One evening Nana came in toward eleven o’clock and found the door bolted. She tapped once – there was no answer; twice – still no answer. Meanwhile she saw light under the door, and Fontan inside did not trouble to move. She rapped again unwearyingly; she called him and began to get annoyed. At length Fontan’s voice became audible; he spoke slowly and rather unctuously and uttered but this one word.
“MERDE!”
She beat on the door with her fists.
“MERDE!”
She banged hard enough to smash in the woodwork.
“MERDE!”
And for upward of a quarter of an hour the same foul expression buffeted her, answering like a jeering echo to every blow wherewith she shook the door. At length, seeing that she was not growing tired, he opened sharply, planted himself on the threshold, folded his arms and said in the same cold, brutal voice:
“By God, have you done yet? What d’you want? Are you going to let us sleep in peace, eh? You can quite see I’ve got company tonight.”
He was certainly not alone, for Nana perceived the little woman from the Bouffes with the untidy tow hair and the gimlet-hole eyes, standing enjoying herself in her shift among the furniture she had paid for. But Fontan stepped out on the landing. He looked terrible, and he spread out and crooked his great fingers as if they were pincers.
“Hook it or I’ll strangle you!”
Whereupon Nana burst into a nervous fit of sobbing. She was frightened and she made off. This time it was she that was being kicked out of doors. And in her fury the thought of Muffat suddenly occurred to her. Ah, to be sure, Fontan, of all men, ought never to have done her such a turn!
When she was out in the street her first thought was to go and sleep with Satin, provided the girl had no one with her. She met her in front of her house, for she, too, had been turned out of doors by her landlord. He had just had a padlock affixed to her door – quite illegally, of course, seeing that she had her own furniture. She swore and talked of having him up before the commissary of police. In the meantime, as midnight was striking, they had to begin thinking of finding a bed. And Satin, deeming it unwise to let the plain-clothes men into her secrets, ended by taking Nana to a woman who kept a little hotel in the Rue de Laval. Here they were assigned a narrow room on the first floor, the window of which opened on the courtyard. Satin remarked:
“I should gladly have gone to Mme Robert’s. There’s always a corner there for me. But with you it’s out of the question. She’s getting absurdly jealous; she beat me the other night.”
When they had shut themselves in, Nana, who had not yet relieved her feelings, burst into tears and again and again recounted Fontan’s dirty behavior. Satin listened complaisantly, comforted her, grew even more angry than she in denunciation of the male sex.
“Oh, the pigs, the pigs! Look here, we’ll have nothing more to do with them!”
Then she helped Nana to undress with all the small, busy attentions, becoming a humble little friend. She kept saying coaxingly:
“Let’s go to bed as fast as we can, pet. We shall be better off there! Oh, how silly you are to get crusty about things! I tell you, they’re dirty brutes. Don’t think any more about ‘em. I – I love you very much. Don’t cry, and oblige your own little darling girl.”
And once in bed, she forthwith took Nana in her arms and soothed and comforted her. She refused to hear Fontan’s name mentioned again, and each time it recurred to her friend’s lips she stopped it with a kiss. Her lips pouted in pretty indignation; her hair lay loose about her, and her face glowed with tenderness and childlike beauty. Little by little her soft embrace compelled Nana to dry her tears. She was touched and replied to Satin’s caresses. When two o’clock struck the candle was still burning, and a sound of soft, smothered laughter and lovers’ talk was audible in the room.
But suddenly a loud noise came up from the lower floors of the hotel, and Satin, with next to nothing on, got up and listened intently.
“The police!” she said, growing very pale.
“Oh, blast our bad luck! We’re bloody well done for!”
Often had she told stories about the raids on hotel made by the plainclothes men. But that particular night neither of them had suspected anything when they took shelter in the Rue de Laval. At the sound of the word “police” Nana lost her head. She jumped out of bed and ran across the room with the scared look of a madwoman about to jump out of the window. Luckily, however, the little courtyard was roofed with glass, which was covered with an iron-wire grating at the level of the girls’ bedroom. At sight of this she ceased to hesitate; she stepped over the window prop, and with her chemise flying and her legs bared to the night air she vanished in the gloom.
“Stop! Stop!” said Satin in a great fright. “You’ll kill yourself.”
Then as they began hammering at the door, she shut the window like a good-natured girl and threw her friend’s clothes down into a cupboard. She was already resigned to her fate and comforted herself with the thought that, after all, if she were to be put on the official list she would no longer be so “beastly frightened” as of yore. So she pretended to be heavy with sleep. She yawned; she palavered and ended by opening the door to a tall, burly fellow with an unkempt beard, who said to her:
“Show your hands! You’ve got no needle pricks on them: you don’t work. Now then, dress!”
“But I’m not a dressmaker; I’m a burnisher,” Satin brazenly declared.
Nevertheless, she dressed with much docility, knowing that argument was out of the question. Cries were ringing through the hotel; a girl was clinging to doorposts and refusing to budge an inch. Another girl, in bed with a lover, who was answering for her legality, was acting the honest woman who had been grossly insulted and spoke of bringing an action against the prefect of police. For close on an hour there was a noise of heavy shoes on the stairs, of fists hammering on doors, of shrill disputes terminating in sobs, of petticoats rustling along the walls, of all the sounds, in fact, attendant on the sudden awakening and scared departure of a flock of women as they were roughly packed off by three plain-clothes men, headed by a little oily-mannered, fair-haired commissary of police. After they had gone the hotel relapsed into deep silence.
Nobody had betrayed her; Nana was saved. Shivering and half dead with fear, she came groping back into the room. Her bare feet were cut and bleeding, for they had been torn by the grating. For a long while she remained sitting on the edge of the bed, listening and listening. Toward morning, however, she went to sleep again, and at eight o’clock, when she woke up, she escaped from the hotel and ran to her aunt’s. When Mme Lerat, who happened just then to be drinking her morning coffee with Zoe, beheld her bedraggled plight and haggard face, she took note of the hour and at once understood the state of the case.
“It’s come to it, eh?” she cried. “I certainly told you that he would take the skin off your back one of these days. Well, well, come in; you’ll always find a kind welcome here.”
Zoe had risen from her chair and was muttering with respectful familiarity:
“Madame is restored to us at last. I was waiting for Madame.”
But Mme Lerat insisted on Nana’s going and kissing Louiset at once, because, she said, the child took delight in his mother’s nice ways. Louiset, a sickly child with poor blood, was still asleep, and when Nana bent over his white, scrofulous face, the memory of all she had undergone during the last few months brought a choking lump into her throat.
“Oh, my poor little one, my poor little one!” she gasped, bursting into a final fit of sobbing.
CHAPTER IX
The Petite Duchesse was being rehearsed at the Varietes. The first act had just been carefully gone through, and the second was about to begin. Seated in old armchairs in front of the stage, Fauchery and Bordenave were discussing various points while the prompter, Father Cossard, a little humpbacked man perched on a straw-bottomed chair, was turning over the pages of the manuscript, a pencil between his lips.
“Well, what are they waiting for?” cried Bordenave on a sudden, tapping the floor savagely with his heavy cane. “Barillot, why don’t they begin?”
“It’s Monsieur Bosc that has disappeared,” replied Barillot, who was acting as second stage manager.’
Then there arose a tempest, and everybody shouted for Bosc while Bordenave swore.
“Always the same thing, by God! It’s all very well ringing for ‘em: they’re always where they’ve no business to be. And then they grumble when they’re kept till after four o’clock.”
But Bosc just then came in with supreme tranquillity.
“Eh? What? What do they want me for? Oh, it’s my turn! You ought to have said so. All right! Simonne gives the cue: ‘Here are the guests,’ and I come in. Which way must I come in?”
“Through the door, of course,” cried Fauchery in great exasperation.
“Yes, but where is the door?”
At this Bordenave fell upon Barillot and once more set to work swearing and hammering the boards with his cane.
“By God! I said a chair was to be put there to stand for the door, and every day we have to get it done again. Barillot! Where’s Barillot? Another of ‘em! Why, they’re all going!”
Nevertheless, Barillot came and planted the chair down in person, mutely weathering the storm as he did so. And the rehearsal began again. Simonne, in her hat and furs, began moving about like a maidservant busy arranging furniture. She paused to say:
“I’m not warm, you know, so I keep my hands in my muff.”
Then changing her voice, she greeted Bosc with a little cry:
“La, it’s Monsieur le Comte. You’re the first to come, Monsieur le Comte, and Madame will be delighted.”
Bosc had muddy trousers and a huge yellow overcoat, round the collar of which a tremendous comforter was wound. On his head he wore an old hat, and he kept his hands in his pockets. He did not act but dragged himself along, remarking in a hollow voice:
“Don’t disturb your mistress, Isabelle; I want to take her by surprise.”
The rehearsal took its course. Bordenave knitted his brows. He had slipped down low in his armchair and was listening with an air of fatigue. Fauchery was nervous and kept shifting about in his seat. Every few minutes he itched with the desire to interrupt, but he restrained himself. He heard a whispering in the dark and empty house behind him.
“Is she there?” he asked, leaning over toward Bordenave.
The latter nodded affirmatively. Before accepting the part of Geraldine, which he was offering her, Nana had been anxious to see the piece, for she hesitated to play a courtesan’s part a second time. She, in fact, aspired to an honest woman’s part. Accordingly she was hiding in the shadows of a corner box in company with Labordette, who was managing matters for her with Bordenave. Fauchery glanced in her direction and then once more set himself to follow the rehearsal.
Only the front of the stage was lit up. A flaring gas burner on a support, which was fed by a pipe from the footlights, burned in front of a reflector and cast its full brightness over the immediate foreground. It looked like a big yellow eye glaring through the surrounding semiobscurity, where it flamed in a doubtful, melancholy way. Cossard was holding up his manuscript against the slender stem of this arrangement. He wanted to see more clearly, and in the flood of light his hump was sharply outlined. As to Bordenave and Fauchery, they were already drowned in shadow. It was only in the heart of this enormous structure, on a few square yards of stage, that a faint glow suggested the light cast by some lantern nailed up in a railway station. It made the actors look like eccentric phantoms and set their shadows dancing after them. The remainder of the stage was full of mist and suggested a house in process of being pulled down, a church nave in utter ruin. It was littered with ladders, with set pieces and with scenery, of which the faded painting suggested heaped-up rubbish. Hanging high in air, the scenes had the appearance of great ragged clouts suspended from the rafters of some vast old-clothes shop, while above these again a ray of bright sunlight fell from a window and clove the shadow round the flies with a bar of gold.
Meanwhile actors were chatting at the back of the stage while awaiting their cues. Little by little they had raised their voices.
“Confound it, will you be silent?” howled Bordenave, raging up and down in his chair. “I can’t hear a word. Go outside if you want to talk; WE are at work. Barillot, if there’s any more talking I clap on fines all round!”
They were silent for a second or two. They were sitting in a little group on a bench and some rustic chairs in the corner of a scenic garden, which was standing ready to be put in position as it would be used in the opening act the same evening. In the middle of this group Fontan and Prulliere were listening to Rose Mignon, to whom the manager of the Folies-Dramatique Theatre had been making magnificent offers. But a voice was heard shouting:
“The duchess! Saint-Firmin! The duchess and Saint-Firmin are wanted!”
Only when the call was repeated did Prulliere remember that he was Saint-Firmin! Rose, who was playing the Duchess Helene, was already waiting to go on with him while old Bosc slowly returned to his seat, dragging one foot after the other over the sonorous and deserted boards. Clarisse offered him a place on the bench beside her.
“What’s he bawling like that for?” she said in allusion to Bordenave. “Things will be getting rosy soon! A piece can’t be put on nowadays without its getting on his nerves.”
Bosc shrugged his shoulders; he was above such storms. Fontan whispered:
“He’s afraid of a fiasco. The piece strikes me as idiotic.”
Then he turned to Clarisse and again referred to what Rose had been telling them:
“D’you believe in the offers of the Folies people, eh? Three hundred francs an evening for a hundred nights! Why not a country house into the bargain? If his wife were to be given three hundred francs Mignon would chuck my friend Bordenave and do it jolly sharp too!”
Clarisse was a believer in the three hundred francs. That man Fontan was always picking holes in his friends’ successes! Just then Simonne interrupted her. She was shivering with cold. Indeed, they were all buttoned up to the ears and had comforters on, and they looked up at the ray of sunlight which shone brightly above them but did not penetrate the cold gloom of the theater. In the streets outside there was a frost under a November sky.
“And there’s no fire in the greenroom!” said Simonne. “It’s disgusting; he IS just becoming a skinflint! I want to be off; I don’t want to get seedy.”
“Silence, I say!” Bordenave once more thundered.
Then for a minute or so a confused murmur alone was audible as the actors went on repeating their parts. There was scarcely any appropriate action, and they spoke in even tones so as not to tire themselves. Nevertheless, when they did emphasize a particular shade of meaning they cast a glance at the house, which lay before them like a yawning gulf. It was suffused with vague, ambient shadow, which resembled the fine dust floating pent in some high, windowless loft. The deserted house, whose sole illumination was the twilight radiance of the stage, seemed to slumber in melancholy and mysterious effacement. Near the ceiling dense night smothered the frescoes, while from the several tiers of stage boxes on either hand huge widths of gray canvas stretched down to protect the neighboring hangings. In fact, there was no end to these coverings; bands of canvas had been thrown over the velvet-covered ledges in front of the various galleries which they shrouded thickly. Their pale hue stained the surrounding shadows, and of the general decorations of the house only the dark recesses of the boxes were distinguishable. These served to outline the framework of the several stories, where the seats were so many stains of red velvet turned black. The chandelier had been let down as far as it would go, and it so filled the region of the stalls with its pendants as to suggest a flitting and to set one thinking that the public had started on a journey from which they would never return.
Just about then Rose, as the little duchess who has been misled into the society of a courtesan, came to the footlights, lifted up her hands and pouted adorably at the dark and empty theater, which was as sad as a house of mourning.
“Good heavens, what queer people!” she said, emphasizing the phrase and confident that it would have its effect.
Far back in the corner box in which she was hiding Nana sat enveloped in a great shawl. She was listening to the play and devouring Rose with her eyes. Turning toward Labordette, she asked him in a low tone:
“You are sure he’ll come?”
“Quite sure. Without doubt he’ll come with Mignon, so as to have an excuse for coming. As soon as he makes his appearance you’ll go up into Mathilde’s dressing room, and I’ll bring him to you there.”
They were talking of Count Muffat. Labordette had arranged this interview with him on neutral ground. He had had a serious talk with Bordenave, whose affairs had been gravely damaged by two successive failures. Accordingly Bordenave had hastened to lend him his theater and to offer Nana a part, for he was anxious to win the count’s favor and hoped to be able to borrow from him.
“And this part of Geraldine, what d’you thing of it?” continued Labordette.
But Nana sat motionless and vouchsafed no reply. After the first act, in which the author showed how the Duc de Beaurivage played his wife false with the blonde Geraldine, a comic-opera celebrity, the second act witnessed the Duchess Helene’s arrival at the house of the actress on the occasion of a masked ball being given by the latter. The duchess has come to find out by what magical process ladies of that sort conquer and retain their husbands’ affections. A cousin, the handsome Oscar de Saint-Firmin, introduces her and hopes to be able to debauch her. And her first lesson causes her great surprise, for she hears Geraldine swearing like a hodman at the duke, who suffers with most ecstatic submissiveness. The episode causes her to cry out, “Dear me, if that’s the way one ought to talk to the men!” Geraldine had scarce any other scene in the act save this one. As to the duchess, she is very soon punished for her curiosity, for an old buck, the Baron de Tardiveau, takes her for a courtesan and becomes very gallant, while on her other side Beaurivage sits on a lounging chair and makes his peace with Geraldine by dint of kisses and caresses. As this last lady’s part had not yet been assigned to anyone, Father Cossard had got up to read it, and he was now figuring away in Bosc’s arms and emphasizing it despite himself. At this point, while the rehearsal was dragging monotonously on, Fauchery suddenly jumped from his chair. He had restrained himself up to that moment, but now his nerves got the better of him.
“That’s not it!” he cried.
The actors paused awkwardly enough while Fontan sneered and asked in his most contemptuous voice:
“Eh? What’s not it? Who’s not doing it right?”
“Nobody is! You’re quite wrong, quite wrong!” continued Fauchery, and, gesticulating wildly, he came striding over the stage and began himself to act the scene.
“Now look here, you Fontan, do please comprehend the way Tardiveau gets packed off. You must lean forward like this in order to catch hold of the duchess. And then you, Rose, must change your position like that but not too soon – only when you hear the kiss.”
He broke off and in the heat of explanation shouted to Cossard:
“Geraldine, give the kiss! Loudly, so that it may be heard!”
Father Cossard turned toward Bosc and smacked his lips vigorously.
“Good! That’s the kiss,” said Fauchery triumphantly. “Once more; let’s have it once more. Now you see, Rose, I’ve had time to move, and then I give a little cry – so: ‘Oh, she’s given him a kiss.’ But before I do that, Tardiveau must go up the stage. D’you hear, Fontan? You go up. Come, let’s try it again, all together.”
The actors continued the scene again, but Fontan played his part with such an ill grace that they made no sort of progress. Twice Fauchery had to repeat his explanation, each time acting it out with more warmth than before. The actors listened to him with melancholy faces, gazed momentarily at one another, as though he had asked them to walk on their heads, and then awkwardly essayed the passage, only to pull up short directly afterward, looking as stiff as puppets whose strings have just been snapped.
“No, it beats me; I can’t understand it,” said Fontan at length, speaking in the insolent manner peculiar to him.
Bordenave had never once opened his lips. He had slipped quite down in his armchair, so that only the top of his hat was now visible in the doubtful flicker of the gaslight on the stand. His cane had fallen from his grasp and lay slantwise across his waistcoat. Indeed, he seemed to be asleep. But suddenly he sat bolt upright.
“It’s idiotic, my boy,” he announced quietly to Fauchery.
“What d’you mean, idiotic?” cried the author, growing very pale. “It’s you that are the idiot, my dear boy!”
Bordenave began to get angry at once. He repeated the word “idiotic” and, seeking a more forcible expression, hit upon “imbecile” and “damned foolish.” The public would hiss, and the act would never be finished! And when Fauchery, without, indeed, being very deeply wounded by these big phrases, which always recurred when a new piece was being put on, grew savage and called the other a brute, Bordenave went beyond all bounds, brandished his cane in the air, snorted like a bull and shouted:
“Good God! Why the hell can’t you shut up? We’ve lost a quarter of an hour over this folly. Yes, folly! There’s no sense in it. And it’s so simple, after all’s said and done! You, Fontan, mustn’t move. You, Rose, must make your little movement, just that, no more; d’ye see? And then you come down. Now then, let’s get it done this journey. Give the kiss, Cossard.”
Then ensued confusion. The scene went no better than before. Bordenave, in his turn, showed them how to act it about as gracefully as an elephant might have done, while Fauchery sneered and shrugged pityingly. After that Fontan put his word in, and even Bosc made so bold as to give advice. Rose, thoroughly tired out, had ended by sitting down on the chair which indicated the door. No one knew where they had got to, and by way of finish to it all Simonne made a premature entry, under the impression that her cue had been given her, and arrived amid the confusion. This so enraged Bordenave that he whirled his stick round in a terrific manner and caught her a sounding thwack to the rearward. At rehearsal he used frequently to drub his former mistress. Simonne ran away, and this furious outcry followed her:
“Take that, and, by God, if I’m annoyed again I shut the whole shop up at once!”
Fauchery pushed his hat down over his forehead and pretended to be going to leave the theater. But he stopped at the top of the stage and came down again when he saw Bordenave perspiringly resuming his seat. Then he, too, took up his old position in the other armchair. For some seconds they sat motionless side by side while oppressive silence reigned in the shadowy house. The actors waited for nearly two minutes. They were all heavy with exhaustion and felt as though they had performed an overwhelming task.
“Well, let’s go on,” said Bordenave at last. He spoke in his usual voice and was perfectly calm.
“Yes, let’s go on,” Fauchery repeated. “We’ll arrange the scene tomorrow.”
And with that they dragged on again and rehearsed their parts with as much listlessness and as fine an indifference as ever. During the dispute between manager and author Fontan and the rest had been taking things very comfortably on the rustic bench and seats at the back of the stage, where they had been chuckling, grumbling and saying fiercely cutting things. But when Simonne came back, still smarting from her blow and choking with sobs, they grew melodramatic and declared that had they been in her place they would have strangled the swine. She began wiping her eyes and nodding approval. It was all over between them, she said. She was leaving him, especially as Steiner had offered to give her a grand start in life only the day before. Clarisse was much astonished at this, for the banker was quite ruined, but Prulliere began laughing and reminded them of the neat manner in which that confounded Israelite had puffed himself alongside of Rose in order to get his Landes saltworks afloat on ‘change. Just at that time he was airing a new project, namely, a tunnel under the Bosporus. Simonne listened with the greatest interest to this fresh piece of information.
As to Clarisse, she had been raging for a week past. Just fancy, that beast La Faloise, whom she had succeeded in chucking into Gaga’s venerable embrace, was coming into the fortune of a very rich uncle! It was just her luck; she had always been destined to make things cozy for other people. Then, too, that pig Bordenave had once more given her a mere scrap of a part, a paltry fifty lines, just as if she could not have played Geraldine! She was yearning for that role and hoping that Nana would refuse it.
“Well, and what about me?” said Prulliere with much bitterness. “I haven’t got more than two hundred lines. I wanted to give the part up. It’s too bad to make me play that fellow Saint-Firmin; why, it’s a regular failure! And then what a style it’s written in, my dears! It’ll fall dead flat, you may be sure.”
But just then Simonne, who had been chatting with Father Barillot, came back breathless and announced:
“By the by, talking of Nana, she’s in the house.”
“Where, where?” asked Clarisse briskly, getting up to look for her.
The news spread at once, and everyone craned forward. The rehearsal was, as it were, momentarily interrupted. But Bordenave emerged from his quiescent condition, shouting:
“What’s up, eh? Finish the act, I say. And be quiet out there; it’s unbearable!”
Nana was still following the piece from the corner box. Twice Labordette showed an inclination to chat, but she grew impatient and nudged him to make him keep silent. The second act was drawing to a close, when two shadows loomed at the back of the theater. They were creeping softly down, avoiding all noise, and Nana recognized Mignon and Count Muffat. They came forward and silently shook hands with Bordenave.
“Ah, there they are,” she murmured with a sigh of relief.
Rose Mignon delivered the last sentences of the act. Thereupon Bordenave said that it was necessary to go through the second again before beginning the third. With that he left off attending to the rehearsal and greeted the count with looks of exaggerated politeness, while Fauchery pretended to be entirely engrossed with his actors, who now grouped themselves round him. Mignon stood whistling carelessly, with his hands behind his back and his eyes fixed complacently on his wife, who seemed rather nervous.
“Well, shall we go upstairs?” Labordette asked Nana. “I’ll install you in the dressing room and come down again and fetch him.”
Nana forthwith left the corner box. She had to grope her way along the passage outside the stalls, but Bordenave guessed where she was as she passed along in the dark and caught her up at the end of the corridor passing behind the scenes, a narrow tunnel where the gas burned day and night. Here, in order to bluff her into a bargain, he plunged into a discussion of the courtesan’s part.
“What a part it is, eh? What a wicked little part! It’s made for you. Come and rehearse tomorrow.”
Nana was frigid. She wanted to know what the third act was like.
“Oh, it’s superb, the third act is! The duchess plays the courtesan in her own house and this disgusts Beaurivage and makes him amend his way. Then there’s an awfully funny QUID PRO QUO, when Tardiveau arrives and is under the impression that he’s at an opera dancer’s house.”
“And what does Geraldine do in it all?” interrupted Nana.
“Geraldine?” repeated Bordenave in some embarrassment. “She has a scene – not a very long one, but a great success. It’s made for you, I assure you! Will you sign?”
She looked steadily at him and at length made answer:
“We’ll see about that all in good time.”
And she rejoined Labordette, who was waiting for her on the stairs. Everybody in the theater had recognized her, and there was now much whispering, especially between Prulliere, who was scandalized at her return, and Clarisse who was very desirous of the part. As to Fontan, he looked coldly on, pretending unconcern, for he did not think it becoming to round on a woman he had loved. Deep down in his heart, though, his old love had turned to hate, and he nursed the fiercest rancor against her in return for the constant devotion, the personal beauty, the life in common, of which his perverse and monstrous tastes had made him tire.
In the meantime, when Labordette reappeared and went up to the count, Rose Mignon, whose suspicions Nana’s presence had excited, understood it all forthwith. Muffat was bothering her to death, but she was beside herself at the thought of being left like this. She broke the silence which she usually maintained on such subjects in her husband’s society and said bluntly:
“You see what’s going on? My word, if she tries the Steiner trick on again I’ll tear her eyes out!”
Tranquilly and haughtily Mignon shrugged his shoulders, as became a man from whom nothing could be hidden.
“Do be quiet,” he muttered. “Do me the favor of being quiet, won’t you?”
He knew what to rely on now. He had drained his Muffat dry, and he knew that at a sign from Nana he was ready to lie down and be a carpet under her feet. There is no fighting against passions such as that. Accordingly, as he knew what men were, he thought of nothing but how to turn the situation to the best possible account.