Terry accepted.
She followed the sound of the music. Around the corner. Up a little flight of stairs. She entered the realm of Euterpe; Euterpe with her back hair frizzed; Euterpe with her flowing white robe replaced by soiled white boots that failed to touch the hem of an empire-waisted blue serge; Euterpe abandoning her lyre for jazz. She sat at the piano, a red-haired young lady whose familiarity with the piano had bred contempt. Nothing else could have accounted for her treatment of it. Her fingers, tipped with sharp-pointed grey and glistening nails, clawed the keys with a dreadful mechanical motion. There were stacks of music-sheets on counters, and shelves, and dangling from overhead wires. The girl at the piano never ceased playing. She played mostly by request. A prospective purchaser would mumble something in the ear of one of the clerks. The fat man with the megaphone would bawl out, "'Hicky Bloo!' Miss Ryan." And Miss Ryan would oblige. She made a hideous rattle and crash and clatter of sound compared to which an Indian tom-tom would have seemed as dulcet as the strumming of a lute in a lady's boudoir.
Terry joined the crowds about the counter. The girl at the piano was not looking at the keys. Her head was screwed around over her left shoulder and as she played she was holding forth animatedly to a girl friend who had evidently dropped in from some store or office during the lunch hour. Now and again the fat man paused in his vocal efforts to reprimand her for her slackness. She paid no heed. There was something gruesome, uncanny, about the way her fingers went their own way over the defenceless keys. Her conversation with the frowzy little girl went on.
"Wha'd he say?" (Over her shoulder).
"Oh, he laffed."
"Well, didja go?"
"Me! Well, whutya think I yam, anyway?"
"I woulda took a chanst."
The fat man rebelled.
"Look here! Get busy! What are you paid for? Talkin' or playin'? Huh?"
The person at the piano, openly reproved thus before her friend, lifted her uninspired hands from the keys and spake. When she had finished she rose.
"But you can't leave now," the megaphone man argued. "Right in the rush hour."
"I'm gone," said the girl. The fat man looked about, helplessly. He gazed at the abandoned piano, as though it must go on of its own accord. Then at the crowd. "Where's Miss Schwimmer?" he demanded of a clerk.
"Out to lunch."
Terry pushed her way to the edge of the counter and leaned over. "I can play for you," she said.
The man looked at her. "Sight?"
"Yes."
"Come on."
Terry went around to the other side of the counter, took off her hat and coat, rubbed her hands together briskly, sat down and began to play. The crowd edged closer.
It is a curious study, this noonday crowd that gathers to sate its music-hunger on the scraps vouchsafed it by Bernie Gottschalk's Music House. Loose-lipped, slope-shouldered young men with bad complexions and slender hands. Girls whose clothes are an unconscious satire on present-day fashions. On their faces, as they listen to the music, is a look of peace and dreaming. They stand about, smiling a wistful half smile. It is much the same expression that steals over the face of a smoker who has lighted his after-dinner cigar, or of a drug victim who is being lulled by his opiate. The music seems to satisfy a something within them. Faces dull, eyes lustreless, they listen in a sort of trance.
Terry played on. She played as Terry Sheehan used to play. She played as no music hack at Bernie Gottschalk's had ever played before. The crowd swayed a little to the sound of it. Some kept time with little jerks of the shoulder—the little hitching movement of the rag-time dancer whose blood is filled with the fever of syncopation. Even the crowd flowing down State Street must have caught the rhythm of it, for the room soon filled.
At two o'clock the crowd began to thin. Business would be slack, now, until five, when it would again pick up until closing time at six.
The fat vocalist put down his megaphone, wiped his forehead, and regarded Terry with a warm blue eye. He had just finished singing "I've Wandered Far from Dear Old Mother's Knee." (Bernie Gottschalk Inc. Chicago. New York. You can't get bit with a Gottschalk hit. 15 cents each.)
"Girlie," he said, emphatically, "You sure—can—play!" He came over to her at the piano and put a stubby hand on her shoulder. "Yessir! Those little fingers—"
Terry just turned her head to look down her nose at the moist hand resting on her shoulder. "Those little fingers are going to meet your face—suddenly—if you don't move on."
"Who gave you your job?" demanded the fat man.
"Nobody. I picked it myself. You can have it if you want it."
"Can't you take a joke?"
"Label yours."
As the crowd dwindled she played less feverishly, but there was nothing slipshod about her performance. The chubby songster found time to proffer brief explanations in asides. "They want the patriotic stuff. It used to be all that Hawaiian dope, and Wild Irish Rose junk, and songs about wanting to go back to every place from Dixie to Duluth. But now seems it's all these here flag raisers. Honestly, I'm so sick of 'em I got a notion to enlist to get away from it."
Terry eyed him with, withering briefness. "A little training wouldn't ruin your figure."
She had never objected to Orville's embonpoint. But then, Orville was a different sort of fat man; pink-cheeked, springy, immaculate.
At four o'clock, as she was in the chorus of "Isn't There Another Joan of Arc?" a melting masculine voice from the other side of the counter said, "Pardon me. What's that you're playing?"
Terry told him. She did not look up.
"I wouldn't have known it. Played like that—a second Marseillaise. If the words—what are the words? Let me see a—"
"Show the gentleman a 'Joan'," Terry commanded briefly, over her shoulder. The fat man laughed a wheezy laugh. Terry glanced around, still playing, and encountered the gaze of two melting masculine eyes that matched the melting masculine voice. The songster waved a hand uniting Terry and the eyes in informal introduction.
