"'Why, p-a-r-a-l-l-e-l, of course.'
"'Thank you; that's the way I have it.' (Then nothing was heard but the scratching of a penknife.)"
I think they 're rather fussy about details here. On the back of my last theme the instructor wrote: "By the way, dotting one's i's and crossing one's t's are charming literary habits when once acquired."
However, I think I shall get a good mark in this course, notwithstanding. But life isn't all English Composition, and I have a terrible amount of work to do in the other things. Berri and I began, in a way, to prepare for the ordeal by going to the theatre for the last time until the mid-year period is at an end. We made an occasion of it, and ended by doing something that I had never dreamed we were going to do when we started out. It was foolish, I suppose, and I don't know exactly what mamma would think about it. I should like to tell her and find out, but I 'm afraid papa might get hold of it, and my idea of his opinion on the subject is somewhat less vague. What we did was to invite one of the girls in the show to supper.
Berri proposed it. We were sitting in the front row away to one side, and when the second act was about half over, he exclaimed to me,—
"There, she 's done it again; that's the third time." I asked him what he meant, and he replied that one of the girls on our side of the stage had winked at us. The attention, he explained, must have been meant for us. And for a variety of reasons it did n't seem as if it could have been intended for any one else. In the first place our seats were the last in the row. Behind us were some ladies, and on the other side of Berri was a very old man who sat half turned away from the stage, holding a great black tin trumpet to his ear, as if he were expecting the actors to lean over the footlights and pour something into it.
"I don't want to appear vain," Berri went on, "but as a mere matter of geographical position I think that we 're It." The comedian was singing a song in the middle of the stage, and on either side of him was a row of girls—convent girls they were supposed to be—who joined in the chorus at the end of every verse and shook their fingers at him reprovingly. They were all dressed in tights. This was n't the convent uniform (they had appeared in that during the first act), and was explained by the fact that they had been rehearsing for private theatricals when the comedian fell in through the window. The comedian was a burglar, and his tights were merely a clever disguise. He was making the girls believe that he was a professional actor hired by the mother superior to teach them how to sing and dance. This was the plot, and it was really rather complicated, for when they all decided to leave the convent with the burglar and spend the evening at a roof-garden, they rushed in dressed as policemen, pretending that they had come to arrest the burglar. The mother superior did n't recognize them, of course, and was naturally glad to have the burglar taken away. Then, at the roof-garden—in the third act—they appeared as waiters; all of which made it hard for me to keep track of them very well. But Berri could spot our girl every time, and by carefully examining the program and comparing the names of the chorus with the various changes of costume she went through, he managed in some way, by the end of the second act, to discover her name. It was Miss Mae Ysobelle. To tell the truth, I did n't think her particularly pretty. She was tall and not a bit graceful, and when she danced she looked as if it were hard work to move her arms and legs the right number of times and finish with the others. She smiled a great deal, but the moment she stopped dancing her mouth sort of snapped back to place as if it were made of stiff red rubber. I found, after watching her for a long time, that my own mouth got very tired. I told Berri this; also that her clothes looked as if they had been made for some one else. But Berri somehow seemed to think she might be unusually agreeable if one knew her.
"Very often, you know, really pretty people don't make up well at all; and as for her clothes looking as if they did n't belong to her, why, she can't help that, poor thing! they probably don't. She is a little knock-kneed, but you would n't notice that if she had a skirt on."
"Well, there doesn't seem to be any immediate danger of our seeing her with a skirt," I answered, for some of the convent girls—Mae Ysobelle among them—had suddenly changed their minds about being waiters and had decided to give the interrupted private theatricals right there on the roof-garden stage. They came prancing in dressed as jockeys, while the man in the orchestra who, as Berri says, supplies music with local color, slapped two thin boards together to imitate the crack of a whip.
"Oh, I don't know," Berri mused; "we might manage to meet her after the show,—ask her to supper or something. She seems friendly enough," he added; for, as he was speaking, the jockeys drew up at the edge of the stage, touched their caps, then leaned over, and all winked. Miss Ysobelle was unmistakably looking at us as she did it.