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 chiefly as an invigorating accompaniment for talk about matters that interested her. As the orchestra started playing a slow waltz measure to the Barcarolle from "The Tales of Hoffman," she described to Gregg an innovation in hospital architecture which she had observed during her visit to Paris in the fall. She hoped to have it copied at "her" hospital in Chicago before she returned to France in the spring. She expected to take her daughter with her, and this time stop in Brittany for several months. She said it was too bad that Mr. Hale's business never would permit him to do more than take her across the ocean.

Mr. Hale—Gregg suddenly thought—by this time must be approaching that building next to Nyman's. Then Gregg drove his thoughts away, listening and mechanically replying to Mrs. Hale while he lost himself in the mood of the dance rhythm which seemed to have no effect on her at all.

These are passionate, caressing measures of Offenbach's; and they stirred Gregg to respond to their slow surge in dance; they made him long, not just for a partner within his arm and responding with him, but for one girl alone—for Marjorie. Since he could not have her for this waltz, he was glad that he was not dancing; then, while watching the floor, he saw Billy dancing with Marjorie; saw they had made up their little, teasing differences of the evening and were whispering intimately together as they danced with Billy's head bent over hers. Gregg could not get a good look at Marjorie's face, but he saw her cheek was flushed; and Billy was red.

She had been keeping her scarf about her bare shoulders; but now it slipped, and Gregg saw Billy catch it, and he drew it back over her arms with a