"Mr. Leon Sammett, the gentleman who sings the Gottschalk songs wherever songs are heard. And Mrs.—that is—and Mrs. Sammett—"
Terry turned. A sleek, swarthy world-old young man with the fashionable concave torso, and alarmingly convex bone-rimmed glasses. Through them his darkly luminous gaze glowed upon Terry. To escape their warmth she sent her own gaze past him to encounter the arctic stare of the large blonde person who had been included so lamely in the introduction. And at that the frigidity of that stare softened, melted, dissolved.
"Why Terry Sheehan! What in the world!"
Terry's eyes bored beneath the layers of flabby fat. "It's—why, it's Ruby Watson, isn't it? Eccentric Song and Dance—"
She glanced at the concave young man and faltered. He was not Jim, of the Bijou days. From him her eyes leaped back to the fur-bedecked splendour of the woman. The plump face went so painfully red that the makeup stood out on it, a distinct layer, like thin ice covering flowing water. As she surveyed that bulk Terry realised that while Ruby might still claim eccentricity, her song and dance days were over. "That's ancient history, m'dear. I haven't been working for three years. What're you doing in this joint? I'd heard you'd done well for yourself. That you were married."
"I am. That is I—well, I am. I—"
At that the dark young man leaned over and patted Terry's hand that lay on the counter. He smiled. His own hand was incredibly slender, long, and tapering.
"That's all right," he assured her, and smiled. "You two girls can have a reunion later. What I want to know is can you play by ear?"
"Yes, but—"
He leaned far over the counter. "I knew it the minute I heard you play. You've got the touch. Now listen. See if you can get this, and fake the bass."
He fixed his sombre and hypnotic eyes on Terry. His mouth screwed up into a whistle. The tune—a tawdry but haunting little melody—came through his lips. And Terry's quick ear sensed that every note was flat. She turned back to the piano. "Of course you know you flatted every note," she said.
This time it was the blonde woman who laughed, and the man who flushed. Terry cocked her head just a little to one side, like a knowing bird, looked up into space beyond the piano top, and played the lilting little melody with charm and fidelity. The dark young man followed her with a wagging of the head and little jerks of both outspread hands. His expression was beatific, enraptured. He hummed a little under his breath and any one who was music wise would have known that he was just a half-beat behind her all the way.
When she had finished he sighed deeply, ecstatically. He bent his lean frame over the counter and, despite his swart colouring, seemed to glitter upon her—his eyes, his teeth, his very finger-nails.
"Something led me here. I never come up on Tuesdays. But something—"
"You was going to complain," put in his lady, heavily, "about that Teddy Sykes at the Palace Gardens singing the same songs this week that you been boosting at the Inn."
He put up a vibrant, peremptory hand. "Bah! What does that matter now! What does anything matter now! Listen Miss—ah—Miss?—"
"Pl—Sheehan. Terry Sheehan."
He gazed off a moment into space. "H'm. 'Leon Sammett in Songs. Miss Terry Sheehan at the Piano.' That doesn't sound bad. Now listen, Miss Sheehan. I'm singing down at the University Inn. The Gottschalk song hits. I guess you know my work. But I want to talk to you, private. It's something to your interest. I go on down at the Inn at six. Will you come and have a little something with Ruby and me? Now?"
"Now?" faltered Terry, somewhat helplessly. Things seemed to be moving rather swiftly for her, accustomed as she was to the peaceful routine of the past four years.
"Get your hat. It's your life chance. Wait till you see your name in two-foot electrics over the front of every big-time house in the country. You've got music in you. Tie to me and you're made." He turned to the woman beside him. "Isn't that so, Rube?"
"Sure. Look at me!" One would not have thought there could be so much subtle vindictiveness in a fat blonde.
Sammett whipped out a watch. "Just three-quarters of an hour. Come on, girlie."
His conversation had been conducted in an urgent undertone, with side glances at the fat man with the megaphone. Terry approached him now.
"I'm leaving now," she said.
"Oh, no you're not. Six o'clock is your quitting time."
In which he touched the Irish in Terry. "Any time I quit is my quitting time." She went in quest of hat and coat much as the girl had done whose place she had taken early in the day. The fat man followed her, protesting. Terry, pinning on her hat tried to ignore him. But he laid one plump hand on her arm and kept it there, though she tried to shake him off.
"Now, listen to me. That boy wouldn't mind putting his heel on your face if he thought it would bring him up a step. I know'm. Y'see that walking stick he's carrying? Well, compared to the yellow stripe that's in him, that cane is a lead pencil. He's a song tout, that's all he is." Then, more feverishly, as Terry tried to pull away: "Wait a minute. You're a decent girl. I want to—Why, he can't even sing a note without you give it to him first. He can put a song over, yes. But how? By flashin' that toothy grin, of his and talkin' every word of it. Don't you—"
But Terry freed herself with a final jerk and whipped around the counter. The two, who had been talking together in an undertone, turned to welcome her. "We've got a half hour. Come on. It's just over to Clark and up a block or so."
