“Why do you say that?” he asked.
“You know what I mean, all right. What did you come in here for, anyway?”
“I don't know—I couldn't tell you,” he answered.
The very honesty of his words seemed, for an instant, to disconcert her; and she produced a torn lace handkerchief, which she thrust in her eyes.
“Why can't you leave me alone?” she demanded. “I'm all right.”
If he did not at once reply, it was because of some inner change which had taken place in himself; and he seemed to see things, suddenly, in their true proportions. He no longer feared a scene and its consequences. By virtue of something he had cast off or taken on, he was aware of a newly acquired mastery of the situation, and by a hidden and unconscious process he had managed to get at the real woman behind the paint: had beaten down, as it were without a siege, her defences. And he was incomparably awed by the sight of her quivering, frightened self.
Her weeping grew more violent. He saw the people at the next table turn and stare, heard the men laughing harshly. For the spectacle was evidently not an uncommon one here. She pushed away her unfinished glass, gathered up her velvet bag and rose abruptly.
“I guess I ain't hungry after all,” she said, and started toward the door. He turned to the waiter, who regarded him unmoved, and asked for a check.
“I'll get it,” he said.
Hodder drew out a ten dollar bill, and told him to keep the change. The waiter looked at him. Some impulse moved him to remark, as he picked up the rector's hat: