Chapter 3

VIRGIL HOYT is a photographer's assistant up at St. Paul, and enjoys his work without being consumed by it. He has been in search of the picturesque all over the West and hundreds of miles to the north, in Canada, and can speak three or four Indian dialects and put a canoe through the rapids. That is to say, he is a man of adventure, and no dreamer. He can fight well and shoot better, and swim so as to put up a winning race with the Indian boys, and he can sit in the saddle all day and not worry about it to-morrow.

Wherever he goes, he carries a camera.

“The world,” Hoyt is in the habit of saying to those who sit with him when he smokes his pipe, “was created in six days to be photographed. Man--and particularly woman--was made for the same purpose. Clouds are not made to give moisture nor trees to cast shade. They have been created in order to give the camera obscura something to do.”

In short, Virgil Hoyt's view of the world is whimsical, and he likes to be bothered neither with the disagreeable nor the mysterious. That is the reason he loathes and detests going to a house of mourning to photograph a corpse. The bad taste of it offends him, but above all, he doesn't like the necessity of shouldering, even for a few moments, a part of the burden of sorrow which belongs to some one else. He dislikes sorrow, and would willingly canoe five hundred miles up the cold Canadian rivers to get rid of it. Nevertheless, as assistant photographer, it is often his duty to do this very kind of thing.

Not long ago he was sent for by a rich Jewish family to photograph the remains of the mother, who had just died. He was put out, but he was only an assistant, and he went. He was taken to the front parlor, where the dead woman lay in her coffin. It was evident to him that there was some excitement in the household, and that a discussion was going on. But Hoyt said to himself that it didn't concern him, and he therefore paid no attention to it.

The daughter wanted the coffin turned on end in order that the corpse might face the camera properly, but Hoyt said he could overcome the recumbent attitude and make it appear that the face was taken in the position it would naturally hold in life, and so they went out and left him alone with the dead.

The face of the deceased was a strong and positive one, such as may often be seen among Jewish matrons. Hoyt regarded it with some admiration, thinking to himself that she was a woman who had known what she wanted, and who, once having made up her mind, would prove immovable. Such a character appealed to Hoyt. He reflected that he might have married if only he could have found a woman with strength of character sufficient to disagree with him. There was a strand of hair out of place on the dead woman's brow, and he gently pushed it back. A bud lifted its head too high from among the roses on her breast and spoiled the contour of the chin, so he broke it off. He remembered these things later with keen distinctness, and that his hand touched her chill face two or three times in the making of his arrangements.

Then he took the impression, and left the house.

He was busy at the time with some railroad work, and several days passed before he found opportunity to develop the plates. He took them from the bath in which they had lain with a number of others, and went energetically to work upon them, whistling some very saucy songs he had learned of the guide in the Red River country, and trying to forget that the face which was presently to appear was that of a dead woman. He had used three plates as a precaution against accident, and they came up well. But as they developed, he became aware of the existence of something in the photograph which had not been apparent to his eye in the subject. He was irritated, and without attempting to face the mystery, he made a few prints and laid them aside, ardently hoping that by some chance they would never be called for.

However, as luck would have it,--and Hoyt's luck never had been good,--his employer asked one day what had become of those photographs. Hoyt tried to evade making an answer, but the effort was futile, and he had to get out the finished prints and exhibit them. The older man sat staring at them a long time.

“Hoyt,” he said, “you're a young man, and very likely you have never seen anything like this before. But I have. Not exactly the same thing, perhaps, but similar phenomena have come my way a number of times since I went in the business, and I want to tell you there are things in heaven and earth not dreamt of--”

“Oh, I know all that tommy-rot,” cried Hoyt, angrily, “but when anything happens I want to know the reason why and how it is done.”

“All right,” answered his employer, “then you might explain why and how the sun rises.”

But he humored the young man sufficiently to examine with him the baths in which the plates were submerged, and the plates themselves. All was as it should be; but the mystery was there, and could not be done away with.

Hoyt hoped against hope that the friends of the dead woman would somehow forget about the photographs; but the idea was unreasonable, and one day, as a matter of course, the daughter appeared and asked to see the pictures of her mother.

“Well, to tell the truth,” stammered Hoyt, “they didn't come out quite--quite as well as we could wish.”

“But let me see them,” persisted the lady. “I'd like to look at them anyhow.”

“Well, now,” said Hoyt, trying to be soothing, as he believed it was always best to be with women,--to tell the truth he was an ignoramus where women were concerned,--“I think it would be better if you didn't look at them. There are reasons why--” he ambled on like this, stupid man that he was, till the lady naturally insisted upon seeing the pictures without a moment's delay.

So poor Hoyt brought them out and placed them in her hand, and then ran for the water pitcher, and had to be at the bother of bathing her forehead to keep her from fainting.