If you know Chicago at all, you know the University Inn, that gloriously intercollegiate institution which welcomes any graduate of any school of experience, and guarantees a post-graduate course in less time than any similar haven of knowledge. Down a flight of stairs and into the unwonted quiet that reigns during the hour of low potentiality, between five and six, the three went, and seated themselves at a table in an obscure corner. A waiter brought them things in little glasses, though no order had been given. The woman who had been Ruby Watson was so silent as to be almost wordless. But the man talked rapidly. He talked well, too. The same quality that enabled him, voiceless though he was, to boost a song to success, was making his plea sound plausible in Terry's ears now.
"I've got to go and make up in a few minutes. So get this. I'm not going to stick down in this basement eating house forever. I've got too much talent. If I only had a voice—I mean a singing voice. But I haven't. But then, neither has Georgie Cohan, and I can't see that it's wrecked his life any. Look at Elsie Janis! But she sings. And they like it! Now listen. I've got a song. It's my own. That bit you played for me up at Gottschalk's is part of the chorus. But it's the words that'll go big. They're great. It's an aviation song, see? Airship stuff. They're yelling that it's the airyoplanes that're going to win this war. Well, I'll help 'em. This song is going to put the aviator where he belongs. It's going to be the big song of the war. It's going to make 'Tipperary' sound like a Moody and Sankey hymn. It's the—"
Ruby lifted her heavy-lidded eyes and sent him a meaning look. "Get down to business, Leon. I'll tell her how good you are while you're making up."
He shot her a malignant glance, but took her advice. "Now what I've been looking for for years is somebody who has got the music knack to give me the accompaniment just a quarter of a jump ahead of my voice, see? I can follow like a lamb, but I've got to have that feeler first. It's more than a knack. It's a gift. And you've got it. I know it when I see it. I want to get away from this cabaret thing. There's nothing in it for a man of my talent. I'm gunning for vaudeville. But they won't book me without a tryout. And when they hear my voice they—Well, if me and you work together we can fool 'em. The song's great. And my makeup's one of these av-iation costumes to go with the song, see? Pants tight in the knee and baggy on the hips. And a coat with one of those full skirt whaddyoucall'ems—"
"Peplums," put in Ruby, placidly.
"Sure. And the girls'll be wild about it. And the words!" he began to sing, gratingly off-key:
"Why, that's awfully cute!" exclaimed Terry. Until now her opinion of Mr. Sammett's talents had not been on a level with his.
"Yeh, but wait till you hear the second verse. That's only part of the chorus. You see, he's supposed to be talking to a French girl. He says:
The six o'clock lights blazed up, suddenly. A sad-looking group of men trailed in and made for a corner where certain bulky, shapeless bundles were soon revealed as those glittering and tortuous instruments which go to make a jazz band.
"You better go, Lee. The crowd comes in awful early now, with all those buyers in town."
Both hands on the table he half rose, reluctantly, still talking. "I've got three other songs. They make Gottschalk's stuff look sick. All I want's a chance. What I want you to do is accompaniment. On the stage, see? Grand piano. And a swell set. I haven't quite made up my mind to it. But a kind of an army camp room, see? And maybe you dressed as Liberty. Anyway, it'll be new, and a knock-out. If only we can get away with the voice thing. Say, if Eddie Foy, all those years never had a—"
The band opened with a terrifying clash of cymbal, and thump of drum. "Back at the end of my first turn," he said as he fled. Terry followed his lithe, electric figure. She turned to meet the heavy-lidded gaze of the woman seated opposite. She relaxed, then, and sat back with a little sigh. "Well! If he talks that way to the managers I don't see—"
Ruby laughed a mirthless little laugh. "Talk doesn't get it over with the managers, honey. You've got to deliver."
"Well, but he's—that song is a good one. I don't say it's as good as he thinks it is, but it's good."
"Yes," admitted the woman, grudgingly, "it's good."
"Well, then?"
The woman beckoned a waiter; he nodded and vanished, and reappeared with a glass that was twin to the one she had just emptied. "Does he look like he knew French? Or could make a rhyme?"
"But didn't he? Doesn't he?"
"The words were written by a little French girl who used to skate down here last winter, when the craze was on. She was stuck on a Chicago kid who went over to fly for the French."
"But the music?"
"There was a Russian girl who used to dance in the cabaret and she—"
Terry's head came up with a characteristic little jerk. "I don't believe it!"
"Better." She gazed at Terry with the drowsy look that was so different from the quick, clear glance of the Ruby Watson who used to dance so nimbly in the Old Bijou days. "What'd you and your husband quarrel about, Terry?"
Terry was furious to feel herself flushing. "Oh, nothing. He just—I—it was—Say, how did you know we'd quarrelled?"
And suddenly all the fat woman's apathy dropped from her like a garment and some of the old sparkle and animation illumined her heavy face. She pushed her glass aside and leaned forward on her folded arms, so that her face was close to Terry's.
"Terry Sheehan, I know you've quarrelled, and I know just what it was about. Oh, I don't mean the very thing it was about; but the kind of thing. I'm going to do something for you, Terry, that I wouldn't take the trouble to do for most women. But I guess I ain't had all the softness knocked out of me yet, though it's a wonder. And I guess I remember too plain the decent kid you was in the old days. What was the name of that little small-time house me and Jim used to play? Bijou, that's it; Bijou."
