we—wait. Jus' when we see him coming up that hill so—so—so—so," she lifted her kimono, and strode masculinely about the apartment,—"then! We hide behine the shōji, where there are holes to peep." She glanced about to find them. "Alas! they all mended shut! But"—she savagely ran her finger through the paper—"we soon make some, aha, ha, ha! So!" She made another for the maid. They illustrated this phase of her mood with their eyes at the holes. "Then we lie quiet lig mice, an' make believe we gone 'way. Better n't we leave liddle note: 'Gone 'way foraever. Sayonara, Butterfly'? No; tha' 's too long for him. He git angery those ways on the first word, an' say those remark 'bout debbil, an' hell, an' all kind loud languages. Tha' 's time, bifore he gitting too angery, to rush out, an' jump all roun' his neck, aha!" This was also illustrated.
But, alas! the maid was too realistic.
"Sa-ay! not you—jump roun' his neck jus' me."
Cho-Cho-San paused ecstatically. But the maid would not have it so. She had seen them practise such divine foolery,—very like two reckless children,—but never
