The affairs of Amy Fairweather and Richard Flanders require explanation. When two good-looking young people meet as these two met, and betray such surprising emotion, it goes without saying that at least one episode in their joint history deserves the undivided attention of the onlooker, who, in this case, happens to be you, kind reader. It must be perfectly clear to you that Miss Fairweather and Mr. Flanders were, at one time in their lives, more than moderately interested in each other. That part of their story does not require elucidation. Indeed, only an intelligence of the most extraordinary denseness would demand the bald, matter-of-fact declaration that they had been in love with each other. What we are concerned about, therefore, is an episode of the early spring in the present year of our story.
It is quite simple, after all. We have only to go back a year to get to the bottom of the matter. Miss Fairweather and Mr. Flanders were fellow lodgers in a boarding-house not far removed from Times Square. She was playing a small part in one of the Broadway theatres and was known on the programme as Amy Colgate, the customary sop to "family feelings" causing her to abandon her own name during the neophytic period of her career. This was a temporary concession, however; she intended to make the family name famous as soon as she got a "part" that would give her a real chance. Flanders was on the newspaper, but his aspirations were quite as lofty as any one's: he was writing a play. He had already written two novels, both of which remained unpublished.
At the outset, his play was intended for Miss Barrymore, but after the second week of his acquaintance with the attractive Miss Colgate his ambitions proved fickle: he discarded Miss Barrymore and substituted Miss Colgate for the star part in the piece. Fortunately he had written but six or eight pages of the first act, so the transfer was not a deleterious undertaking. He could see no one else in the part; he could think of no one else as he dreamed of the play's success. Moreover, Miss Colgate was as pleased as Punch over this flattering tribute to her magnetism—for the part, as described, was one that would not "get over" unless created by an actress of pronounced magnetic appeal—and lost no time in falling deeply in love with the manly playwright. They were serious-minded, ambitious young people. It is of small consequence that he was an untried, unskilled dramatist, and of equally small moment that she was little more than an amateur. They saw a bright light ahead and trudged steadily toward it, prodding themselves—and each other—with all the vain-glorious artifices known to and employed by the young and undefeated. The young man's dramatic aspirations were somewhat retarded, however, by the fact that he was so desperately enamoured that he couldn't confine his thoughts to the play; so the growth of the first act was slow and tortuous. Under other conditions he would have despaired of ever completing the thing. As it was, his despair was of an entirely different character and had to do with the belief that Miss Colgate loved some one else instead of him.
But even doubt and uncertainty possess virtue in that they often lead to rashness, sometimes folly. In this case, Mr. Flanders proposed marriage, albeit he couldn't, for the life of him, see how he was going to manage on a salary of twenty-five dollars a week. That was the rashness of it. Miss Colgate attended to the folly. She said she would marry him if it meant starvation. So there you are.
After that, ambition revived and worked smoothly, rapidly. In the middle of the second act, however, the play failed—that is to say, the play in which Miss Colgate was appearing on Broadway. (It failed in the middle of Mr. Flanders' second act, lest I appear ambiguous.) The young actress found herself out of employment and without much prospect of getting an engagement at that season of the year—a bad year it was, too, if you will remember what theatrical people had to say about it. Now, she was not obliged to work for a living. She could have gone back to her family in Connecticut. But she was not made of that sort of stuff. She could have gone back home and married the most desirable young or old man in the town. She could have given up the stage and devoted herself to the teaching of music, French or wood-carving, in which pursuits she was far less of an amateur than at play-acting. But she was a valiant, undaunted little warrior. She announced that she was ready to do anything that offered, even chorus-work.
And one evening she told him that she had found a place in the chorus of a "road show." She tried to hide her mortification under a somewhat quivering jauntiness, but Mr. Flanders went rudely to the bottom of the matter. She argued that she could change her name and no one would be the wiser. She would positively refuse to appear in tights. Then came the episode. Mr. Flanders flew into a scornful rage. He said a great many things that he was afterwards ashamed to recall. Among other things, he said he'd be hanged if he'd marry a chorus-girl; as for tights, she wouldn't have any choice in the matter, once the manager set his mind to it. She had not been in love with him long enough to submit to bullying, so she sent him about his business. Moreover, she coldly informed him that their engagement was over and that she never wanted to see his face again.
Inasmuch as it would be quite impossible to remain in the same boarding-house without seeing his face once in a while, she moved out the very next day.
The "road" was not what she had expected, nor was the life of a chorus-girl as simple as it had seemed from her virtuous point of view. Before the first two weeks were over, she deserted the company, disillusioned, mortified. It HAD come to a matter of tights.
She returned to New York and bravely resumed her visits to managerial offices and to the lairs of agents, in quest of an engagement not quite so incompatible with her sense of delicacy and refinement as the one she had just abandoned. But there was nothing to be had. More than once she was tempted to write to Flanders, begging him to forgive her and to forget, if he could, the silly mistake she had made. But love and loneliness were no match for the pride that was a part of her nature. She resolutely put away the temptation to do the perfectly sensible thing, and, woman-like, fortified herself against surrender by running away from danger.