The band struck up a new tune. Leon Sammett—slim, sleek, lithe in his evening clothes—appeared with a little fair girl in pink chiffon. The woman reached across the table and put one pudgy, jewelled hand on Terry's arm. "He'll be through in ten minutes. Now listen to me. I left Jim four years ago, and there hasn't been a minute since then, day or night, when I wouldn't have crawled back to him on my hands and knees if I could. But I couldn't. He wouldn't have me now. How could he? How do I know you've quarrelled? I can see it in your eyes. They look just the way mine have felt for four years, that's how. I met up with this boy, and there wasn't anybody to do the turn for me that I'm trying to do for you. Now get this. I left Jim because when he ate corn on the cob he always closed his eyes and it drove me wild. Don't laugh."
"I'm not laughing," said Terry.
"Women are like that. One night—we was playing Fond du Lac; I remember just as plain—we was eating supper and Jim reached for one of those big yellow ears, and buttered and salted it, and me kind of hanging on to the edge of the table with my nails. Seemed to me if he shut his eyes when he put his teeth into that ear of corn I'd scream. And he did. And I screamed. And that's all."
Terry sat staring at her with a wide-eyed stare, like a sleep walker. Then she wet her lips, slowly. "But that's almost the very—"
"Kid, go on back home. I don't know whether it's too late or not, but go anyway. If you've lost him I suppose it ain't any more than you deserve, but I hope to God you don't get your desserts this time. He's almost through. If he sees you going he can't quit in the middle of his song to stop you. He'll know I put you wise, and he'll prob'ly half kill me for it. But it's worth it. You get."
And Terry—dazed, shaking, but grateful—fled. Down the noisy aisle, up the stairs, to the street. Back to her rooming house. Out again, with her suitcase, and into the right railroad station somehow, at last. Not another Wetona train until midnight. She shrank into a remote corner of the waiting room and there she huddled until midnight watching the entrances like a child who is fearful of ghosts in the night.
The hands of the station clock seemed fixed and immovable. The hour between eleven and twelve was endless. She was on the train. It was almost morning. It was morning. Dawn was breaking. She was home! She had the house key clutched tightly in her hand long before she turned Schroeder's corner. Suppose he had come home! Suppose he had jumped a town and come home ahead of his schedule. They had quarrelled once before, and he had done that.
Up the front steps. Into the house. Not a sound. She stood there a moment in the early morning half-light. She peered into the dining room. The table, with its breakfast débris, was as she had left it. In the kitchen the coffee pot stood on the gas stove. She was home. She was safe. She ran up the stairs, got out of her clothes and into crisp gingham morning things. She flung open windows everywhere. Down-stairs once more she plunged into an orgy of cleaning. Dishes, table, stove, floor, rugs. She washed, scoured, flapped, swabbed, polished. By eight o'clock she had done the work that would ordinarily have taken until noon. The house was shining, orderly, and redolent of soapsuds.
During all this time she had been listening, listening, with her sub-conscious ear. Listening for something she had refused to name definitely in her mind, but listening, just the same; waiting.
And then, at eight o'clock, it came. The rattle of a key in the lock. The boom of the front door. Firm footsteps.
He did not go to meet her, and she did not go to meet him. They came together and were in each other's arms. She was weeping.
"Now, now, old girl. What's there to cry about? Don't, honey; don't. It's all right."
She raised her head then, to look at him. How fresh, and rosy, and big he seemed, after that little sallow, yellow restaurant rat.
"How did you get here? How did you happen—?"
"Jumped all the way from Ashland. Couldn't get a sleeper, so I sat up all night. I had to come back and square things with you, Terry. My mind just wasn't on my work. I kept thinking how I'd talked—how I'd talked—"
"Oh, Orville, don't! I can't bear—Have you had your breakfast?"
"Why, no. The train was an hour late. You know that Ashland train."
But she was out of his arms and making for the kitchen. "You go and clean up. I'll have hot biscuits and everything in fifteen minutes. You poor boy. No breakfast!"
She made good her promise. It could not have been more than twenty minutes later when he was buttering his third feathery, golden brown biscuit. But she had eaten nothing. She watched him, and listened, and again her eyes were sombre, but for a different reason. He broke open his egg. His elbow came up just a fraction of an inch. Then he remembered, and flushed like a schoolboy, and brought it down again, carefully. And at that she gave a little tremulous cry, and rushed around the table to him.
"Oh, Orville!" She took the offending elbow in her two arms, and bent and kissed the rough coat sleeve.
"Why, Terry! Don't, honey. Don't!"
"Oh, Orville, listen—"
"Yes."
"Listen, Orville—"
"I'm listening, Terry."
"I've got something to tell you. There's something you've got to know."
"Yes, I know it, Terry. I knew you'd out with it, pretty soon, if I just waited."
She lifted an amazed face from his shoulder then, and stared at him. "But how could you know? You couldn't! How could you?"
He patted her shoulder then, gently. "I can always tell. When you have something on your mind you always take up a spoon of coffee, and look at it, and kind of joggle it back and forth in the spoon, and then dribble it back into the cup again, without once tasting it. It used to get me nervous when we were first married watching you. But now I know it just means you're worried about something, and I wait, and pretty soon—"
"Oh, Orville!" she cried, then. "Oh, Orville!"
"Now, Terry. Just spill it, hon. Just spill it to daddy. And you'll feel better."
