“I beg your pardon,” he said again, “but there is a very sick child in the house next door and I came to ask you if you would mind not playing any more to-night.”
She did not reply at once, and her expression he found unsolvable. Much of it might be traced to a life which had contracted the habit of taking nothing on trust, a life which betrayed itself in unmistakable traces about the eyes. And Hodder perceived that the face, if the stamp of this expression could have been removed, was not unpleasing, although indulgence and recklessness were beginning to remould it.
“Quit stringin' me,” she said.
For a moment he was at a loss. He gathered that she did not believe him, and crossed to the open window.
“If you will come here,” he said, “I will show you the room where he lies. We hope to be able to take him to the hospital to-morrow.” He paused a moment, and added: “He enjoyed your music very much when he was better.”
The comment proved a touchstone.
“Say,” she remarked, with a smile that revealed a set of surprisingly good teeth, “I can make the box talk when I get a-goin'. There's no stopping me this side of grand opera,—that's no fable. I'm not so bad for an enginoo, am I?”
Thus directly appealed to, in common courtesy he assented.
“No indeed,” he said.
“That's right,” she declared. “But the managers won't have it at any price. Those jays don't know anything, do they? They've only got a dream of what the public wants. You wouldn't believe it, but I've sung for 'em, and they threw me out. You wouldn't believe it, would you?”