"How clever of you to think of that, Alston!" she exclaimed. "I'll study as if I were going to be an actress."
"That's the proposition! By Jove, you and I understand each other over this. I know Crayford by heart. We've got to what the French call 'éblouir' him when we get him here. We must play upon him with the scenery proposition; what he can do in the way of wonderful new stage effects. When we've got him thoroughly worked up over the libretto and the scenery prop., we'll begin to let him hear the music, but not a moment before. We can't be too careful, Mrs. Charmian. Crayford's a man who doesn't start going in a hurry on newly laid rails. He wants to test every sleeper pretty nearly. But once get him going, and the evening express from New York City to Chicago isn't in it with him. Now you and I have got to get him started before ever he comes to old Claude. In fact—"
He paused, put one finger to his firm round chin.
"But we can decide that a bit later on."
"That? What, Alston?"
"I was going to say it might be as well to get Claude out of the way for a day or two while we start on old Crayford here. I suppose it could be managed somehow?"
"Alston—" Charmian stopped on the path between the geraniums. "Anything can be managed that will help to persuade Mr. Crayford to accept Claude's opera."
"Right you are. That's talking! I'll think it all over and let you know."
"Oh," she exclaimed. "How I wish the end of August was here! You'll be in London. All your time will be filled up. You'll be singing, being applauded, getting on. And I have to sit here, and wait—wait."
"You'll be studying the libretto."