Before she tried to be a good woman she had been a very bad woman—so bad that she could trail her wonderful apparel up and down Main Street, from the Elm Tree Bakery to the railroad tracks, without once having a man doff his hat to her or a woman bow. You passed her on the street with a surreptitious glance, though she was well worth looking at—in her furs and laces and plumes. She had the only full-length sealskin coat in our town, and Ganz' shoe store sent to Chicago for her shoes. Hers were the miraculously small feet you frequently see in stout women.
Usually she walked alone; but on rare occasions, especially round Christmas time, she might have been seen accompanied by some silent, dull-eyed, stupid-looking girl, who would follow her dumbly in and out of stores, stopping now and then to admire a cheap comb or a chain set with flashy imitation stones—or, queerly enough, a doll with yellow hair and blue eyes and very pink cheeks. But, alone or in company, her appearance in the stores of our town was the signal for a sudden jump in the cost of living. The storekeepers mulcted her; and she knew it and paid in silence, for she was of the class that has no redress. She owned the House With the Closed Shutters, near the freight depot—did Blanche Devine. And beneath her silks and laces and furs there was a scarlet letter on her breast.
In a larger town than ours she would have passed unnoticed. She did not look like a bad woman. Of course she used too much perfumed white powder, and as she passed you caught the oversweet breath of a certain heavy scent. Then, too, her diamond eardrops would have made any woman's features look hard; but her plump face, in spite of its heaviness, wore an expression of good-humoured intelligence, and her eyeglasses gave her somehow a look of respectability. We do not associate vice with eyeglasses. So in a large city she would have passed for a well-dressed prosperous, comfortable wife and mother, who was in danger of losing her figure from an overabundance of good living; but with us she was a town character, like Old Man Givins, the drunkard, or the weak-minded Binns girl. When she passed the drug-store corner there would be a sniggering among the vacant-eyed loafers idling there, and they would leer at each other and jest in undertones.
So, knowing Blanche Devine as we did, there was something resembling a riot in one of our most respectable neighbourhoods when it was learned that she had given up her interest in the house near the freight depot and was going to settle down in the white cottage on the corner and be good. All the husbands in the block, urged on by righteously indignant wives, dropped in on Alderman Mooney after supper to see if the thing could not be stopped. The fourth of the protesting husbands to arrive was the Very Young Husband, who lived next door to the corner cottage that Blanche Devine had bought. The Very Young Husband had a Very Young Wife, and they were the joint owners of Snooky. Snooky was three-going-on-four, and looked something like an angel—only healthier and with grimier hands. The whole neighbourhood borrowed her and tried to spoil her; but Snooky would not spoil.
Alderman Mooney was down in the cellar fooling with the furnace. He was in his furnace overalls—a short black pipe in his mouth. Three protesting husbands had just left. As the Very Young Husband, following Mrs. Mooney's directions, cautiously descended the cellar stairs, Alderman Mooney looked up from his tinkering. He peered through a haze of pipe-smoke.
"Hello!" he called, and waved the haze away with his open palm. "Come on down! Been tinkering with this blamed furnace since supper. She don't draw like she ought. 'Long toward spring a furnace always gets balky. How many tons you used this winter?"
"Oh—ten," said the Very Young Husband shortly. Alderman Mooney considered it thoughtfully. The Young Husband leaned up against the side of the cistern, his hands in his pockets. "Say, Mooney, is that right about Blanche Devine's having bought the house on the corner?"
"You're the fourth man that's been in to ask me that this evening. I'm expecting the rest of the block before bedtime. She's bought it all right."
The Young Husband flushed and kicked at a piece of coal with the toe of his boot.
"Well, it's a darned shame!" he began hotly. "Jen was ready to cry at supper. This'll be a fine neighbourhood for Snooky to grow up in! What's a woman like that want to come into a respectable street for anyway? I own my home and pay my taxes—"
Alderman Mooney looked up.
"So does she," he interrupted. "She's going to improve the place—paint it, and put in a cellar and a furnace, and build a porch, and lay a cement walk all round."
The Young Husband took his hands out of his pockets in order to emphasize his remarks with gestures.
"What's that got to do with it? I don't care if she puts in diamonds for windows and sets out Italian gardens and a terrace with peacocks on it. You're the alderman of this ward, aren't you? Well, it was up to you to keep her out of this block! You could have fixed it with an injunction or something. I'm going to get up a petition—that's what I'm going—"
Alderman Mooney closed the furnace door with a bang that drowned the rest of the threat. He turned the draft in a pipe overhead and brushed his sooty palms briskly together like one who would put an end to a profitless conversation.
"She's bought the house," he said mildly, "and paid for it. And it's hers. She's got a right to live in this neighbourhood as long as she acts respectable."
The Very Young Husband laughed.
"She won't last! They never do."
Alderman Mooney had taken his pipe out of his mouth and was rubbing his thumb over the smooth bowl, looking down at it with unseeing eyes. On his face was a queer look—the look of one who is embarrassed because he is about to say something honest.
"Look here! I want to tell you something: I happened to be up in the mayor's office the day Blanche signed for the place. She had to go through a lot of red tape before she got it—had quite a time of it, she did! And say, kid, that woman ain't so—bad."
The Very Young Husband exclaimed impatiently:
"Oh, don't give me any of that, Mooney! Blanche Devine's a town character. Even the kids know what she is. If she's got religion or something, and wants to quit and be decent, why doesn't she go to another town—Chicago or some place—where nobody knows her?"
That motion of Alderman Mooney's thumb against the smooth pipebowl stopped. He looked up slowly.
"That's what I said—the mayor too. But Blanche Devine said she wanted to try it here. She said this was home to her. Funny—ain't it? Said she wouldn't be fooling anybody here. They know her. And if she moved away, she said, it'd leak out some way sooner or later. It does, she said. Always! Seems she wants to live like—well, like other women. She put it like this: She says she hasn't got religion, or any of that. She says she's no different than she was when she was twenty. She says that for the last ten years the ambition of her life has been to be able to go into a grocery store and ask the price of, say, celery; and, if the clerk charged her ten when it ought to be seven, to be able to sass him with a regular piece of her mind—and then sail out and trade somewhere else until he saw that she didn't have to stand anything from storekeepers, any more than any other woman that did her own marketing. She's a smart woman, Blanche is! She's saved her money. God knows I ain't taking her part—exactly; but she talked a little, and the mayor and me got a little of her history."
A sneer appeared on the face of the Very Young Husband. He had been known before he met Jen as a rather industrious sower of that seed known as wild oats. He knew a thing or two, did the Very Young Husband, in spite of his youth! He always fussed when Jen wore even a V-necked summer gown on the street.
"Oh, she wasn't playing for sympathy," west on Alderman Mooney in answer to the sneer. "She said she'd always paid her way and always expected to. Seems her husband left her without a cent when she was eighteen—with a baby. She worked for four dollars a week in a cheap eating house. The two of 'em couldn't live on that. Then the baby—"
"Good night!" said the Very Young Husband. "I suppose Mrs. Mooney's going to call?"
"Minnie! It was her scolding all through supper that drove me down to monkey with the furnace. She's wild—Minnie is." He peeled off his overalls and hung them on a nail. The Young Husband started to ascend the cellar stairs. Alderman Mooney laid a detaining finger on his sleeve. "Don't say anything in front of Minnie! She's boiling! Minnie and the kids are going to visit her folks out West this summer; so I wouldn't so much as dare to say 'Good morning!' to the Devine woman. Anyway a person wouldn't talk to her, I suppose. But I kind of thought I'd tell you about her."
"Thanks!" said the Very Young Husband dryly.
In the early spring, before Blanche Devine moved in, there came stonemasons, who began to build something. It was a great stone fireplace that rose in massive incongruity at the side of the little white cottage. Blanche Devine was trying to make a home for herself. We no longer build fireplaces for physical warmth—we build them for the warmth of the soul; we build them to dream by, to hope by, to home by.
Blanche Devine used to come and watch them now and then as the work progressed. She had a way of walking round and round the house, looking up at it pridefully and poking at plaster and paint with her umbrella or fingertip. One day she brought with her a man with a spade. He spaded up a neat square of ground at the side of the cottage and a long ridge near the fence that separated her yard from that of the very young couple next door. The ridge spelled sweet peas and nasturtiums to our small-town eyes.
On the day that Blanche Devine moved in there was wild agitation among the white-ruffled bedroom curtains of the neighbourhood. Later on certain odours, as of burning dinners, pervaded the atmosphere. Blanche Devine, flushed and excited, her hair slightly askew, her diamond eardrops flashing, directed the moving, wrapped in her great fur coat; but on the third morning we gasped when she appeared out-of-doors, carrying a little household ladder, a pail of steaming water and sundry voluminous white cloths. She reared the little ladder against the side of the house mounted it cautiously, and began to wash windows: with housewifely thoroughness. Her stout figure was swathed in a grey sweater and on her head was a battered felt hat—the sort of window-washing costume that has been worn by women from time immemorial. We noticed that she used plenty of hot water and clean rags, and that she rubbed the glass until it sparkled, leaning perilously sideways on the ladder to detect elusive streaks. Our keenest housekeeping eye could find no fault with the way Blanche Devine washed windows.
By May, Blanche Devine had left off her diamond eardrops—perhaps it was their absence that gave her face a new expression. When she went down town we noticed that her hats were more like the hats the other women in our town wore; but she still affected extravagant footgear, as is right and proper for a stout woman who has cause to be vain of her feet. We noticed that her trips down town were rare that spring and summer. She used to come home laden with little bundles; and before supper she would change her street clothes for a neat, washable housedress, as is our thrifty custom. Through her bright windows we could see her moving briskly about from kitchen to sitting room; and from the smells that floated out from her kitchen door, she seemed to be preparing for her solitary supper the same homely viands that were frying or stewing or baking in our kitchens. Sometimes you could detect the delectable scent of browning hot tea biscuit. It takes a brave, courageous, determined woman to make tea biscuit for no one but herself.
Blanche Devine joined the church. On the first Sunday morning she came to the service there was a little flurry among the ushers at the vestibule door. They seated her well in the rear. The second Sunday morning a dreadful thing happened. The woman next to whom they seated her turned, regarded her stonily for a moment, then rose agitatedly and moved to a pew across the aisle. Blanche Devine's face went a dull red beneath her white powder. She never came again—though we saw the minister visit her once or twice. She always accompanied him to the door pleasantly, holding it well open until he was down the little flight of steps and on the sidewalk. The minister's wife did not call—but, then, there are limits to the duties of a minister's wife.
