Theresa Platt (she had been Terry Sheehan) watched her husband across the breakfast table with eyes that smoldered. But Orville Platt was quite unaware of any smoldering in progress. He was occupied with his eggs. How could he know that these very eggs were feeding the dull red menace in Terry Platt\'s eyes?

When Orville Platt ate a soft-boiled egg he concentrated on it. He treated it as a great adventure. Which, after all, it is. Few adjuncts of our daily life contain the element of chance that is to be found in a three-minute breakfast egg.

This was Orville Platt\'s method of attack: first, he chipped off the top, neatly. Then he bent forward and subjected it to a passionate and relentless scrutiny. Straightening—preparatory to plunging his spoon therein—he flapped his right elbow. It wasn\'t exactly a flap; it was a pass between a hitch and a flap, and presented external evidence of a mental state. Orville Platt always gave that little preliminary jerk when he was contemplating a serious step, or when he was moved, or argumentative. It was a trick as innocent as it was maddening.

Terry Platt had learned to look for that flap—they had been married four years—to look for it, and to hate it with a morbid, unreasoning hate. That flap of the elbow was tearing Terry Platt\'s nerves into raw, bleeding fragments.

Her fingers were clenched tightly under the table, now. She was breathing unevenly. "If he does that again," she told herself, "if he flaps again when he opens the second egg, I\'ll scream. I\'ll scream. I\'ll scream! I\'ll sc——"

He had scooped the first egg into his cup. Now he picked up the second, chipped it, concentrated, straightened, then—up went the elbow, and down, with the accustomed little flap.

The tortured nerves snapped. Through the early-morning quiet of Wetona, Wisconsin, hurtled the shrill, piercing shriek of Terry Platt\'s hysteria.

"Terry! For God\'s sake! What\'s the matter!"

Orville Platt dropped the second egg, and his spoon. The egg yolk trickled down his plate. The spoon made a clatter and flung a gay spot of yellow on the cloth. He started toward her.

Terry, wild-eyed, pointed a shaking finger at him. She was laughing, now, uncontrollably. "Your elbow! Your elbow!"

"Elbow?" He looked down at it, bewildered, then up, fright in
his face. "What\'s the matter with it?"

She mopped her eyes. Sobs shook her. "You f-f-flapped it."

"F-f-f——" The bewilderment in Orville Platt\'s face gave way to anger. "Do you mean to tell me that you screeched like that because my—because I moved my elbow?"

"Yes."

His anger deepened and reddened to fury. He choked. He had started from his chair with his napkin in his hand. He still clutched it. Now he crumpled it into a wad and hurled it to the center of the table, where it struck a sugar bowl, dropped back, and uncrumpled slowly, reprovingly. "You—you——" Then bewilderment closed down again like a fog over his countenance. "But why? I can\'t see——"

"Because it—because I can\'t stand it any longer. Flapping. This is what you do. Like this."

And she did it. Did it with insulting fidelity, being a clever mimic.

"Well, all I can say is you\'re crazy, yelling like that, for nothing."

"It isn\'t nothing."

"Isn\'t, huh? If that isn\'t nothing, what is?" They were growing incoherent. "What d\'you mean, screeching like a maniac? Like a wild woman? The neighbors\'ll think I\'ve killed you. What d\'you mean, anyway!"

"I mean I\'m tired of watching it, that\'s what. Sick and tired."

"Y\'are, huh? Well, young lady, just let me tell YOU something——"

He told her. There followed one of those incredible quarrels, as sickening as they are human, which can take place only between two people who love each other; who love each other so well that each knows with cruel certainty the surest way to wound the other; and who stab, and tear, and claw at these vulnerable spots in exact proportion to their love.

Ugly words. Bitter words. Words that neither knew they knew flew between them like sparks between steel striking steel.

From him: "Trouble with you is you haven\'t got enough to do. That\'s the trouble with half you women. Just lay around the house, rotting. I\'m a fool, slaving on the road to keep a good-for-nothing——"

"I suppose you call sitting around hotel lobbies slaving! I suppose the house runs itself! How about my evenings? Sitting here alone, night after night, when you\'re on the road."

Finally, "Well, if you don\'t like it," he snarled, and lifted his chair by the back and slammed it down, savagely, "if you don\'t like it, why don\'t you get out, hm? Why don\'t you get out?"