For what the lady saw was this: Over face and flowers and the head of the coffin fell a thick veil, the edges of which touched the floor in some places. It covered the features so well that not a hint of them was visible.

“There was nothing over mother's face!” cried the lady at length.

“Not a thing,” acquiesced Hoyt. “I know, because I had occasion to touch her face just before I took the picture. I put some of her hair back from her brow.”

“What does it mean, then?” asked the lady.

“You know better than I. There is no explanation in science. Perhaps there is some in--in psychology.”

“Well,” said the young woman, stammering a little and coloring, “mother was a good woman, but she always wanted her own way, and she always had it, too.”

“Yes.”

“And she never would have her picture taken. She didn't admire her own appearance. She said no one should ever see a picture of her.”

“So?” said Hoyt, meditatively. “Well, she's kept her word, hasn't she?”

The two stood looking at the photographs for a time. Then Hoyt pointed to the open blaze in the grate.

“Throw them in,” he commanded. “Don't let your father see them--don't keep them yourself. They wouldn't be agreeable things to keep.”

“That's true enough,” admitted the lady. And she threw them in the fire. Then Virgil Hoyt brought out the plates and broke them before her eyes.

And that was the end of it--except that Hoyt sometimes tells the story to those who sit beside him when his pipe is lighted.

A CHILD OF THE RAIN

IT was the night that Mona Meeks, the dressmaker, told him she didn't love him. He couldn't believe it at first, because he had so long been accustomed to the idea that she did, and no matter how rough the weather or how irascible the passengers, he felt a song in his heart as he punched transfers, and rang his bell punch, and signalled the driver when to let people off and on.

Now, suddenly, with no reason except a woman's, she had changed her mind. He dropped in to see her at five o'clock, just before time for the night shift, and to give her two red apples he had been saving for her. She looked at the apples as if they were invisible and she could not see them, and standing in her disorderly little dressmaking parlor, with its cuttings and scraps and litter of fabrics, she said:

“It is no use, John. I shall have to work here like this all my life--work here alone. For I don't love you, John. No, I don't. I thought I did, but it is a mistake.”

“You mean it?” asked John, bringing up the words in a great gasp.

“Yes,” she said, white and trembling and putting out her hands as if to beg for his mercy. And then--big, lumbering fool--he turned around and strode down the stairs and stood at the corner in the beating rain waiting for his car. It came along at length, spluttering on the wet rails and spitting out blue fire, and he took his shift after a gruff “Good night” to Johnson, the man he relieved.

He was glad the rain was bitter cold and drove in his face fiercely. He rejoiced at the cruelty of the wind, and when it hustled pedestrians before it, lashing them, twisting their clothes, and threatening their equilibrium, he felt amused. He was pleased at the chill in his bones and at the hunger that tortured him. At least, at first he thought it was hunger till he remembered that he had just eaten. The hours passed confusedly. He had no consciousness of time. But it must have been late,--near midnight,--judging by the fact that there were few persons visible anywhere in the black storm, when he noticed a little figure sitting at the far end of the car. He had not seen the child when she got on, but all was so curious and wild to him that evening--he himself seemed to himself the most curious and the wildest of all things--that it was not surprising that he should not have observed the little creature.

She was wrapped in a coat so much too large that it had become frayed at the bottom from dragging on the pavement. Her hair hung in unkempt stringiness about her bent shoulders, and her feet were covered with old arctics, many sizes too big, from which the soles hung loose.

Beside the little figure was a chest of dark wood, with curiously wrought hasps. From this depended a stout strap by which it could be carried over the shoulders. John Billings stared in, fascinated by the poor little thing with its head sadly drooping upon its breast, its thin blue hands relaxed upon its lap, and its whole attitude so suggestive of hunger, loneliness, and fatigue, that he made up his mind he would collect no fare from it.

“It will need its nickel for breakfast,” he said to himself. “The company can stand this for once. Or, come to think of it, I might celebrate my hard luck. Here's to the brotherhood of failures!” And he took a nickel from one pocket of his great-coat and dropped it in another, ringing his bell punch to record the transfer.

The car plunged along in the darkness, and the rain beat more viciously than ever in his face. The night was full of the rushing sound of the storm. Owing to some change of temperature the glass of the car became obscured so that the young conductor could no longer see the little figure distinctly, and he grew anxious about the child.

“I wonder if it's all right,” he said to himself. “I never saw living creature sit so still.”

He opened the car door, intending to speak with the child, but just then something went wrong with the lights. There was a blue and green flickering, then darkness, a sudden halting of the car, and a great sweep of wind and rain in at the door. When, after a moment, light and motion reasserted themselves, and Billings had got the door together, he turned to look at the little passenger. But the car was empty.

It was a fact. There was no child there--not even moisture on the seat where she had been sitting.

“Bill,” said he, going to the front door and addressing the driver, “what became of that little kid in the old cloak?”

