"However, I don't believe it."

"Why not?"

"I don't know," she insisted, "I just don't think he went there."

Something in her tone reminded me of the other girl's "I think he killed a man," and had the effect of stimulating my curiosity. I would have accepted without question the information that Gatsby sprang from the swamps of Louisiana or from the lower East Side of New York. That was comprehensible. But young men didn't—at least in my provincial inexperience I believed they didn't—drift coolly out of nowhere and buy a palace on Long Island Sound.

"Anyhow he gives large parties," said Jordan, changing the subject with an urbane distaste for the concrete. "And I like large parties. They're so intimate. At small parties there isn't any privacy."

There was the boom of a bass drum, and the voice of the orchestra leader rang out suddenly above the echolalia of the garden.

"Ladies and gentlemen," he cried. "At the request of Mr. Gatsby we are going to play for you Mr. Vladimir Tostoff's latest work which attracted so much attention at Carnegie Hall last May. If you read the papers you know there was a big sensation." He smiled with jovial condescension and added "Some sensation!" whereupon everybody laughed.

"The piece is known," he concluded lustily, "as 'Vladimir Tostoff's Jazz History of the World.' "

The nature of Mr. Tostoff's composition eluded me, because just as it began my eyes fell on Gatsby, standing alone on the marble steps and looking from one group to another with approving eyes. His tanned skin was drawn attractively tight on his face and his short hair looked as though it were trimmed every day. I could see nothing sinister about him. I wondered if the fact that he was not drinking helped to set him off from his guests, for it seemed to me that he grew more correct as the fraternal hilarity increased. When the "Jazz History of the World" was over girls were putting their heads on men's shoulders in a puppyish, convivial way, girls were swooning backward playfully into men's arms, even into groups knowing that some one would arrest their falls—but no one swooned backward on Gatsby and no French bob touched Gatsby's shoulder and no singing quartets were formed with Gatsby's head for one link.

"I beg your pardon."

Gatsby's butler was suddenly standing beside us.

"Miss Baker?" he inquired. "I beg your pardon but Mr. Gatsby would like to speak to you alone."

"With me?" she exclaimed in surprise.

"Yes, madame."

She got up slowly, raising her eyebrows at me in astonishment, and followed the butler toward the house. I noticed that she wore her evening dress, all her dresses, like sports clothes—there was a jauntiness about her movements as if she had first learned to walk upon golf courses on clean, crisp mornings.

I was alone and it was almost two. For some time confused and intriguing sounds had issued from a long many-windowed room which overhung the terrace. Eluding Jordan's undergraduate who was now engaged in an obstetrical conversation with two chorus girls, and who implored me to join him, I went inside.

The large room was full of people. One of the girls in yellow was playing the piano and beside her stood a tall, red haired young lady from a famous chorus, engaged in song. She had drunk a quantity of champagne and during the course of her song she had decided ineptly that everything was very very sad—she was not only singing, she was weeping too. Whenever there was a pause in the song she filled it with gasping broken sobs and then took up the lyric again in a quavering soprano. The tears coursed down her cheeks—not freely, however, for when they came into contact with her heavily beaded eyelashes they assumed an inky color, and pursued the rest of their way in slow black rivulets. A humorous suggestion was made that she sing the notes on her face whereupon she threw up her hands, sank into a chair and went off into a deep vinous sleep.

"She had a fight with a man who says he's her husband," explained a girl at my elbow.

I looked around. Most of the remaining women were now having fights with men said to be their husbands. Even Jordan's party, the quartet from East Egg, were rent asunder by dissension. One of the men was talking with curious intensity to a young actress, and his wife after attempting to laugh at the situation in a dignified and indifferent way broke down entirely and resorted to flank attacks—at intervals she appeared suddenly at his side like an angry diamond, and hissed "You promised!" into his ear.

The reluctance to go home was not confined to wayward men. The hall was at present occupied by two deplorably sober men and their highly indignant wives. The wives were sympathizing with each other in slightly raised voices.

"Whenever he sees I'm having a good time he wants to go home."

"Never heard anything so selfish in my life."

"We're always the first ones to leave."

"So are we."

"Well, we're almost the last tonight," said one of the men sheepishly. "The orchestra left half an hour ago."

In spite of the wives' agreement that such malevolence was beyond credibility, the dispute ended in a short struggle, and both wives were lifted kicking into the night.

As I waited for my hat in the hall the door of the library opened and Jordan Baker and Gatsby came out together. He was saying some last word to her but the eagerness in his manner tightened abruptly into formality as several people approached him to say goodbye.