And from her, her eyes narrowed to two slits, her cheeks scarlet:

"Why, thanks. I guess I will."

Ten minutes later he had flung out of the house to catch the 8:19 for Manitowoc. He marched down the street, his shoulders swinging rhythmically to the weight of the burden he carried—his black leather handbag and the shiny tan sample case, battle-scarred, both, from many encounters with ruthless porters and busmen and bellboys. For four years, as he left for his semi-monthly trip, he and Terry had observed a certain little ceremony (as had the neighbors). She would stand in the doorway, watching him down the street, the heavier sample case banging occasionally at his shin. The depot was only three blocks away. Terry watched him with fond but unillusioned eyes, which proves that she really loved him. He was a dapper, well-dressed fat man, with a weakness for pronounced patterns in suitings, and addicted to derbies. One week on the road, one week at home. That was his routine. The wholesale grocery trade liked Platt, and he had for his customers the fondness that a traveling salesman has who is successful in his territory. Before his marriage to Terry Sheehan his little red address book had been overwhelming proof against the theory that nobody loves a fat man.

Terry, standing in the doorway, always knew that when he reached the corner just where Schroeder\'s house threatened to hide him from view, he would stop, drop the sample case, wave his hand just once, pick up the sample case and go on, proceeding backward for a step or two until Schroeder\'s house made good its threat. It was a comic scene in the eyes of the onlooker, perhaps because a chubby Romeo offends the sense of fitness. The neighbors, lurking behind their parlor curtains, had laughed at first. But after a while they learned to look for that little scene, and to take it unto themselves, as if it were a personal thing. Fifteen-year wives whose husbands had long since abandoned flowery farewells used to get a vicarious thrill out of it, and to eye Terry with a sort of envy.

This morning Orville Platt did not even falter when he reached Schroeder\'s corner. He marched straight on, looking steadily ahead, the heavy bags swinging from either hand. Even if he had stopped—though she knew he wouldn\'t—Terry Platt would not have seen him. She remained seated at the disordered breakfast table, a dreadfully still figure, and sinister; a figure of stone and fire, of ice and flame. Over and over in her mind she was milling the things she might have said to him, and had not. She brewed a hundred vitriolic cruelties that she might have flung in his face. She would concoct one biting brutality, and dismiss it for a second, and abandon that for a third. She was too angry to cry—a dangerous state in a woman. She was what is known as cold mad, so that her mind was working clearly and with amazing swiftness, and yet as though it were a thing detached; a thing that was no part of her.

She sat thus for the better part of an hour, motionless except for one forefinger that was, quite unconsciously, tapping out a popular and cheap little air that she had been strumming at the piano the evening before, having bought it downtown that same afternoon. It had struck Orville\'s fancy, and she had played it over and over for him. Her right forefinger was playing the entire tune, and something in the back of her head was following it accurately, though the separate thinking process was going on just the same. Her eyes were bright, and wide, and hot. Suddenly she became conscious of the musical antics of her finger. She folded it in with its mates, so that her hand became a fist. She stood up and stared down at the clutter of the breakfast table. The egg—that fateful second egg—had congealed to a mottled mess of yellow and white. The spoon lay on the cloth. His coffee, only half consumed, showed tan with a cold gray film over it. A slice of toast at the left of his plate seemed to grin at her with the semi-circular wedge that he had bitten out of it.

Terry stared down at these congealing remnants. Then she laughed, a hard high little laugh, pushed a plate away contemptuously with her hand, and walked into the sitting room. On the piano was the piece of music (Bennie Gottschalk\'s great song hit, "Hicky Boola") which she had been playing the night before. She picked it up, tore it straight across, once, placed the pieces back to back, and tore it across again. Then she dropped the pieces to the floor.

"You bet I\'m going," she said, as though concluding a train of thought. "You just bet I\'m going. Right now!" And Terry went. She went for much the same reason as that given by the ladye of high degree in the old English song—she who had left her lord and bed and board to go with the raggle-taggle gipsies-O! The thing that was sending Terry Platt away was much more than a conjugal quarrel precipitated by a soft-boiled egg and a flap of the arm. It went so deep that it is necessary to delve back to the days when Theresa Platt was Terry Sheehan to get the real significance of it, and of the things she did after she went.

When Mrs. Orville Platt had been Terry Sheehan, she had played the piano, afternoons and evenings, in the orchestra of the Bijou Theater, on Cass Street, Wetona, Wisconsin. Anyone with a name like Terry Sheehan would, perforce, do well anything she might set out to do. There was nothing of genius in Terry, but there was something of fire, and much that was Irish. Which meant that the Watson Team, Eccentric Song and Dance Artists, never needed a rehearsal when they played the Bijou. Ruby Watson used merely to approach Terry before the Monday performance, sheet music in hand, and say, "Listen, dearie. We\'ve got some new business I want to wise you to. Right here it goes \'TUM dee-dee DUM dee-dee TUM DUM DUM.\' See? Like that. And then Jim vamps. Get me?"

Terry, at the piano, would pucker her pretty brow a moment. Then, "Like this, you mean?"

"That\'s it! You\'ve got it."

"All right. I\'ll tell the drum."

She could play any tune by ear, once heard. She got the spirit of a thing, and transmitted it. When Terry played a martial number you tapped the floor with your foot, and unconsciously straightened your shoulders. When she played a home-and-mother song you hoped that the man next to you didn\'t know you were crying (which he probably didn\'t, because he was weeping, too).

At that time motion pictures had not attained their present virulence. Vaudeville, polite or otherwise, had not yet been crowded out by the ubiquitous film. The Bijou offered entertainment of the cigar-box-tramp variety, interspersed with trick bicyclists, soubrettes in slightly soiled pink, trained seals, and Family Fours with lumpy legs who tossed each other about and struck Goldbergian attitudes.

Contact with these gave Terry Sheehan a semiprofessional tone. The more conservative of her townspeople looked at her askance. There never had been an evil thing about Terry, but Wetona considered her rather fly. Terry\'s hair was very black, and she had a fondness for those little, close-fitting scarlet turbans. Terry\'s mother had died when the girl was eight, and Terry\'s father had been what is known as easygoing. A good-natured, lovable, shiftless chap in the contracting business. He drove around Wetona in a sagging, one-seated cart and never made any money because he did honest work and charged as little for it as men who did not. His mortar stuck, and his bricks did not crumble, and his lumber did not crack. Riches are not acquired in the contracting business in that way. Ed Sheehan and his daughter were great friends. When he died (she was nineteen) they say she screamed once, like a banshee, and dropped to the floor.

After they had straightened out the muddle of books in Ed Sheehan\'s gritty, dusty little office Terry turned her piano-playing talent to practical account. At twenty-one she was still playing at the Bijou, and into her face was creeping the first hint of that look of sophistication which comes from daily contact with the artificial world of the footlights.

There are, in a small Midwest town like Wetona, just two kinds of girls. Those who go downtown Saturday nights, and those who don\'t. Terry, if she had not been busy with her job at the Bijou, would have come in the first group. She craved excitement. There was little chance to satisfy such craving in Wetona, but she managed to find certain means. The traveling men from the Burke House just across the street used to drop in at the Bijou for an evening\'s entertainment. They usually sat well toward the front, and Terry\'s expert playing, and the gloss of her black hair, and her piquant profile as she sometimes looked up toward the stage for a signal from one of the performers caught their fancy, and held it.

She found herself, at the end of a year or two, with a rather large acquaintance among these peripatetic gentlemen. You occasionally saw one of them strolling home with her. Sometimes she went driving with one of them of a Sunday afternoon. And she rather enjoyed taking Sunday dinner at the Burke Hotel with a favored friend. She thought those small-town hotel Sunday dinners the last word in elegance. The roast course was always accompanied by an aqueous, semifrozen concoction which the bill of fare revealed as Roman Punch. It added a royal touch to the repast, even when served with roast pork.

Terry was twenty-two when Orville Platt, making his initial Wisconsin trip for the wholesale grocery house he represented, first beheld her piquant Irish profile, and heard her deft manipulation of the keys. Orville had the fat man\'s sense of rhythm and love of music. He had a buttery tenor voice, too, of which he was rather proud.

