that she couldn't help acting. It was in her blood to act – her father's blood. She didn't add that ambition was in her mother's blood, and that Mums was doing all she could to hand it on to the next generation. It wasn't necessary to mention ambition to the public. Some people considered ambition more a vice than a virtue. But Marise, who knew what poor Mums's past had been, understood the passion and even felt the thrill of it. Not only had she had the "time of her life" in those two years, but she had met people whom she couldn't have approached before her blossoming as "Dolores" in "The Spring Song." As "Dolores" she had been spoiled, fêted, adored; and she had become rich.

      Now, here she was on the way back to dear New York to revive the play, which Belloc, as manager, and Sheridan, as author, expected to surpass its first success. At present Miss Sorel had the valued cachet of a London triumph added to her charms. She was more chic, she could act and sing better, than before. Isadora Duncan had coached her for the dance in the last scene, as an act of generous friendship, and this had given "The Song" a new fillip in London. It would be the same in New York.

      As if this were not enough to satisfy an older "star" than she, there was the wonderful way in which the affair of Tony Severance had developed. He had strained every nerve to sail with her on the Britannia. Heaven alone knew how he'd obtained or invented the "mission" which had made his plan possible. It was entirely for her sake, and everyone was coupling their names – in a nice, proper way, of course. She was that kind of girl. And Mums was that kind of mother. Even before Severance had come into the title, he had been splendidly worth while on account of his looks, his position, and his "set," but now it seemed to Marise that every unmarried woman in England and America must be envying her.

      As she sipped the honey of these thoughts, the girl felt that Severance was staring at her eyelashes, and willing her to lift them. But she would not, just yet. She went on with her thinking. She asked herself if her feeling for him were love? Of course, it wasn't the "Dolores" sort of love for "David Hardcastle," but love like that was safer on the stage than off. Marise admired Tony, and was very proud of her conquest, though she would admit that to no one except Mums. She had been horribly afraid, humiliatingly afraid for a few days, that he might change his mind if not his heart, when the earldom fell into his hands like a prize-package. If she'd not been sure before that Tony was the one man for her, she was frantically sure after the great surprise, when he was safely on board the Britannia. How pleased the cats would have been if she'd lost him – the cats who pretended to think, in the days before he was Lord Severance, that the honesty of his intentions depended upon her money.

      They would see now – hateful, jealous things! For, as the Earl of Severance, though not rich, Tony would be no longer poor, and he had proved by sailing with her that life without Marise Sorel was worthless to him.

      The cats would be sorry when she was the Countess of Severance, for every nasty word they'd said. She would forgive, but she would never be nice to them, of course. She would ask the creatures only to big, dull parties, just to let them see what a grande dame little Marise had become. And even if she weren't certain that she'd rather be a Countess than a stage star, Mums was certain for her – poor Mums, who had always yearned to be at the top! And it would really be nice to "belong" among the great people who had played with her for a while and made her their pet.

      Marise opened her eyes. She did not, however, turn them to Severance. She gazed at the one ring which adorned her left hand. She never wore more than one ring at a time. This, and having all her jewels match each other, her dress and her mood, was a fad of hers. Céline helped her carry it out. But if Severance gave her a diamond, that would match nothing, and spoil the scheme.

      "You have the longest lashes of any woman in the world," he remarked.

      "One would think you'd seen them all – all the women and all the eyelashes!" She looked at him at last, and her soft, smoke-blue eyes were the colour of her sapphire brooch and chain.

      "I've seen my share of fair ladies."

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