moment more he looked at her—her own eyes were closed; then he exclaimed, pitifully, 'Oh Miss Wing, oh Miss Wing!' and stepped out of the box.
When he had gone she collapsed into one of the chairs again and sat there with her face buried in a fold of her mantle. For many minutes she was perfectly still—she was ashamed even to move. The one thing that could have justified her, blown away the dishonour of her monstrous overture, would have been, on his side, the quick response of unmistakable passion. It had not come, and she had nothing left but to loathe herself. She did so, violently, for a long time, in the dark corner of the box, and she felt that he loathed her too. 'I love you!'—how pitifully the poor little make-believe words had quavered out and how much disgust they must have represented! 'Poor man—poor man!' Laura Wing suddenly found herself murmuring: compassion filled her mind at the sense of the way she had used him. At the same moment a flare of music broke out: the last act of the opera had begun and she had sprung up and quitted the box.
The passages were empty and she made her way without trouble. She descended to the vestibule; there was no one to stare at her and her only fear was that Mr. Wendover would be there. But he was not, apparently, and she saw that she should be able to go away quickly. Selina would have taken the carriage—she could be sure of that; or if she hadn't it wouldn't have come back yet; besides, she couldn't possibly wait there so long as while it was called. She was in the act of asking one of the attendants, in the portico, to get her a cab, when some one hurried up to her from behind, overtaking her—a