He spent three days in Wetona that first trip, and every evening saw him at the Bijou, first row, center. He stayed through two shows each time, and before he had been there fifteen minutes Terry was conscious of him through the back of her head. Orville Platt paid no more heed to the stage, and what was occurring thereon, than if it had not been. He sat looking at Terry, and waggling his head in time to the music. Not that Terry was a beauty. But she was one of those immaculately clean types. That look of fragrant cleanliness was her chief charm. Her clear, smooth skin contributed to it, and the natural penciling of her eyebrows. But the thing that accented it, and gave it a last touch, was the way in which her black hair came down in a little point just in the center of her forehead, where hair meets brow. It grew to form what is known as a cowlick. (A prettier name for it is widow\'s peak.) Your eye lighted on it, pleased, and from it traveled its gratified way down her white temples, past her little ears, to the smooth black coil at the nape of her neck. It was a trip that rested you.

At the end of the last performance on the night of his second visit to the Bijou, Orville waited until the audience had begun to file out. Then he leaned forward over the rail that separated orchestra from audience.

"Could you," he said, his tones dulcet, "could you oblige me with the name of that last piece you played?"

Terry was stacking her music. "George!" she called to the drum. "Gentleman wants to know the name of that last piece." And prepared to leave.

"\'My Georgia Crackerjack,\'" said the laconic drum.

Orville Platt took a hasty side step in the direction of the door toward which Terry was headed. "It\'s a pretty thing," he said fervently. "An awful pretty thing. Thanks. It\'s beautiful."

Terry flung a last insult at him over her shoulder: "Don\'t thank ME for it. I didn\'t write it."

Orville Platt did not go across the street to the hotel. He wandered up Cass Street, and into the ten-o\'clock quiet of Main Street, and down as far as the park and back. "Pretty as a pink! And play! ... And good, too. Good."

A fat man in love.

At the end of six months they were married. Terry was surprised into it. Not that she was not fond of him. She was; and grateful to him, as well. For, pretty as she was, no man had ever before asked Terry to be his wife. They had made love to her. They had paid court to her. They had sent her large boxes of stale drugstore chocolates, and called her endearing names as they made cautious declarations such as:

"I\'ve known a lot of girls, but you\'ve got something different. I don\'t know. You\'ve got so much sense. A fellow can chum around with you. Little pal."

Wetona would be their home. They rented a comfortable, seven-room house in a comfortable, middle-class neighborhood, and Terry dropped the red velvet turbans and went in for picture hats. Orville bought her a piano whose tone was so good that to her ear, accustomed to the metallic discords of the Bijou instrument, it sounded out of tune. She played a great deal at first, but unconsciously she missed the sharp spat of applause that used to follow her public performance. She would play a piece, brilliantly, and then her hands would drop to her lap. And the silence of her own sitting room would fall flat on her ears. It was better on the evenings when Orville was home. He sang, in his throaty, fat man\'s tenor, to Terry\'s expert accompaniment.

"This is better than playing for those ham actors, isn\'t it, hon?" And he would pinch her ear.

"Sure"—listlessly.

But after the first year she became accustomed to what she termed private life. She joined an afternoon sewing club, and was active in the ladies\' branch of the U.C.T. She developed a knack at cooking, too, and Orville, after a week or ten days of hotel fare in small Wisconsin towns, would come home to sea-foam biscuits, and real soup, and honest pies and cake. Sometimes, in the midst of an appetizing meal he would lay down his knife and fork and lean back in his chair, and regard the cool and unruffled Terry with a sort of reverence in his eyes. Then he would get up, and come around to the other side of the table, and tip her pretty face up to his.

"I\'ll bet I\'ll wake up, someday, and find out it\'s all a dream. You know this kind of thing doesn\'t really happen—not to a dub like me."

One year; two; three; four. Routine. A little boredom. Some impatience. She began to find fault with the very things she had liked in him: his superneatness; his fondness for dashing suit patterns; his throaty tenor; his worship of her. And the flap. Oh, above all, that flap! That little, innocent, meaningless mannerism that made her tremble with nervousness. She hated it so that she could not trust herself to speak of it to him. That was the trouble. Had she spoken of it, laughingly or in earnest, before it became an obsession with her, that hideous breakfast quarrel, with its taunts, and revilings, and open hate, might never have come to pass.

Terry Platt herself didn\'t know what was the matter with her. She would have denied that anything was wrong. She didn\'t even throw her hands above her head and shriek: "I want to live! I want to live! I want to live!" like a lady in a play. She only knew she was sick of sewing at the Wetona West End Red Cross shop; sick of marketing, of home comforts, of Orville, of the flap.

Orville, you may remember, left at 8:19. The 11:23 bore Terry Chicago-ward. She had left the house as it was—beds unmade, rooms unswept, breakfast table uncleared. She intended never to come back.

