"Certainly, Miss Francon."
"Will you come to my house tonight? The way to the servants' entrance is off Ridgewood Road. There's a marble piece at a fireplace that's broken and has to be replaced. I want you to take it out and order a new one made for me."
She expected anger and refusal. He asked:
"What time shall I come?"
"At seven o'clock. What are you paid here?"
"Sixty-two cents an hour."
"I'm sure you're worth that. I'm quite willing to pay you at the same rate. Do you know how to find my house?"
"No, Miss Francon."
"Just ask anyone in the village to direct you."
"Yes, Miss Francon."
She walked away, disappointed. She felt that their secret understanding was lost; he had spoken as if it were a simple job which she could have offered to any other workman. Then she felt the sinking gasp inside, that feeling of shame and pleasure which he always gave her: she realized that their understanding had been more intimate and flagrant than ever — in his natural acceptance of an unnatural offer; he had shown her how much he knew — by his lack of astonishment.
She asked her old caretaker and his wife to remain in the house that evening. Their diffident presence completed the picture of a feudal mansion. She heard the bell of the servants' entrance at seven o'clock. The old woman escorted him to the great front hall where Dominique stood on the landing of a broad stairway.
She watched him approaching, looking up at her. She held the pose long enough to let him suspect that it was a deliberate pose deliberately planned; she broke it at the exact moment before he could become certain of it. She said: "Good evening." Her voice was austerely quiet.
He did not answer, but inclined his head and walked on up the stairs toward her. He wore his work clothes and he carried a bag of tools. His movements had a swift, relaxed kind of energy that did not belong here, in her house, on the polished steps, between the delicate, rigid banisters. She had expected him to seem incongruous in her house; but it was the house that seemed incongruous around him.
She moved one hand, indicating the door of her bedroom. He followed obediently. He did not seem to notice the room when he entered. He entered it as if it were a workshop. He walked straight to the fireplace.
"There it is," she said, one finger pointing to the marble slab.
He said nothing. He knelt, took a thin metal wedge from his bag, held its point against the scratch on the slab, took a hammer and struck one blow. The marble split in a long, deep cut.
He glanced up at her. It was the look she dreaded, a look of laughter that could not be answered, because the laughter could not be seen, only felt. He said:
"Now it's broken and has to be replaced."
She asked calmly:
"Would you know what kind of marble this is and where to order another piece like it?"
"Yes, Miss Francon."
"Go ahead, then. Take it out."
"Yes, Miss Francon."
She stood watching him. It was strange to feel a senseless necessity to watch the mechanical process of the work as if her eyes were helping it. Then she knew that she was afraid to look at the room around them. She made herself raise her head.
She saw the shelf of her dressing table, its glass edge like a narrow green satin ribbon in the semidarkness, and the crystal containers; she saw a pair of white bedroom slippers, a pale blue towel on the floor by a mirror, a pair of stockings thrown over the arm of a chair; she saw the white satin cover of her bed. His shirt had damp stains and gray patches of stone dust; the dust made streaks on the skin of his arms. She felt as if each object in the room had been touched by him, as if the air were a heavy pool of water into which they had been plunged together, and the water that touched him carried the touch to her, to every object in the room. She wanted him to look up. He worked, without raising his head.
She approached him and stood silently over him. She had never stood so close to him before. She looked down at the smooth skin on the back of his neck; she could distinguish single threads of his hair. She glanced down at the tip of her sandal. It was there, on the floor, an inch away from his body; she needed but one movement, a very slight movement of her foot, to touch him. She made a step back.
He moved his head, but not to look up, only to pick another tool from the bag, and bent over his work again.
She laughed aloud. He stopped and glanced at her.
"Yes?" he asked.
Her face was grave, her voice gentle when she answered:
"Oh, I'm sorry. You might have thought that I was laughing at you. But I wasn't, of course."
She added:
"I didn't want to disturb you. I'm sure you're anxious to finish and get out of here. I mean, of course, because you must be tired. But then, on the other hand, I'm paying you by the hour, so it's quite all right if you stretch your time a little, if you want to make more out of it. There must be things you'd like to talk about."
"Oh, yes, Miss Francon."
"Well?"
"I think this is an atrocious fireplace."
"Really? This house was designed by my father."
"Yes, of course, Miss Francon."
"There's no point in your discussing the work of an architect."
"None at all."
"Surely we could choose some other subject."
"Yes, Miss Francon."
She moved away from him. She sat down on the bed, leaning back on straight arms, her legs crossed and pressed close together in a long, straight line. Her body, sagging limply from her shoulders, contradicted the inflexible precision of the legs; the cold austerity of her face contradicted the pose of her body.
He glanced at her occasionally, as he worked. He was speaking obediently. He was saying:
"I shall make certain to get a piece of marble of precisely the same quality, Miss Francon. It is very important to distinguish between the various kinds of marble. Generally speaking, there are three kinds. The white marbles, which are derived from the recrystallization of limestone, the onyx marbles which are chemical deposits of calcium carbonate, and the green marbles which consist mainly of hydrous magnesium silicate or serpentine. This last must not be considered as true marble. True marble is a metamorphic form of limestone, produced by heat and pressure. Pressure is a powerful factor. It leads to consequences which, once started, cannot be controlled."
"What consequences?" she asked, leaning forward.
"The recrystallization of the particles of limestone and the infiltration of foreign elements from the surrounding soil. These constitute the colored streaks which are to be found in most marbles. Pink marble is caused by the presence of manganese oxides, gray marble is due to carbonaceous matter, yellow marble is attributed to a hydrous oxide of iron. This piece here is, of course, white marble. There are a great many varieties of white marble. You should be very careful, Miss Francon ... "
She sat leaning forward, gathered into a dim black huddle; the lamp light fell on one hand she had dropped limply on her knees, palm up, the fingers half-closed, a thin edge of fire outlining each finger, the dark cloth of her dress making the hand too naked and brilliant.
" ... to make certain that I order a new piece of precisely the same quality. It would not be advisable, for instance, to substitute a piece of white Georgia marble which is not as fine-grained as the white marble of Alabama. This is Alabama marble. Very high grade. Very expensive."
He saw her hand close and drop down, out of the light. He continued his work in silence.
When he had finished, he rose, asking: