“I should—like—to go there,” he whispered at last.
He did not speak again during all the long afternoon, but just at dusk he roused again.
“I would like—to see—the sentry,” he said with difficulty.
And so again, and for the last time, Rosa’s soldier from Salzburg with one lung.
Through all that long day, then, Harmony sat over her work, unaccustomed muscles aching, the whirring machines in her ears. Monia, upset over the morning’s excitement, was irritable and unreasonable. The gold-tissue costume had come back from Le Grande with a complaint. Below in the courtyard all day curious groups stood gaping up the staircase, where the morning had seen such occurrences.
At the noon hour, while the girls heated soup and carried in pails of salad from the corner restaurant, Harmony had fallen into the way of playing for them. To the music-loving Viennese girls this was the hour of the day. To sit back, soup bowl on knee, the machines silent, Monia quarreling in the kitchen with the Hungarian servant, and while the pigeons ate crusts on the windowsills, to hear this American girl play such music as was played at the opera, her slim figure swaying, her whole beautiful face and body glowing with the melody she made, the girls found the situation piquant, altogether delightful. Although she did not suspect it, many rumors were rife about Harmony in the workroom. She was not of the people, they said—the daughter of a great American, of course, run away to escape a loveless marriage. This was borne out by the report of one of them who had glimpsed the silk petticoat. It was rumored also that she wore no chemise, but instead an infinitely coquettish series of lace and nainsook garments—of a fineness!
Harmony played for them that day, played, perhaps, as she had not played since the day she had moved the master to tears, played to Peter as she had seen him at the window, to Jimmy, to the little Georgiev as he went down the staircase. And finally with a choke in her throat to the little mother back home, so hopeful, so ignorant.
In the evening, as was her custom, she took the one real meal of the day at the corner restaurant, going early to avoid the crowd and coming back quickly through the winter night. The staircase was always a peril, to be encountered and conquered night after night and even in the daytime not to be lightly regarded. On her way up this night she heard steps ahead, heavy, measured steps that climbed steadily without pauses. For an instant Harmony thought it sounded like Peter’s step and she went dizzy.
But it was not Peter. Standing in the upper hall, much as he had stood that morning over the ammunition boxes, thumbs in, heels in, toes out, chest out, was the sentry.
Harmony’s first thought was of Georgiev and more searching of the building. Then she saw that the sentry’s impassive face wore lines of trouble. He saluted. “Please, Fraulein.”
“Yes?”
“I have not told the Herr Doktor.”
“I thank you.”
“But the child dies.”
“Jimmy?”
“He dies all of last night and to-day. To-night, it is, perhaps, but of moments.”
Harmony clutched at the iron stair-rail for support. “You are sure? You are not telling me so that I will go back?”
“He dies, Fraulein. The Herr Doktor has not slept for many hours. My wife, Rosa, sits on the stair to see that none disturb, and her cousin, the wife of the Portier, weeps over the stove. Please, Fraulein, come with me.”
“When did you leave the Siebensternstrasse?”
“But now.”
“And he still lives?”
“Ja, Fraulein, and asks for you.”
Now suddenly fell away from the girl all pride, all fear, all that was personal and small and frightened, before the reality of death. She rose, as women by divine gift do rise, to the crisis; ceased trembling, got her hat and coat and her shabby gloves and joined the sentry again. Another moment’s delay—to secure the Le Grande’s address from Monia. Then out into the night, Harmony to the Siebensternstrasse, the tall soldier to find the dancer at her hotel, or failing that, at the Ronacher Music-Hall.
Harmony took a taxicab—nothing must be spared now—bribed the chauffeur to greater speed, arrived at the house and ran across the garden, still tearless, up the stairs, past Rosa on the upper flight, and rang the bell.
Marie admitted her with only a little gasp of surprise. There was nothing to warn Peter. One moment he sat by the bed, watch in hand, alone, drear, tragic-eyed. The next he had glanced up, saw Harmony and went white, holding to the back of his chair. Their eyes met, agony and hope in them, love and death, rapture and bitterness. In Harmony’s, pleading, promise, something of doubt; in Peter’s, only yearning, as of empty arms. Then Harmony dared to look at the bed and fell on her knees in a storm of grief beside it. Peter bent over and gently stroked her hair.
Le Grande was singing; the boxes were full. In the body of the immense theater waiters scurried back and forward among the tables. Everywhere was the clatter of silver and steel on porcelain, the clink of glasses. Smoke was everywhere—pipes, cigars, cigarettes. Women smoked between bites at the tables, using small paper or silver mouthpieces, even a gold one shone here and there. Men walked up and down among the diners, spraying the air with chemicals to clear it. At a table just below the stage sat the red-bearded Dozent with the lady of the photograph. They were drinking cheap native wines and were very happy.
From the height of his worldly wisdom he was explaining the people to her.
“In the box—don’t stare, Liebchen, he looks—is the princeling I have told you of. Roses, of course. Last night it was orchids.”
“Last night! Were you here?” He coughed.
“I have been told, Liebchen. Each night he sits there, and when she finishes her song he rises in the box, kisses the flowers and tosses them to her.”