Now and then a picture of the chaos she had left behind would flash across her order-loving mind. The spoon on the tablecloth.

Orville\'s pajamas dangling over the bathroom chair. The coffeepot on the gas stove.

"Pooh! What do I care?"

In her pocketbook she had a tidy sum saved out of the housekeeping money. She was naturally thrifty, and Orville had never been niggardly. Her meals when Orville was on the road had been those sketchy, haphazard affairs with which women content themselves when their household is manless. At noon she went into the dining car and ordered a flaunting little repast of chicken salad and asparagus and Neapolitan ice cream. The men in the dining car eyed her speculatively and with appreciation. Then their glance dropped to the third finger of her left hand, and wandered away. She had meant to remove it. In fact, she had taken it off and dropped it into her bag. But her hand felt so queer, so unaccustomed, so naked, that she had found herself slipping the narrow band on again, and her thumb groped for it, gratefully.

It was almost five o\'clock when she reached Chicago. She felt no uncertainty or bewilderment. She had been in Chicago three or four times since her marriage. She went to a downtown hotel. It was too late, she told herself, to look for a less expensive room that night. When she had tidied herself she went out. The things she did were the childish, aimless things that one does who finds herself in possession of sudden liberty. She walked up State Street, and stared in the windows; came back, turned into Madison, passed a bright little shop in the window of which taffy-white and gold—was being wound endlessly and fascinatingly about a double-jointed machine. She went in and bought a sackful, and wandered on down the street, munching.

She had supper at one of those white-tiled sarcophagi that emblazon Chicago\'s downtown side streets. It had been her original intention to dine in state in the rose-and-gold dining room of her hotel. She had even thought daringly of lobster. But at the last moment she recoiled from the idea of dining alone in that wilderness of tables so obviously meant for two.

After her supper she went to a picture show. She was amazed to find there, instead of the accustomed orchestra, a pipe organ that panted and throbbed and rumbled over lugubrious classics. The picture was about a faithless wife. Terry left in the middle of it.

She awoke next morning at seven, as usual, started up wildly, looked around, and dropped back. Nothing to get up for. The knowledge did not fill her with a rush of relief. She would have her breakfast in bed. She telephoned for it, languidly. But when it came she got up and ate it from the table, after all.

That morning she found a fairly comfortable room, more within her means, on the North Side in the boardinghouse district. She unpacked and hung up her clothes and drifted downtown again, idly. It was noon when she came to the corner of State and Madison Streets. It was a maelstrom that caught her up, and buffeted her about, and tossed her helplessly this way and that.

The thousands jostled Terry, and knocked her hat awry, and dug her with unheeding elbows, and stepped on her feet.

"Say, look here!" she said once futilely. They did not stop to listen. State and Madison has no time for Terrys from Wetona. It goes its way, pell-mell. If it saw Terry at all it saw her only as a prettyish person, in the wrong kind of suit and hat, with a bewildered, resentful look on her face.

Terry drifted on down the west side of State Street, with the hurrying crowd. State and Monroe. A sound came to Terry\'s ears.

A sound familiar, beloved. To her ear, harassed with the roar and crash, with the shrill scream of the whistle of the policeman at the crossing, with the hiss of feet shuffling on cement, it was a celestial strain. She looked up, toward the sound. A great second-story window opened wide to the street. In it a girl at a piano, and a man, red-faced, singing through a megaphone. And on a flaring red and green sign:
BERNIE GOTTSCHALK\'S MUSIC HOUSE!

COME IN! HEAR BERNIE GOTTSCHALK\'S LATEST HIT!
THE HEART-THROB SONG THAT HAS GOT \'EM ALL!
THE SONG THAT MADE THE SQUAREHEADS CRAWL!

"I COME FROM PARIS, ILLINOIS, BUT OH! YOU PARIS, FRANCE!
I USED TO WEAR BLUE OVERALLS BUT NOW IT\'S KHAKI PANTS."

COME IN! COME IN!

Terry accepted.

She followed the sound of the music. Around the corner. Up a little flight of stairs. She entered the realm of Euterpe; Euterpe with her hair frizzed; Euterpe with her flowing white robe replaced by soiled white shoes; Euterpe abandoning her flute for jazz. She sat at the piano, a red-haired young lady whose familiarity with the piano had bred ............