She rose early, like the rest of us; and as summer came on we used to see her moving about in her little garden patch in the dewy, golden morning. She wore absurd pale-blue kimonos that made her stout figure loom immense against the greenery of garden and apple tree. The neighbourhood women viewed these negligées with Puritan disapproval as they smoothed down their own prim, starched gingham skirts. They said it was disgusting—and perhaps it was; but the habit of years is not easily overcome. Blanche Devine—snipping her sweet peas; peering anxiously at the Virginia creeper that clung with such fragile fingers to the trellis; watering the flower baskets that hung from her porch—was blissfully unconscious of the disapproving eyes. I wish one of us had just stopped to call good morning to her over the fence, and to say in our neighbourly, small town way: "My, ain't this a scorcher! So early too! It'll be fierce by noon!" But we did not.
I think perhaps the evenings must have been the loneliest for her. The summer evenings in our little town are filled with intimate, human, neighbourly sounds. After the heat of the day it is infinitely pleasant to relax in the cool comfort of the front porch, with the life of the town eddying about us. We sew and read out there until it grows dusk. We call across-lots to our next-door neighbour. The men water the lawns and the flower boxes and get together in little quiet groups to discuss the new street paving. I have even known Mrs. Hines to bring her cherries out there when she had canning to do, and pit them there on the front porch partially shielded by her porch vine, but not so effectually that she was deprived of the sights and sounds about her. The kettle in her lap and the dishpan full of great ripe cherries on the porch floor by her chair, she would pit and chat and peer out through the vines, the red juice staining her plump bare arms.
I have wondered since what Blanche Devine thought of us those lonesome evenings—those evenings filled with little friendly sights and sounds. It is lonely, uphill business at best—this being good. It must have been difficult for her, who had dwelt behind closed shutters so long, to seat herself on the new front porch for all the world to stare at; but she did sit there—resolutely—watching us in silence.
She seized hungrily upon the stray crumbs of conversation that fell to her. The milkman and the iceman and the butcher boy used to hold daily conversation with her. They—sociable gentlemen—would stand on her doorstep, one grimy hand resting against the white of her doorpost, exchanging the time of day with Blanche in the doorway—a tea towel in one hand, perhaps, and a plate in the other. Her little house was a miracle of cleanliness. It was no uncommon sight to see her down on her knees on the kitchen floor, wielding her brush and rag like the rest of us. In canning and preserving time there floated out from her kitchen the pungent scent of pickled crab apples; the mouth-watering, nostril-pricking smell that meant sweet pickles; or the cloying, tantalising, divinely sticky odour that meant raspberry jam. Snooky, from her side of the fence, often used to peer through the pickets, gazing in the direction of the enticing smells next door. Early one September morning there floated out from Blanche Devine's kitchen that clean, fragrant, sweet scent of fresh-baked cookies—cookies with butter in them, and spice, and with nuts on top. Just by the smell of them your mind's eye pictured them coming from the oven—crisp brown circlets, crumbly, toothsome, delectable. Snooky, in her scarlet sweater and cap, sniffed them from afar and straightway deserted her sandpile to take her stand at the fence. She peered through the restraining bars, standing on tiptoe. Blanche Devine, glancing up from her board and rolling-pin, saw the eager golden head. And Snooky, with guile in her heart, raised one fat, dimpled hand above the fence and waved it friendlily. Blanche Devine waved back. Thus encouraged, Snooky's two hands wigwagged frantically above the pickets. Blanche Devine hesitated a moment, her floury hand on her hip. Then she went to the pantry shelf and took out a clean white saucer. She selected from the brown jar on the table three of the brownest, crumbliest, most perfect cookies, with a walnut meat perched atop of each, placed them temptingly on the saucer and, descending the steps, came swiftly across the grass to the triumphant Snooky. Blanche Devine held out the saucer, her lips smiling, her eyes tender. Snooky reached up with one plump white arm.
"Snooky!" shrilled a high voice. "Snooky!" A voice of horror and of wrath. "Come here to me this minute! And don't you dare to touch those!" Snooky hesitated rebelliously, one pink finger in her pouting mouth. "Snooky! Do you hear me?"
And the Very Young Wife began to descend the steps of her back porch. Snooky, regretful eyes on the toothsome dainties, turned away aggrieved. The Very Young Wife, her lips set, her eyes flashing, advanced and seized the shrieking Snooky by one writhing arm and dragged her away toward home and safety.
Blanche Devine stood there at the fence, holding the saucer in her hand. The saucer tipped slowly, and the three cookies slipped off and fell to the grass. Blanche Devine followed them with her eyes and stood staring at them a moment. Then she turned quickly, went into the house and shut the door.
It was about this time we noticed that Blanche Devine was away much of the time. The little white cottage would be empty for a week. We knew she was out of town because the expressman would come for her trunk. We used to lift our eyebrows significantly. The newspapers and handbills would accumulate in a dusty little heap on the porch; but when she returned there was always a grand cleaning, with the windows open, and Blanche—her head bound turbanwise in a towel—appearing at a window every few minutes to shake out a dustcloth. She seemed to put an enormous amount of energy into those cleanings—as if they were a sort of safety valve.
As winter came on she used to sit up before her grate fire long, long after we were asleep in our beds. When she neglected to pull down the shades we could see the flames of her cosy fire dancing gnomelike on the wall.
