The part was tempting; it bristled with opportunities.  But it was also too trying.  He might begin by taking lover’s liberties, and the strain of repulsing him would be too great.  Besides, she wasn’t clear how to play the opening of the scene.  But then there was another star part open to her.

Nelly O’Neill’s role was much easier:  it played itself.  She had only to go on with the episode.  And the way the episode went on would also serve to determine finally her attitude when the moment came to throw off the mask and turn to governess.  The only difficult moment would be the first—­to obfuscate him immediately with the notion that he had mixed up the two addresses.  Even if she failed and he realised his ghastlier blunder, it would only precipitate the dramatic duel which she must face sooner or later.  All these high-strung possibilities deadened the horrible pain she knew her soul held for her, as soldiers carry wounds to be felt when the charge is over.  She fell asleep near morning, her battle planned, and slept late, a sleep full of strange dreams, in one of which her drunken father counted her, and couldn’t decide how many she was.  “It’s two I am, father asthore, only two, Eileen and Nelly,” she kept crying.  But he counted on.

Towards four in the afternoon she posted herself at the window.  It was absolutely necessary to the comedy that she should open the door to him herself.  At last a cab containing him halted at the door.  She flew down, just supplanting the butler.

“How good of you, Colonel!” she cried.  “But where is the Major?”

It was exquisitely calculated.  She had pulled the string and the marionette moved with precision.  A daze, a flash, a stammer—­all the embarrassment of a man who believes that in a day-dream he has given a second address first.

“Miss—­Miss O’Neill,” he stuttered, mechanically removing his hat.

“Nelly to my friends,” she smiled fascinatingly.  “Come in!” Christopher Sly was not more bewildered when he opened his eyes on the glories of his Court.

“What—­what is this address?” he blurted, as she prisoned him by closing the door.

“Why?...  Oh, I know.  Ha! ha! ha!  You’ve come to the Crescent instead of the Terrace.”

“That confounded cabman!  I’m sure I told him the Terrace.”

“Don’t swear.  He’s more accustomed to the Crescent.  So many pros coming home late, and all that!”

He hesitated at the foot of the stairs.  “I really think I ought to call there first....”

Now all the coquette in Nelly O’Neill rose to detain him, subtly tangled with the actress.  She pouted adorably.  “Oh, now you’re here, can’t you put her second for once?”

“I didn’t say it was a her.”

“A she,” corrected the governess, instinctively.  Nelly hastened to add, “No man leaves a woman for a man.”

“This is such an old appointment,” he pleaded in distress.