“I didn't see no kid,” said Bill, crossly. “For Gawd's sake, close the door, John, and git that draught off my back.”

“Draught!” said John, indignantly, “where's the draught?”

“You've left the hind door open,” growled Bill, and John saw him shivering as a blast struck him and ruffled the fur on his bear-skin coat. But the door was not open, and yet John had to admit to himself that the car seemed filled with wind and a strange coldness.

However, it didn't matter. Nothing mattered! Still, it was as well no doubt to look under the seats just to make sure no little crouching figure was there, and so he did. But there was nothing. In fact, John said to himself, he seemed to be getting expert in finding nothing where there ought to be something.

He might have stayed in the car, for there was no likelihood of more passengers that evening, but somehow he preferred going out where the rain could drench him and the wind pommel him. How horribly tired he was! If there were only some still place away from the blare of the city where a man could lie down and listen to the sound of the sea or the storm--or if one could grow suddenly old and get through with the bother of living--or if--

The car gave a sudden lurch as it rounded a curve, and for a moment it seemed to be a mere chance whether Conductor Billings would stay on his platform or go off under those fire-spitting wheels. He caught instinctively at his brake, saved himself, and stood still for a moment, panting.

“I must have dozed,” he said to himself.

Just then, dimly, through the blurred window, he saw again the little figure of the child, its head on its breast as before, its blue hands lying in its lap and the curious box beside it. John Billings felt a coldness beyond the coldness of the night run through his blood. Then, with a half-stifled cry, he threw back the door, and made a desperate spring at the corner where the eerie thing sat.

And he touched the green carpeting on the seat, which was quite dry and warm, as if no dripping, miserable little wretch had ever crouched there.

He rushed to the front door.

“Bill,” he roared, “I want to know about that kid.”

“What kid?”

“The same kid! The wet one with the old coat and the box with iron hasps! The one that's been sitting here in the car!”

Bill turned his surly face to confront the young conductor.

“You've been drinking, you fool,” said he. “Fust thing you know you'll be reported.”

The conductor said not a word. He went slowly and weakly back to his post and stood there the rest of the way leaning against the end of the car for support. Once or twice he muttered:

“The poor little brat!” And again he said, “So you didn't love me after all!”

He never knew how he reached home, but he sank to sleep as dying men sink to death. All the same, being a hearty young man, he was on duty again next day but one, and again the night was rainy and cold.

It was the last run, and the car was spinning along at its limit, when there came a sudden soft shock. John Billings knew what that meant. He had felt something of the kind once before. He turned sick for a moment, and held on to the brake. Then he summoned his courage and went around to the side of the car, which had stopped. Bill, the driver, was before him, and had a limp little figure in his arms, and was carrying it to the gaslight. John gave one look and cried:

“It's the same kid, Bill! The one I told you of!”

True as truth were the ragged coat dangling from the pitiful body, the little blue hands, the thin shoulders, the stringy hair, the big arctics on the feet. And in the road not far off was the curious chest of dark wood with iron hasps.

“She ran under the car deliberate!” cried Bill. “I yelled to her, but she looked at me and ran straight on!”

He was white in spite of his weather-beaten skin.

“I guess you wasn't drunk last night after all, John,” said he.

“You--you are sure the kid is--is there?” gasped John.

“Not so damned sure!” said Bill.

But a few minutes later it was taken away in a patrol wagon, and with it the little box with iron hasps.

THE ROOM OF THE EVIL THOUGHT

THEY called it the room of the Evil Thought. It was really the pleasantest room in the house, and when the place had been used as the rectory, was the minister's study. It looked out on a mournful clump of larches, such as may often be seen in the old-fashioned yards in Michigan, and these threw a tender gloom over the apartment.

There was a wide fireplace in the room, and it had been the young minister's habit to sit there hours and hours, staring ahead of him at the fire, and smoking moodily. The replenishing of the fire and of his pipe, it was said, would afford him occupation all the day long, and that was how it came about that his parochial duties were neglected so that, little by little, the people became dissatisfied with him, though he was an eloquent young man, who could send his congregation away drunk on his influence. However, the calmer pulsed among his parish began to whisper that it was indeed the influence of the young minister and not that of the Holy Ghost which they felt, and it was finally decided that neither animal magnetism nor hypnotism were good substitutes for religion. And so they let him go.

The new rector moved into a smart brick house on the other side of the church, and gave receptions and dinner parties, and was punctilious about making his calls. The people therefore liked him very much--so much that they raised the debt on the church and bought a chime of bells, in their enthusiasm. Every one was lighter of heart than under the ministration of the previous rector. A burden appeared to be lifted from the community. True, there were a few who confessed the new man did not give them the food for thought which the old one had done, but, then, the former rector had made them uncomfortable! He had not only made them conscious of the sins of which they were already guilty, but also of those for which they had the latent capacity. A strange and fatal man, whom women loved to their sorrow, and whom simple men could not understand! It was generally agreed that the parish was well rid of him.