There came a night of sleet and snow, and wind and rattling hail—one of those blustering, wild nights that are followed by morning-paper reports of trains stalled in drifts, mail delayed, telephone and telegraph wires down. It must have been midnight or past when there came a hammering at Blanche Devine's door—a persistent, clamorous rapping. Blanche Devine, sitting before her dying fire half asleep, started and cringed when she heard it; then jumped to her feet, her hand at her breast—her eyes darting this way and that, as though seeking escape.
She had heard a rapping like that before. It had meant bluecoats swarming up the stairway, and frightened cries and pleadings, and wild confusion. So she started forward now, quivering. And then she remembered, being wholly awake now—she remembered, and threw up her head and smiled a little bitterly and walked toward the door. The hammering continued, louder than ever. Blanche Devine flicked on the porch light and opened the door. The half-clad figure of the Very Young Wife next door staggered into the room. She seized Blanche Devine's arm with both her frenzied hands and shook her, the wind and snow beating in upon both of them.
"The baby!" she screamed in a high, hysterical voice. "The baby! The baby—"
Blanche Devine shut the door and shook the Young Wife smartly by the shoulders.
"Stop screaming," she said quietly. "Is she sick?"
The Young Wife told her, her teeth chattering:
"Come quick! She's dying! Will's out of town. I tried to get the doctor. The telephone wouldn't—I saw your light! For God's sake—"
Blanche Devine grasped the Young Wife's arm, opened the door, and together they sped across the little space that separated the two houses. Blanche Devine was a big woman, but she took the stairs like a girl and found the right bedroom by some miraculous woman instinct. A dreadful choking, rattling sound was coming from Snooky's bed.
"Croup," said Blanche Devine, and began her fight.
It was a good fight. She marshalled her little inadequate forces, made up of the half-fainting Young Wife and the terrified and awkward hired girl.
"Get the hot water on—lots of it!" Blanche Devine pinned up her sleeves. "Hot cloths! Tear up a sheet—or anything! Got an oilstove? I want a teakettle boiling in the room. She's got to have the steam. If that don't do it we'll raise an umbrella over her and throw a sheet over, and hold the kettle under till the steam gets to her that way. Got any ipecac?"
The Young Wife obeyed orders, whitefaced and shaking. Once Blanche Devine glanced up at her sharply.
"Don't you dare faint!" she commanded.
And the fight went on. Gradually the breathing that had been so frightful became softer, easier. Blanche Devine did not relax. It was not until the little figure breathed gently in sleep that Blanche Devine sat back satisfied. Then she tucked a cover ever so gently at the side of the bed, took a last satisfied look at the face on the pillow, and turned to look at the wan, dishevelled Young Wife.
"She's all right now. We can get the doctor when morning comes—though I don't know's you'll need him."
The Young Wife came round to Blanche Devine's side of the bed and stood looking up at her.
"My baby died," said Blanche Devine simply. The Young Wife gave a little inarticulate cry, put her two hands on Blanche Devine's broad shoulders and laid her tired head on her breast.
"I guess I'd better be going," said Blanche Devine.
The Young Wife raised her head. Her eyes were round with fright.
"Going! Oh, please stay! I'm so afraid. Suppose she should take sick again! That awful—awful breathing—"
"I'll stay if you want me to."
"Oh, please! I'll make up your bed and you can rest—"
"I'm not sleepy. I'm not much of a hand to sleep anyway. I'll sit up here in the hall, where there's a light. You get to bed. I'll watch and see that every-thing's all right. Have you got something I can read out here—something kind of lively—with a love story in it?"
So the night went by. Snooky slept in her little white bed. The Very Young Wife half dozed in her bed, so near the little one. In the hall, her stout figure looming grotesque in wall-shadows, sat Blanche Devine pretending to read. Now and then she rose and tiptoed into the bedroom with miraculous quiet, and stooped over the little bed and listened and looked—and tiptoed away again, satisfied.
The Young Husband came home from his business trip next day with tales of snowdrifts and stalled engines. Blanche Devine breathed a sigh of relief when she saw him from her kitchen window. She watched the house now with a sort of proprietary eye. She wondered about Snooky; but she knew better than to ask. So she waited. The Young Wife next door had told her husband all about that awful night—had told him with tears and sobs. The Very Young Husband had been very, very angry with her—angry and hurt, he said, and astonished! Snooky could not have been so sick! Look at her now! As well as ever. And to have called such a woman! Well, really he did not want to be harsh; but she must understand that she must never speak to the woman again. Never!
So the next day the Very Young Wife happened to go by with the Young Husband. Blanche Devine spied them from her sitting-room window, and she made the excuse of looking in her mailbox in order to go to the door. She stood in the doorway and the Very Young Wife went by on the arm of her husband. She went by—rather white-faced—without a look or a word or a sign!
And then this happened! There came into Blanche Devine's face a look that made slits of her eyes, and drew her mouth down into an ugly, narrow line, and that made the muscles of her jaw tense and hard. It was the ugliest look you can imagine. Then she smiled—if having one's lips curl away from one's teeth can be called smiling.
Two days later there was great news of the white cottage on the corner. The curtains were down; the furniture was packed; the rugs were rolled. The wagons came and backed up to the house and took those things that had made a home for Blanche Devine. And when we heard that she had bought back her interest in the House With the Closed Shutters, near the freight depot, we sniffed.
"I knew she wouldn't last!" we said.
"They never do!" said we.