The Washington times., 1938-01-04

/
Wild seriously. 1t was just fun
being with him and dashing
about town. Then things changed
and it was too late to tell him. :"
THE quicker you get it over
with, the better"
Just give me little time. I'll
tell him this week."
Rene's face was expressionless
as he looked at Lynn. I'VE better
get back to work" Lynn went
back to the models stand.
Take those orchids"
Lynn obeyed and resumed the
pose she had taken. Rene got
up and brought d fresh canvas
and started to work. AS he
painted, Lynn was left with hel
devastating thoughts. She re-
membered so clearly Wild's in
sistent voice as he told her:
Never lie to me-"
She'd lived a lie, and he would
not be able to understand. She
hardly noticed when Rene put a
black velvet screen back of her.
She kept going over and over the
whole thing. How had she got her
life into such a mess?
If only she could get an annul-
ment or something. He might
never have to know. But it
would be difficult. If she went
away from town he'd need ex-
plantations. And now, with her
name becoming well known, it
would be fatal!
Her hands were clenched about
the orchids as she stared ever
them Unseeingly. She did not
blame Rene. But now the head.
lines would be nine-day wonder.
The clock moved slowly, but
Lynn was unaware of the pass.
ing of time. For weeks she had
been fighting off the showdown.
It had come.
"All right" Rene threw down
his brushes and reached fever.
ishly for a cigarette. His eyes
were burning and he was ex-
hausted. He'd been at this two
hours. Without speaking to
Lynn, he went over and threw
himself, face down, on the sofa.
Lynn got up stiffly. The clock
said it was noon. She rushed off
to change back into her suit and
hurry to Nine. Reanoud's. When
she came back into the studio she
saw the crushed orchids in a
heap on the models stand and
she hunted for her purse and
gloves. Rene seemed to be Sleep
ing, so she let herself out without
speaking to him.
A NEW MASTERPIECE
When the door had closed Rene
got up slowly, afraid to look at
what he had left on the easel.
But he finally did. He stood there
a long time. contemplating the
picture. Then he went to work
again. AS he painted, he exulted.
1t was good! Good! He worked
as though fascinated. 1t was a
simple picture, painted without
pretensions, direct and strong.
1t was a head and shoulders, a
splash of yellow orchids against
a black frock. But the striking
thing about that portrait was that
it was the photograph of wom-
ans soul. And such troubled
soul.
Rene. looking, felt it was almost
indecent to strip anybody so
cruelty.
The arresting gold-flecked brown
eyes were wide open, their own
er's thoughts we're far away. All
the struggle of the world seemed
wrapped up in that bit of dark
canvas.
Rene worked the better part of
the afternoon. When the light
began to fall, he turned the paint
ing around toward the wall. and
threw himself on the couch again.
1t was thus Marty found him
when he came bounding in de-
manding highball.
"How's the work? Is the Christ
mas stuff coming we'll? I got a
damned wreath. You artists sure
make tough demands" Marty
turned on the light and went over
to the canvas on the easel.
Don't look at it," Rene's voice
was sharp. "It isn't done!" He
jumped up from the couch.
"Are you, too. going tempera-
mental on me?" Marty turned
the picture around before Rene
could stop him. There was a
dead silence in the room.
Marty walked over and pulled
an unshaded light off the table
and brought it back to the pic
ture. Then he set the lamp back
and turned and looked at Rene
He could see the excitement burn.
ing in Rene's eyes, they bored into
Marty.
"Is it as good as I think it is?"
"Yes." Marty showed his hands
in his pockets. "It's better. God,
man. You can paint! It's a
cruel picture"
II suppose so, but most art is
cruel to human beings. It's truth
full"
What will Lynn say when she
sees it?"
II don't know"
Marty shook his head: When
do you leave for Romeo" he said
with a short laugh. AFTER seeing