Paul Kelver

“I think you had better not!” she retorted.

Turning her back on me, she commenced to gather up her hairpins – there must have been about a hundred of them. I assisted her to the extent of picking up about twenty, which I handed to her with a bow: it may have been a little stiff, but that was only to be expected. I wished to show her that her bad example had not affected my own manners.

“I am sorry my presence should have annoyed you,” I said. “It was quite an accident. I entered the room thinking your father was here.”

“When you saw he wasn’t, you might have gone out again,” she replied, “instead of hiding yourself behind a picture.”

“I didn’t hide myself,” I explained. “The easel happened to be in the way.”

“And you stopped there and watched me.”

“I couldn’t help it.”

She looked round and our eyes met. They were frank, grey eyes. An expression of merriment shot into them. I laughed.

Then she laughed: it was a delightful laugh, the laugh one would have expected from her.

“You might at least have coughed,” she suggested.

“It was so amusing,” I pleaded.

“I suppose it was,” she agreed, and held out her hand. “Did I hurt you?” she asked.

“Yes, you did,” I answered, taking it.

“Well, it was enough to annoy me, wasn’t it?” she suggested.

“Evidently,” I agreed.

“I am going to a ball next week,” she explained, “a grown-up ball, and I’ve got to wear a skirt. I wanted to see if I could manage a train.”

“Well, to be candid, you can’t,” I assured her.

“It does seem difficult.”

“Shall I show you?” I asked.

“What do you know about it?”

“Well, I see it done every night.”

“Oh, yes; of course, you’re on the stage. Yes, do.”

We readjusted the torn skirt, accommodating it better to her figure by the help of hairpins. I showed her how to hold the train, and, I humming a tune, we commenced to waltz.

“I shouldn’t count my steps,” I suggested to her. “It takes your mind away from the music.”

“I don’t waltz well,” she admitted meekly. “I know I don’t do anything well – except play hockey.”

“And try not to tread on your partner’s feet. That’s a very bad fault.”

“I do try not to,” she explained.

“It comes with practice,” I assured her.

“I’ll get Tom to give me half an hour every evening,” she said. “He dances beautifully.”

“Who’s Tom?”

“Oh, father.”

“Why do you call your father Tom? It doesn’t sound respectful.”

“Oh, he likes it; and it suits him so much better than father. Besides, he isn’t like a real father. He does everything I want him to.”

“Is that good for you?”

“No; it’s very bad for me – everybody says so. When you come to think of it, of course it isn’t the way to bring up a girl. I tell him, but he merely laughs – says it’s the only way he knows. I do hope I turn out all right. Am I doing it better now?”

“A little. Don’t be too anxious about it. Don’t look at your feet.”

“But if I don’t they go all wrong. It was you who trod on mine that time.”

“I know. I’m sorry. It’s a little difficult not to.”

“Am I holding my train all right?”

“Well, there’s no need to grip it as if you were afraid it would run away. It will follow all right. Hold it gracefully.”

“I wish I wasn’t a girl.”

“Oh, you’ll get used to it.” We concluded our dance.

“What do I do – say ‘Thank you’?”

“Yes, prettily.”

“What does he do?”

“Oh, he takes you back to your chaperon, or suggests refreshment, or you sit and talk.”

“I hate talking. I never know what to say.”

“Oh, that’s his duty. He’ll try and amuse you, then you must laugh. You have a nice laugh.”

“But I never know when to laugh. If I laugh when I want to it always offends people. What do you do if somebody asks you to dance and you don’t want to dance with them?”

“Oh, you say your programme is full.”