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?"

"I must own," said the rector, "that I have never had any experience
with managers."

She sat still considering him from the piano stool, her knees apart, her
hands folded in her lap. Mockery came into her eyes.

"Say, what did you come in here for, honest injun?" she demanded.

He was aware of trying to speak sternly, and of failing. To save his
life he could not, then, bring up before himself the scene in the little
back room across the yard in its full terror and reality, reproduce his
own feelings of only a few minutes ago which had impelled him hither. A
month, a year might have elapsed. Every faculty was now centred on the
woman in front of him, and on her life.

"Why do you doubt me?" he asked.

She continued to contemplate him. Her eyes were strange, baffling,
smouldering, yellow-brown, shifting, yet not shifty: eyes with a
history. Her laugh proclaimed both effrontery and uneasiness.

"Don't get huffy," she said. "The kid's sick--that's on the level, is
it? You didn't come 'round to see me?" The insinuation was in her voic