impatience in her tone as she went on, "You know well enough what I was afraid of. And you know well enough what I want to hear right now. Shoot, can't you?"
He shot. He stood up, backed away from the couch to where he could conveniently regard its stricken occupant, and shot gaily.
"Well, it'll be a good lesson to you about me, this thing of your thinking I was fooled over that piece. I s'pose you and Baird had it between you all the time, right down to the very last, that I thought he was doin' a serious play. Ho, ho!" He laughed gibingly. It was a masterful laugh. "A serious play with a cross-eyed man doing funny stuff all through. I thought it was serious, did I? Yes, I did!" Again the dry, scornful laugh of superiority. "Didn't you people know that I knew what I could do and what I couldn't do? I should have thought that little thing would of occurred to you all the time. Didn't you s'pose I knew as well as any one that I got a low-comedy face and couldn't ever make the grade in a serious piece?
"Of course I know I got real pathos—look how I turned it on a couple o' times in that piece last night—but even when I'm imitating a bad actor you can see it ain't all acting. You'd see soon enough I was a bad actor if I tried to imitate a good one. I guess you'd see that pretty quick. Didn't you and Baird even s'pose I'd found out my limits and decided to be what God meant me to be?
"But I got the pathos all right, and you can't name one great comedian that don't need pathos more'n he needs anything else. He just has to have it—and I got it. I got acting-plus; that's what I got. I knew it all the time; and a whole lot of other people knew it last night. You could hear fifty of 'em talking about it when I came out of the theatre, saying I was an artist and all like that, and a certain Los Angeles society woman that you can bet never says things she don't mean, she told me she saw lots of places in this piece that I was funnier than any cross-eyed man that ever lived.