“He was a genius,” said the people in commiseration. The word was an uncomplimentary epithet with them.

When the Hanscoms moved in the house which had been the old rectory, they gave Grandma Hanscom the room with the fireplace. Grandma was well pleased. The roaring fire warmed her heart as well as her chill old body, and she wept with weak joy when she looked at the larches, because they reminded her of the house she had lived in when she was first married. All the forenoon of the first day she was busy putting things away in bureau drawers and closets, but by afternoon she was ready to sit down in her high-backed rocker and enjoy the comforts of her room.

She nodded a bit before the fire, as she usually did after luncheon, and then she awoke with an awful start and sat staring before her with such a look in her gentle, filmy old eyes as had never been there before. She did not move, except to rock slightly, and the Thought grew and grew till her face was disguised as by some hideous mask of tragedy.

By and by the children came pounding at the door.

“Oh, grandma, let us in, please. We want to see your new room, and mamma gave us some ginger cookies on a plate, and we want to give some to you.”

The door gave way under their assaults, and the three little ones stood peeping in, waiting for permission to enter. But it did not seem to be their grandma--their own dear grandma--who arose and tottered toward them in fierce haste, crying:

“Away, away! Out of my sight! Out of my sight before I do the thing I want to do! Such a terrible thing! Send some one to me quick, children, children! Send some one quick!”

They fled with feet shod with fear, and their mother came, and Grandma Hanscom sank down and clung about her skirts and sobbed:

“Tie me, Miranda. Make me fast to the bed or the wall. Get some one to watch me. For I want to do an awful thing!”

They put the trembling old creature in bed, and she raved there all the night long and cried out to be held, and to be kept from doing the fearful thing, whatever it was--for she never said what it was.

The next morning some one suggested taking her in the sitting-room where she would be with the family. So they laid her on the sofa, hemmed around with cushions, and before long she was her quiet self again, though exhausted, naturally, with the tumult of the previous night. Now and then, as the children played about her, a shadow crept over her face--a shadow as of cold remembrance--and then the perplexed tears followed.

When she seemed as well as ever they put her back in her room. But though the fire glowed and the lamp burned, as soon as ever she was alone they heard her shrill cries ringing to them that the Evil Thought had come again. So Hal, who was home from college, carried her up to his room, which she seemed to like very well. Then he went down to have a smoke before grandma's fire.

The next morning he was absent from breakfast. They thought he might have gone for an early walk, and waited for him a few minutes. Then his sister went to the room that looked upon the larches, and found him dressed and pacing the floor with a face set and stern. He had not been in bed at all, as she saw at once. His eyes were bloodshot, his face stricken as if with old age or sin or--but she could not make it out. When he saw her he sank in a chair and covered his face with his hands, and between the trembling fingers she could see drops of perspiration on his forehead.

“Hal!” she cried, “Hal, what is it?”

But for answer he threw his arms about the little table and clung to it, and looked at her with tortured eyes, in which she fancied she saw a gleam of hate. She ran, screaming, from the room, and her father came and went up to him and laid his hands on the boy's shoulders. And then a fearful thing happened. All the family saw it. There could be no mistake. Hal's hands found their way with frantic eagerness toward his father's throat as if they would choke him, and the look in his eyes was so like a madman's that his father raised his fist and felled him as he used to fell men years before in the college fights, and then dragged him into the sitting-room and wept over him.

By evening, however, Hal was all right, and the family said it must have been a fever,--perhaps from overstudy,--at which Hal covertly smiled. But his father was still too anxious about him to let him out of his sight, so he put him on a cot in his room, and thus it chanced that the mother and Grace concluded to sleep together downstairs.

The two women made a sort of festival of it, and drank little cups of chocolate before the fire, and undid and brushed their brown braids, and smiled at each other, understandingly, with that sweet intuitive sympathy which women have, and Grace told her mother a number of things which she had been waiting for just such an auspicious occasion to confide.

But the larches were noisy and cried out with wild voices, and the flame of the fire grew blue and swirled about in the draught sinuously, so that a chill crept upon the two. Something cold appeared to envelop them--such a chill as pleasure voyagers feel when a berg steals beyond Newfoundland and glows blue and threatening upon their ocean path.

Then came something else which was not cold, but hot as the flames of hell--and they saw red, and stared at each other with maddened eyes, and then ran together from the room and clasped in close embrace safe beyond the fatal place, and thanked God they had not done the thing that they dared not speak of--the thing which suddenly came to them to do.

So they called it the room of the Evil Thought. They could not account for it. They avoided the thought of it, being healthy and happy folk. But none entered it more. The door was locked.