“Oh, no, you’re not. Six o’clock is your quitting time.”
In which he touched the Irish in Terry. “Any time I quit is my quitting time. She went in quest of hat and coat much as the girl had done whose place she had taken early in the day. The fat man followed her, protesting. Terry, putting on her hat, tried to ignore him. But he laid one plump hand on her arm and kept it there, though she tried to shake him off.
“Now, listen to me. That boy wouldn’t mind grinding his heel on your face if he thought it would bring him up a step. I know’m. See that walking stick he’s carrying? Well, compared to the yellow stripe that’s in him, that cane is a Lead pencil. He’s a song tout, that’s all he is.” Then, more feverishly, as Terry tried to pull away: “Wait a minute. You’re a decent girl. I want to—Why, he can’t even sing a note without you give it to him first. He can put a song over, yes. But how? By flashing that toothy grin of his and talking every word of it. Don’t you–-“
But Terry freed herself with a final jerk and whipped around the counter. The two, who had been talking together in an undertone, turned to welcome her. “We’ve got a half-hour. Come on. It’s just over to Clark and up a block or so.”
The University Inn, that gloriously intercollegiate institution which welcomes any graduate of any school of experience, was situated in the basement, down a flight of stairs. Into the unwonted quiet that reigns during the hour of low potentiality, between five and six, the three went, and seated themselves at a table in an obscure corner. A waiter brought them things in little glasses, though no order had been given. The woman who had been Ruby Watson was so silent as to be almost wordless. But the man talked rapidly. He talked well, too. The same quality that enabled him, voiceless though he was, to boost a song to success was making his plea sound plausible in Terry’s ears now.
“I’ve got to go and make up in a few minutes. So get this. I’m not going to stick down in this basement eating house forever. I’ve got too much talent. If I only had a voice—I mean a singing voice. But I haven’t. But then, neither had Georgie Cohan, and I can’t see that it wrecked his life any. Now listen. I’ve got a song. It’s my own. That bit you played for me up at Gottschalk’s is part of the chorus. But it’s the words that’ll go big. They’re great. It’s an aviation song, see? Airplane stuff. They’re yelling that it’s the airyoplanes that’re going to win this war. Well, I’ll help ‘em. This song is going to put the aviator where he belongs. It’s going to be the big song of the war. It’s going to make `Tipperary’ sound like a Moody and Sankey hymn. It’s the–-“
Ruby lifted her heavy-lidded eyes and sent him a meaning look. “Get down to business, Leon. I’ll tell her how good you are while you’re making up.”
He shot her a malignant glance, but took her advice. “Now what I’ve been looking for for years is somebody who has got the music knack to give me the accompaniment just a quarter of a jump ahead of my voice, see? I can follow like a lamb, but I’ve got to have that feeler first. It’s more than a knack. It’s a gift. And you’ve got it. I know it when I see it. I want to get away from this night-club thing. There’s nothing in it for a man of my talent. I’m gunning for bigger game. But they won’t sign me without a tryout. And when they hear my voice they–- Well, if me and you work together we can fool ‘em. The song’s great. And my make-up’s one of these aviation costumes to go with the song, see? Pants tight in the knee and baggy on the hips. And a coat with one of those full-skirt whaddyoucall- ‘ems–-“
“Peplums,” put in Ruby, placidly.
“Sure. And the girls’ll be wild about it. And the words!” He began to sing, gratingly off key:
Put on your sky clothes, Put on your fly clothes, And take a trip with me. We’ll sail so high Up in the sky We’ll drop a bomb from Mercury.
“Why, that’s awfully cute!” exclaimed Terry. Until now her opinion of Mr. Sammett’s talents had not been on a level with his.
“Yeah, but wait till you hear the second verse. That’s only part of the chorus. You see, he’s supposed to be talking to a French girl. He says:
`I’ll parlez-vous in Francais plain You’ll answer, “Cher Americain,” We’ll both …’”
The six-o’clock lights blazed up suddenly. A sad-looking group of men trailed in and made for a corner where certain bulky, shapeless bundles were soon revealed as those glittering and tortuous instruments which go to make a jazz band.
“You better go, Lee. The crowd comes in awful early now, with all these buyers in town.”
Both hands on the table, he half rose, reluctantly, still talking. “I’ve got three other songs. They make Gottschalk’s stuff look sick. All I want’s a chance. What I want you to do is accompaniment. On the stage, see? Grand piano. And a swell set. I haven’t quite made up my mind to it. But a kind of an army camp room, see? And maybe you dressed as Liberty. Anyway, it’ll be new, and a knockout. If only we can get away with the voice thing. Say, if Eddie Foy, all those years never had a–-“
The band opened with a terrifying clash of cymbal and thump of drum. “Back at the end of my first turn,” he said as he Red. Terry followed his lithe, electric figure. She turned to meet the heavy-lidded gaze of the woman seated opposite. She relaxed, then, and sat back with a little sigh. “Well! If he talks that way to the managers I don’t see–-“
Ruby laughed a mirthless little laugh. “Talk doesn’t get it over with the managers, honey. You’ve got to deliver.”
“Well, but he’s—that song is a good one. I don’t say it’s as good as he thinks it is, but it’s good.”
“Yes,” admitted the woman, grudgingly, “it’s good.”
“Well, then?”
The woman beckoned a waiter; he nodded and vanished, and reappeared with a glass that was twin to the one she had just emptied. “Does he look like he knew French? Or could make a rhyme?”
“But didn’t he? Doesn’t he?”
“The words were written by a little French girl who used to skate down here last winter, when the craze was on. She was stuck on a Chicago kid who went over to fly for the French.”
“But the music?”
“There was a Russian girl who used to dance in the cabaret and she–-“
Terry’s head came up with a characteristic little jerk. “I don’t believe it!”
“Better.” She gazed at Terry with the drowsy look that was so different from the quick, clear glance of the Ruby Watson who used to dance so nimbly in the old Bijou days. “What’d you and your husband quarrel about, Terry?”
Terry was furious to feel herself flushing. “Oh, nothing. He just—I—it was–- Say, how did you know we’d quarreled?”
And suddenly all the fat woman’s apathy dropped from her like a garment and some of the old sparkle and animation illumined her heavy face. She pushed her glass aside and leaned forward on her folded arms, so that her face was close to Terry’s.
“Terry Sheehan, I know you’ve quarreled, and I know just what it was about. Oh, I don’t mean the very thing it was about; but the kind of thing. I’m going to do something for you, Terry, that I wouldn’t take the trouble to do for most women. But I guess I ain’t had all the softness knocked out of me yet, though it’s a wonder. And I guess I remember too plain the decent kid you was in the old days. What was the name of that little small-time house me and Jim used to play? Bijou, that’s it; Bijou.”
The band struck up a new tune. Leon Sammett—slim, sleek, lithe in his evening clothes—appeared with a little fair girl in pink chiffon. The woman reached across the table and put one pudgy, jeweled hand on Terry’s arm. “He’ll be through in ten minutes. Now listen to me. I left Jim four years ago, and there hasn’t been a minute since then, day or night, when I wouldn’t have crawled back to him on my hands and knees if I could. But I couldn’t. He wouldn’t have me now. How could he? How do I know you’ve quarreled? I can see it in your eyes. They look just the way mine have felt for four years, that’s how. I met up with this boy, and there wasn’t anybody to do the turn for me that I’m trying to do for you. Now get this. I left Jim because when he ate corn on the cob he always closed his eyes and it drove me wild. Don’t laugh.”