The Gray Phantom

Hours afterward, when the tragic spell had broken and scraps and odds of the affair began to throng the memories of those present at the opening performance of "His Soul's Master," several persons remembered that a curious hush had preceded the fateful moment.

No one could tell why, but of a sudden all sounds had ceased. Subdued whispers, the creaking of seats, and the froufrou of garments had stopped as abruptly as if a silencing signal had gone through the little auditorium. The spectators had sat motionless, momentarily holding their breath, and even the voices of the actors had faltered for an appreciable second or two. The stillness had been charged with an uneasy tension, and it seemed as though a telepathic whisper of warning had been communicated to the gathering.

Vivian Tennant, as frivolous as she was delicately molded, declared the following day that the silence during those few moments had been so intense that she was positive she had heard a pin drop from the coiffure of the woman on her left. Alex Hammond, forty and cynical, would have ascribed the spell to a touch of necromancy had he been a believer in such childish things. Mrs. Hungerford Cather, a frail little widow with a melancholy disposition, said she felt just as though she were at a séance and a ghost was expected to appear any moment. The others described their impressions with varying degrees of vividness, but all of them agreed in having felt the creeping approach of a silent and invisible horror.

Only Helen Hardwick, whose fresh young charm and frank brown eyes made her seem strangely out of place in that motley gathering of rouged lips, sophisticated banter and gowns suggestive of the Parisian boulevards, was singularly uncommunicative in regard to what she had experienced during the weird interlude when the Thelma Theater became the scene of one of life's grimly realistic tragedies. And her silence was all the more remarkable because she had seen, heard and felt more than any of the others.

The Thelma, with its walls of common red brick and severely plain architecture, might have suggested anything but the setting of a dark and mysterious crime. Outwardly the building, located in a section of New York largely given over to tenements, unsoaped children and garlicky odors, presented an air of solidity and matter-of-factness that left the imagination untouched and gave no hint of the interior. The inside was as colorful and fanciful as the outside was unlovely and prosaic, and it was rumored that Vincent Starr, the eccentric owner, had spent a fortune on the decorations.

Like many another rich man, Starr had his hobby. The newspapers and the critics had scoffed and railed when he opened the Thelma and dedicated it to the uplift of dramatic art. He held the Broadway productions in lofty contempt, declaring that they catered only to the vulgar tastes of the rabble. Admission to the Thelma was by invitation only, and the auditorium seated exactly ninety-nine persons, for it was Starr's firm opinion that out of the city's five million only an infinitesimal few were able to appreciate true histrionic art. Members of the daily press were never admitted, and the only critics present at the performances were the representatives of two or three obscure journals who shared Starr's esthetic views.

The owner and director of the Thelma was prejudiced against music at theatrical performances, and where the orchestra pit should have been was an exquisite statue in marble representing Aphrodite springing out of a foaming sea. Along the walls were friezes picturing the nine muses, the work of a famous mural painter, and the domed ceiling showed colorful glimpses of Dionysian festivals. Scattered throughout the auditorium and in niches in the walls were superb vases containing flowers whose fragrance filled the air.