She had heard of the Bingles through a woman playwright who wanted to dramatize the Bingle enterprise. Nothing, said this enthusiastic person, could be more adorable than a play based on the Bingle methods of acquiring a family.
One day, in Central Park, she saw Mr. Bingle and seven of the children. He looked happy but inadequate. A grinning park policeman enlightened her as to the identity of the bewildered little man. A single glance was all that was necessary to convince her that Mr. Bingle was having his hands full.
He had lost all control of the little ruffians. (The park policeman was the first to call them ruffians, so I may be pardoned.) They insisted on playing games that Mr. Bingle couldn't play, and he was beginning to look worried. Time and again he tried to herd them into the big station 'bus in which he had brought them over from Seafood (the Bingle estate), and always with so little success that he was getting hot and tired—and farther away from the conveyance all the time. Still he smiled cheerfully and gave no sign of losing his temper.
They were frolicking in the neighbourhood of the lake at the north end of the park, and Miss Colgate was sitting on one of the benches not far removed from the scene of activity. She began to feel sorry for the little foster-father. He was having a time of it! The first thing he knew, one of the little insurgents would tumble into the lake and—well, she couldn't imagine anything more droll than Mr. Bingle venturing into the water as a rescuer. At last, moved by an impulse that afterwards took its place as the psychic capstone in her career, she arose and resolutely went to his relief. He was panting and perspiring, for the spring day was warm.
"May I help you to gather them up?" she inquired.
Now, Mr. Bingle was not accustomed to seeing girls as pretty as the one who accosted him so amiably. At first, he said no, he was very much obliged, he guessed he could manage 'em, thank you. He wasn't quite sure that it was right for him to "take up" with a strange and beautiful young woman in a public park. One never could tell about these well-dressed women who sit on park benches, and yet appear to be perfectly free from tuberculosis. But Miss Colgate insisted, and Mr. Bingle, taking a second look at her, said he would be grateful if she'd stay and watch the littlest ones while he rounded up the big ones. She shook her head, smiling, and gently ordered him to sit down and cool off a bit while she gathered in the recalcitrants.
"You look so hot and tired," she said, and her smile was so frankly sympathetic, so commanding in its sweetness, that Mr. Bingle promptly sat down and said that it beat all how hot the weather was for early May. Perhaps they WOULD come for her, he went on shyly; if she didn't mind calling Frederick, that would be sufficient. Frederick was the rebel leader. He ought to be spanked. She smiled again, and Mr. Bingle said to himself that he'd never seen anything so nice. As she walked away, bent on rounding-up the three boys and Kathleen, he was impressed by the slim, graceful figure and the manner in which she carried herself. Nothing ordinary or common about THAT girl, said he; nothing bold or immodest. Out of the goodness of her heart she had proffered assistance, as any gently born person would have done. His heart warmed toward her. It wasn't often that one encountered a pretty girl who was considerate, sweet-natured and polite to her elders, especially in New York City. He almost forgot Henrietta and Guinevere in his contemplation of this extraordinary phenomenon. Indeed, Henrietta's blubberings went quite unnoticed for some little time, and it was not until Guinevere sent up a sympathetic howl that he remembered the "littlest ones" and hastily took them upon his knees, dropping his hat in his haste.
He was considerably amazed by the swiftness with which his ally "rounded-up" the five roisterers. She went about it sweetly, even gaily, yet with a certain authority that had an instant effect on the youngsters. Almost before he knew what had happened, she was approaching him with the flushed, mischievous "kiddies" in tow. They were staring at the strange, beautiful young lady with wide-open, fascinated eyes. They were abashed, puzzled; meek with wonder. When she extended her hands to Kathleen and Marie Louise, they came to her shyly and then, without so much as a glance at the three boys, she calmly led them back to the marvelling little millionaire. It was a crafty way of bringing the boys, to time. Their curiosity, cupidity, envy—what you will—brought them scurrying up to the group, and not a face was missing from the ranks when she stopped before Mr. Bingle and said:
"And now that we have them, bound hand and foot, what are we to do with them? Put them in a dungeon and feed them on bread and water?"
"I don't see how you did it," said Mr. Bingle. "It was really quite wonderful. Perhaps it was because you are so very pretty. I think, if you don't object, I'll put 'em in the 'bus, take 'em home and feed them on milk and honey and jam. Thank you, thank you ever so much."
"I love children and I believe that children like me," said she, her fingers gently caressing Kathleen's brown, tumbled locks. "That explains it, I am sure. Now, boys, run on ahead and tell the chauffeur your father is coming. And, listen to me: your father is tired and very, very warm. You must not cause him any more distress. I am sure you won't, will you?"
Then she wiped the tears from the che............