feet, but mellow and sweet, like an old violin, and herself sitting practising, over and over, that part of Paderewski's Minuet where, as every one knows, the fingering is rather difficult, and outside the open window, leaning on his broom, worthless Johnny Fraser, staring in with friendly eyes and an extremely dirty face. To Twenty-two's unbounded amazement she flung down the cushion and made for the little ward linen room.
He found her there a moment later, her arms outstretched on the table and her face buried in them. Some one had been boiling a rubber tube and had let the pan go dry. Ever afterward Twenty-two was to associate the smell of burning rubber with Jane Brown, and with his first real knowledge that he was in love with her.
He stumped in after her and closed the door, and might have ruined everything then and there by taking her in his arms, crutch and all. But the smell of burning rubber is a singularly permeating one, and he was kept from one indiscretion by being discovered in another.
It was somewhat later that Jane Brown was reprimanded for being found in the linen room with a private patient. She made no excuse, but something a little defiant began to grow in her eyes. It was not that she loved her work less. She was learning, day by day, the endless sacrifices of this profession she had chosen, its unselfishness, its grinding hard work, the payment that may lie in a smile of gratitude, the agony of pain that cannot be relieved. She went through her days with hands held out for service, and at night, in the chapel, she whispered soundless little prayers to be accepted, and to be always gentle and kind. She did not want to become a machine. She knew, although she had no words for it, the difference between duty and service.
But—a little spirit of rebellion was growing in her breast. She did not understand about Johnny Fraser, for one thing. And the matter of the linen room hurt. There seemed to be too many rules.
Then, too, she began to learn that hospitals had limitations. Jane Brown's hospital had no social worker. Much as she loved the work, the part that the hospital could not do began to hurt her. Before the quarantine women with new babies had gone out, without an idea of where to spend the night. Ailing children had gone home to such places as she could see from the dormitory windows, where the work the hospital had begun could not be finished.
From the roof of the building at night she looked out over a city that terrified her. The call of a playing child in the street began to sound to her like the shriek of accident. The very grinding of the trolley cars, the smoke of the mills, began to mean the operating room. She thought a great deal, those days, about the little town she had come from, with its peace and quiet streets. The city seemed cruel. But now and then she learned that if cities are cruel, men are kind.
Thus, on the very day of the concert, the quarantine was broken for a few minutes. It was broken forcibly, and by an officer of the law. A little newsie, standing by a fire at the next corner, for the spring day was cold, had caught fire. The big corner man had seen it all. He stripped off his overcoat, rolled the boy in it, and ran to the hospital. Here he was confronted by a brother officer, who was forbidden to admit him. The corner man did the thing that seemed quickest. He laid the newsie on the ground, knocked out the quarantine officer in two blows, broke the glass of the door with a third, slipped a bolt, and then, his burden in his arms, stalked in.
It did not lessen the majesty of that entrance that he was crying all the time.
The Probationer pondered that story when she heard it. After all, laws were right and good, but there were higher things than laws. She went and stood by Johnny's bed for a long time, thinking.
In the meantime, unexpected talent for the concert had developed. The piano in the chapel proving out of order, the elevator man proved to have been a piano tuner. He tuned it with a bone forceps. Strange places, hospitals, into which drift men from every walk of life, to find a haven and peace within their quiet walls. Old Tony had sung, in his youth, in the opera at Milan. A pretty young nurse went around the corridors muttering bits of "Orphant Annie" to herself. The Senior Surgical Interne was to sing the "Rosary," and went about practising to himself. He came into H ward and sang it through for Jane Brown, with his heart in his clear young eyes. He sang about the hours he had spent with her being strings of pearls, and all that, but he was really asking her if she would be willing to begin life with him in a little house, where she would have to answer the door-bell and watch telephone calls while he was out.
Jane Brown felt something of this, too. For she said: "You sing it beautifully," although he had flatted at least three times.
He wrote his name on a medicine label and glued it to her hand. It looked alarmingly possessive.
Twenty-two presided at the concert that night. He was extravagantly funny, and the sort of creaking solemnity with which things began turned to uproarious laughter very soon.
Everything went off wonderfully. Tony started his selection too high, and was obliged to stop and begin over again. And the two Silversteins, from the children's ward, who were to dance a Highland fling together, had a violent quarrel at the last moment and had to be scratched. But everything else went well. The ambulance driver gave a bass solo, and kept a bar or two ahead of the accompaniment, dodging chords as he did wagons on the street, and fetching up with a sort of garrison finish much as he brought in the ambulance.
But the real musical event of the evening was Jane Brown's playing. She played Schubert without any notes, because she had been taught to play Schubert that way.
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