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About The Book
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THERE were three distinct stages in the evolution of Annette Broughams attitude towards the knocking in the room above. In the beginning it had been merely a vague discomfort. Absorbed in the composition of her waltz she had heard it almost subconsciously. The second stage set in when it became a physical pain like red-hot pincers wrenching her mind from her music. Finally with a thrill in indignation she knew it for what it was—an insult. The unseen brute disliked her playing and was intimating his views with a boot-heel.