New York is an orchestra playing a symphony. If you hear the part of only one instrument—first violin or oboe, 'cello or French horn—it is incongruous. To understand the symphony you must hear all the instruments playing together, each its own part, to the invisible baton of that great conductor, Father Time.

But the symphony is heard only very rarely. Most of the time New York is tuning up. Each voice is practising its part of the score—the little solos for the violins to please the superficial sentimentalists, and the twenty bars for the horn to satisfy the martial spirit in men.

But don't, oh sightseers, don't think you know New York because you have sauntered through a few streets and eaten hot tamales in a Mexican restaurant, or burnt your tongue with goulash in some "celebrated Hungarian palace." Only to very few privileged ones is it given to hear the symphony—and they have to pay dearly for it. But it is worth the price.

They called her the Vampire, or Vamp for short. Her name was Theresa, and she was born somewhere on Hungarian soil in Tokai, where flows the dark blue water of the Tisza, not far from the Herpad Mountains on which grows the grape for the luxurious Tokai wine.

Now, when and why Theresa came to New York nobody knew. But all were glad she was here ... here, at a little table in a corner of the "Imperial" on Second Avenue. When one met a friend on the street and asked: "Anybody at the 'Imperial?'" and the answer was "Nobody there to-night," it simply meant that the Vamp was not there. The other two hundred or more guests did not count.

She spoke very little. She smoked all the time, and her fiery dark eyes hid behind the thin smoke curtain from her cigarette. Young men had no chance at her table. They seldom came near her at all. They were afraid of her. Only married men dared approach her, relying on their experience to extricate themselves when in danger.

And yet there was no danger! At some hour after midnight Theresa brushed the ashes off her waist from the "last" cigarette, arranged her hair a bit, and announced to the company "I am going."

It always was irrevocable. A newcomer was known by the fact that he offered to see her home. The habituÉs would then answer in chorus, "I can find my way alone," and laugh and tease the unfortunate who did not know that Theresa went home alone.

After Theresa's departure her friends would scatter to different tables and take up cudgels for this or that or the other, always with the conscience that on the street the question would be: "Anybody there?" and the answer would be the inevitable "Nobody there." So most of them would leave the place soon after Theresa—dispersing over the city, each to his home, bringing there the secret emptiness that was in him.

"Ferenczy is here," a friend greeted me one day.

"Ferenczy who?" I asked.

"Ferenczy, the great painter, man!"

I did not know much about the great Hungarian artist, but my friend knew, and urged me to come and see him. I found him at the "Imperial."

Tall, thin, dark, passionate, the picture of the painter as portrayed in novels. He spoke about art like a true artist. Some of the ladies, usually placidly sipping their coffee, became very self-conscious as he declaimed a bit too loudly about beauty of line and harmony of color. Even the two fighting musical critics, old Newman and Dr. Feldys, forgot the nightly squabble over the merits of modern music, when Ferenczy talked.

In the midst of all appeared Theresa. She went straight to her table. From different sections of the cafÉ men rose, and after making their apologies to the other guests, walked up to where the Vamp was waiting for some one to help her take off her coat.

Ferenczy turned about to see who caused such a stir. A few minutes later he was sitting opposite her, the two oblivious of everybody else. He was her fellow countryman, was born at the foot of the same mountains, the Herpads.

And we were all surprised when she did not say "I can find my way alone," two hours after midnight, and allowed Ferenczy to see her home.

When Ferenczy entered the cafÉ the next evening there were two different camps. One hated him because he took the Vamp home, and one admired him because he had succeeded where everybody else had failed.

When Ferenczy entered the cafÉ there were two different camps.

He went straight to Theresa's table, which was usually vacant until she came, and ordered something from the astonished waiter. They had not realized before how boisterous a mustache can be, and not one guest felt comfortable in his workaday garb facing the immaculately black and white Ferenczy.

The other guests broke precedent that evening and came to sit at the Vamp's table before she had arrived. Every time the door opened all the heads turned in its direction, still maintaining or arguing about something. And thus guests, perfect strangers, felt the weight of words hurled at them as from a cannon's mouth.

And the door was never still. The Imperial was the home of all the disappointed, disabused men of the East Side; men and women from the four corners of the earth. Former poets who studied dentistry to earn a living, and who are now completely swallowed up by their profession, came nightly, to hear themselves mock the former music composer who is now a physician, and over the ears in real estate transactions. This physician once gave to a patient a prescription as follows: "60 pounds of nails, fourteen window panes, 3×4, 12 pounds of putty and 80 pounds of lime."

Former sculptors, former painters, former dancers, former men, former women, all gather in the cafÉ of the might-have-beens, and all invite every newcomer to witness in them his own doom. Some go to concerts to hear music which they might have composed, others read poetry which they might have written, criticise a play the thought of which had lingered in their own minds for years without coming to utterance. Disabused socialists now owning factories, and great, great chemists now clerking in some drug store of the vicinity, assemble there.

Theresa came that night. Ferenczy helped her with the coat, and lit her cigarette and ordered her coffee, and they talked earnestly in their mother tongue the rest of the evening. One by one the other guests left the table until the two were alone. It was after 2 A. M. when they left the place. They were almost the last guests. He saw her home.

The following evening Theresa's former friends discussed Ferenczy. His work, while having a certain charm which appealed to the uninitiated, was worthless as art, they decreed.

He never did anything worth while. He was just good enough for America; to make magazine covers. And Andrasky, the journalist, remembered that an art critic in the Budapest Hirlap called Ferenczy "Muncaczy's Monkey."

A few days later one of the Magyar papers had a derogatory article about Ferenczy, in which the "Budapester" critic was cited.

The painter himself was not seen at the Imperial for a few evenings, neither was Theresa. Scouts went out to find them. It was inconceivable that the Vamp should not be out every evening!

At the cafÉ they began to accuse one another with writing the article, which was anonymous. That vacant table near the wall stood like the altar of a deserted shrine.

One day Fuller, the musician, met Andrasky around Tenth Street, going in the opposite direction from the Imperial.

"Whereto, Andrasky?"

"Just for a walk."

And because he did not ask "Anybody there?" Fuller suspected that he knew. He followed the journalist at a distance and discovered them, the three of them, in a little Russian restaurant on Tenth Street.

In a week all the Imperial guests had gone over to the Tenth Street cafÉ. Neither service nor food was as good as in the old place, but they all professed to like the new one. They did not know whether it was because of Ferenczy or because of Theresa. She paid no attention at all to them.

In the following few months some of the might-have-beens tried to resurrect themselves. One of the former poets wrote a long poem. Another had a play accepted. The composer tried his fingers again on the keyboard.

The tables at the Imperial were vacant. The waiters were asleep on their feet. It lasted throughout the winter. In the spring the proprietor went into bankruptcy.

"Anybody there?" is still a question on Second Avenue after midnight. Only the "there" is somewhere else, and nobody knows who the "Anybody" is—not even Theresa, because in the new place her former admirers read their poetry and plays, try their songs and hang their pictures on the walls. Even her table is not exclusively HER table any longer.