LITMIR.BIZ

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      'Of music. For my waltz. I am composing a waltz.'

      A look of such unqualified admiration overspread the young man's face that the last remnants of the ice-pack melted. For the first time since they had met Annette found herself positively liking this blackguardly floor-smiter.

      'Can you compose music?' he said, impressed.

      'I have written one or two songs.'

      'It must be great to be able to do things—artistic things, I mean, like composing.'

      'Well, you do, don't you? You paint.'

      The young man shook his head with a cheerful grin.

      'I fancy,' he said, 'I should make a pretty good house-painter. I want scope. Canvas seems to cramp me.'

      It seemed to cause him no discomfort. He appeared rather amused than otherwise.

      'Let me look.'

      She crossed over to the easel.

      'I shouldn't,' he warned her. 'You really want to? Is this not mere recklessness? Very well, then.'

      To the eye of an experienced critic the picture would certainly have seemed crude. It was a study of a dark-eyed child holding a large black cat. Statisticians estimate that there is no moment during the day when one or more young artists somewhere on the face of the globe are not painting pictures of children holding cats.

      'I call it "Child and Cat",' said the young man. 'Rather a neat title, don't you think? Gives you the main idea of the thing right away. That,' he explained, pointing obligingly with the stem of his pipe, 'is the cat.'

      Annette belonged to that large section of the public which likes or dislikes a picture according to whether its subject happens to please or displease them. Probably there was not one of the million or so child-and-cat eyesores at present in existence which she would not have liked. Besides, he had been very nice about her music.

      'I think it's splendid,' she announced.

      The young man's face displayed almost more surprise than joy.

      'Do you really?' he said. 'Then I can die happy—that is, if you'll let me come down and listen to those songs of yours first.'

      'You would only knock on the floor,' objected Annette.

      'I'll never knock on another floor as long as I live,' said the ex-brute, reassuringly. 'I hate knocking on floors. I don't see what people want to knock on floors for, anyway.'

      Friendships ripen quickly in Chelsea. Within the space of an hour and a quarter Annette had learned that the young man's name was Alan Beverley (for which Family Heraldic affliction she pitied rather than despised him), that he did not depend entirely on his work for a living, having a little money of his own, and that he considered this a fortunate thing. From the very beginning of their talk he pleased her. She found him an absolutely new and original variety of the unsuccessful painter. Unlike Reginald Sellers, who had a studio in the same building, and sometimes dropped in to drink her coffee and pour out his troubles, he did not attribute his non-success to any malice or stupidity on the part of the public. She was so used to hearing Sellers lash the Philistine and hold forth on unappreciated merit that she could hardly believe the miracle when, in answer to a sympathetic bromide on the popular lack of taste in Art, Beverley replied that, as far as he was concerned, the public showed strong good sense. If he had been striving with every nerve to win her esteem, he could not have done it more surely than with that one remark. Though she invariably listened with a sweet patience which encouraged them to continue long after the point at which she had begun in spirit to throw things at them, Annette had no sympathy with men who whined. She herself was a fighter. She hated as much as anyone the sickening blows which Fate hands out to the struggling and ambitious; but she never made them the basis of a monologue act. Often, after a dreary trip round the offices of the music-publishers, she would howl bitterly in secret, and even gnaw her pillow in the watches of the night; but in public her pride kept her unvaryingly bright and cheerful.

      Today, for the first time, she revealed something of her woes. There was that about the mop-headed young man which invited confidences. She told him of the stony-heartedness of music-publishers, of the difficulty of getting songs printed unless you paid for them, of their wretched sales.

      'But those songs you've been playing,' said Beverley, 'they've been published?'

      'Yes, those three. But they are the only ones.'

      'And didn't they sell?'

      'Hardly at all. You see, a song doesn't sell unless somebody well known sings it. And people promise to sing them, and then don't keep their word. You can't depend on what they say.'

      'Give me their names,' said Beverley, 'and I'll go round tomorrow and shoot the whole lot. But can't you do anything?'

      'Only keep on keeping on.'

      'I wish,' he said, 'that any time you're feeling blue about things you would come up and pour out the poison on me. It's no good bottling it up. Come up and tell me about it, and you'll feel ever so much better. Or let me come down. Any time things aren't going right just knock on the ceiling.'

      She laughed.

      'Don't rub it in,' pleaded Beverley. 'It isn't fair. There's nobody so sensitive as a reformed floor-knocker. You will come up or let me come down, won't you? Whenever I have that sad, depressed feeling, I go out and kill a policeman. But you wouldn't care for that. So the only thing for you to do is to knock on the ceiling. Then I'll come charging down and see if there's anything I can do to help.'

      'You'll be sorry you ever said this.'

      'I won't,' he said stoutly.

      'If you really mean it, it would be a relief,' she admitted. 'Sometimes I'd give all the money I'm ever likely to make for someone to shriek my grievances at. I always think it must have been so nice for the people in the old novels, when they used to say: "Sit down and I will tell you the story of my life." Mustn't it have been heavenly?'

      'Well,' said Beverley, rising, 'you know where I am if I'm wanted. Right up there where the knocking came from.'

      'Knocking?' said Annette. 'I remember no knocking.'

      'Would you mind shaking hands?' said Beverley.

      A particularly maddening hour with one of her pupils drove her up the very next day. Her pupils were at once her salvation and her despair. They gave her the means of supporting life, but they made life hardly worth supporting. Some of them were learning the piano. Others thought they sang. All had solid ivory skulls. There was about a teaspoonful of grey matter distributed among the entire squad, and the pupil Annette had been teaching that afternoon had come in at the tail-end of the division.

      In the studio with Beverley she found Reginald Sellers, standing in a critical attitude before the easel. She was not very fond of him. He was a long, offensive, patronizing person, with a moustache that looked like a smear of charcoal, and a habit of addressing her as 'Ah, little one!'

      Beverley looked up.

      'Have you brought your hatchet, Miss Brougham? If you have, you're just in time to join in the massacre of the innocents. Sellers has been smiting my child and cat hip and thigh. Look at his eye. There! Did you see it flash then? He's on the warpath again.'

      'My dear Beverley,' said Sellers, rather stiffly, 'I am merely endeavouring to give you my idea of the picture's defects. I am sorry if my criticism has to be a little harsh.'

      'Go right on,' said Beverley, cordially. 'Don't mind me; it's all for my good.'

      'Well, in a word, then, it is lifeless. Neither the child nor the cat lives.'

      He stepped back a pace and made a frame of his hands.

      'The cat now,' he said. 'It is—how shall I put it? It has no—no—er—'

      'That kind of cat wouldn't,' said Beverley. 'It isn't that

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