The envelope was covered with mud and unstamped. It bore the words “To be handed to M. le Vicomte Raoul de Chagny,” with the address in pencil. It must have been flung out in the hope that a passer-by would pick up the note and deliver it, which was what happened. The note had been picked up on the pavement of the Place de l’Opera.

Raoul read it over again with fevered eyes. No more was needed to revive his hope. The somber picture which he had for a moment imagined of a Christine forgetting her duty to herself made way for his original conception of an unfortunate, innocent child, the victim of imprudence and exaggerated sensibility. To what extent, at this time, was she really a victim? Whose prisoner was she? Into what whirlpool had she been dragged? He asked himself these questions with a cruel anguish; but even this pain seemed endurable beside the frenzy into which he was thrown at the thought of a lying and deceitful Christine. What had happened? What influence had she undergone? What monster had carried her off and by what means? . . .

By what means indeed but that of music? He knew Christine’s story. After her father’s death, she acquired a distaste of everything in life, including her art. She went through the CONSERVATOIRE like a poor soulless singing-machine. And, suddenly, she awoke as though through the intervention of a god. The Angel of Music appeared upon the scene! She sang Margarita in FAUST and triumphed! . . .

The Angel of Music! . . . For three months the Angel of Music had been giving Christine lessons . . . Ah, he was a punctual singing-master! . . . And now he was taking her for drives in the Bois! . . .

Raoul’s fingers clutched at his flesh, above his jealous heart. In his inexperience, he now asked himself with terror what game the girl was playing? Up to what point could an opera-singer make a fool of a good-natured young man, quite new to love? O misery! . . .

Thus did Raoul’s thoughts fly from one extreme to the other. He no longer knew whether to pity Christine or to curse her; and he pitied and cursed her turn and turn about. At all events, he bought a white domino.

The hour of the appointment came at last. With his face in a mask trimmed with long, thick lace, looking like a pierrot in his white wrap, the viscount thought himself very ridiculous. Men of the world do not go to the Opera ball in fancy-dress! It was absurd. One thought, however, consoled the viscount: he would certainly never be recognized!

This ball was an exceptional affair, given some time before Shrovetide, in honor of the anniversary of the birth of a famous draftsman; and it was expected to be much gayer, noisier, more Bohemian than the ordinary masked ball. Numbers of artists had arranged to go, accompanied by a whole cohort of models and pupils, who, by midnight, began to create a tremendous din. Raoul climbed the grand staircase at five minutes to twelve, did not linger to look at the motley dresses displayed all the way up the marble steps, one of the richest settings in the world, allowed no facetious mask to draw him into a war of wits, replied to no jests and shook off the bold familiarity of a number of couples who had already become a trifle too gay. Crossing the big crush-room and escaping from a mad whirl of dancers in which he was caught for a moment, he at last entered the room mentioned in Christine’s letter. He found it crammed; for this small space was the point where all those who were going to supper in the Rotunda crossed those who were returning from taking a glass of champagne. The fun, here, waxed fast and furious.

Raoul leaned against a door-post and waited. He did not wait long. A black domino passed and gave a quick squeeze to the tips of his fingers. He understood that it was she and followed her:

“Is that you, Christine?” he asked, between his teeth.

The black domino turned round promptly and raised her finger to her lips, no doubt to warn him not to mention her name again. Raoul continued to follow her in silence.

He was afraid of losing her, after meeting her again in such strange circumstances. His grudge against her was gone. He no longer doubted that she had “nothing to reproach herself with,” however peculiar and inexplicable her conduct might seem. He was ready to make any display of clemency, forgiveness or cowardice. He was in love. And, no doubt, he would soon receive a very natural explanation of her curious absence.

The black domino turned back from time to time to see if the white domino was still following.

As Raoul once more passed through the great crush-room, this time in the wake of his guide, he could not help noticing a group crowding round a person whose disguise, eccentric air and gruesome appearance were causing a sensation. It was a man dressed all in scarlet, with a huge hat and feathers on the top of a wonderful death’s head. From his shoulders hung an immense red-velvet cloak, which trailed along the floor like a king’s train; and on this cloak was embroidered, in gold letters, which every one read and repeated aloud, “Don’t touch me! I am Red Death stalking abroad!”

Then one, greatly daring, did try to touch him . . . but a skeleton hand shot out of a crimson sleeve and violently seized the rash one’s wrist; and he, feeling the clutch of the knucklebones, the furious grasp of Death, uttered a cry of pain and terror. When Red Death released him at last, he ran away like a very madman, pursued by the jeers of the bystanders.

It was at this moment that Raoul passed in front of the funereal masquerader, who had just happened to turn in his direction. And he nearly exclaimed:

“The death’s head of Perros-Guirec!”

He had recognized him! . . . He wanted to dart forward, forgetting Christine; but the black domino, who also seemed a prey to some strange excitement, caught him by the arm and dragged him from the crush-room, far from the mad crowd through which Red Death was stalking . . .

The black domino kept on turning back and, apparently, on two occasions saw something that startled her, for she hurried her pace and Raoul’s as though they were being pursued.

They went up two floors. Here, the stairs and corridors were almost deserted. The black domino opened the door of a private box and beckoned to the white domino to follow her. Then Christine, whom he recognized by the sound of her voice, closed the door behind them and warned him, in a whisper, to remain at the back of the box and on no account to show himself. Raoul took off his mask. Christine kept hers on. And, when Raoul was about to ask her to remove it, he was surprised to see her put her ear to the partition and listen eagerly for a sound outside. Then she opened the door ajar, looked out into the corridor and, in a low voice, said:

“He must have gone up higher.” Suddenly she exclaimed: “He is coming down again!”

She tried to close the door, but Raoul prevented her; for he had seen, on the top step of the staircase that led to the floor above, A RED FOOT, followed by another . . . and slowly, majestically, the whole scarlet dress of Red Death met his eyes. And he once more saw the death’s head of Perros-Guirec.

“It’s he!” he exclaimed. “This time, he shall not escape me! . . . ”

But Christian{sic} had slammed the door at the moment when Raoul was on the point of rushing out. He tried to push her aside.

“Whom do you mean by ‘he’?” she asked, in a changed voice. “Who shall not escape you?”

Raoul tried to overcome the girl’s resistance by force, but she repelled him with a strength which he would not have suspected in her. He understood, or thought he understood, and at once lost his temper.

“Who?” he repeated angrily. “Why, he, the man who hides behind that hideous mask of death! . . . The evil genius of the churchyard at Perros! . . . Red Death! . . . In a word, madam, your friend . . . your Angel of Music! . . . But I shall snatch off his mask, as I shall snatch off my own; and, this time, we shall look each other in the face, he and I, with no veil and no lies between us; and I shall know whom you love and who loves you!”

He burst into a mad laugh, while Christine gave a disconsolate moan behind her velvet mask. With a tragic gesture, she flung out her two arms, which fixed a barrier of white flesh against the door.

“In the name of our love, Raoul, you shall not pass! . . . ”

He stopped. What had she said? . . . In the name of their love? . . . Never before had she confessed that she loved him. And yet she had had opportunities enough . . . Pooh, her only object was to gain a few seconds! . . . She wished to give the Red Death time to escape . . . And, in accents of childish hatred, he said:

“You lie, madam, for you do not love me and you have never loved me! What a poor fellow I must be to let you mock and flout me as you have done! Why did you give me every reason for hope, at Perros . . . for honest hope, madam, for I am an honest man and I believed you to be an honest woman, when your only intention was to deceive me! Alas, you have deceived us all! You have taken a shameful advantage of the candid a............