Part 16

The Cabinet girl looked on Tommy with respect, and Miss Van Harlem blushed like an angel.

“All is lost,” said Mrs. Carriswood to herself; yet she smiled. Going home, she found a word for Tommy's ear. The old Virginian dinner had been most successful. The Fitzmaurices (who had been almost forced into the banquet by Beatoun's imperious hospitality) were not a wet blanket in the least. Patrick Fitzmaurice, brogue and all, was an Irish gentleman without a flaw. He blossomed out into a modest wag; and told two or three comic stories as acceptably as he was used to tell them to a very different circle--only, carrying a fresher flavor of wit to this circle, perhaps, it enjoyed them more. Mrs. Fitzmaurice looked scared and ate almost nothing, with the greatest propriety, and her fork in her left hand. Yet even she thawed under Miss Van Harlem's attentions and gentle Mrs. Beatoun's tact, and the winning ways of the last Beatoun baby. She took this absent cherub to her heart with such undissembled warmth that its mother ever since has called her “a sweet, funny little old lady.”

They were both (Patrick and his wife) quite unassuming and retiring, and no urging could dissuade them from parting with the company at the tavern door.

“My word, Tommy, your mother and I can git home by ourselves,” whispered honest Patrick; “we've not exceeded--if the wines WERE good. I never exceeded in my life, God take the glory!”

But he embraced Tommy so affectionately in parting that I confess Mrs. Carriswood had suspicions. Yet, surely, it is more likely that his brain was--let us not say TURNED, but just a wee bit TILTED, by the joy and triumph of the occasion rather than by Beatoun's port or champagne.

But Mrs. Carriswood's word had nothing to do with Tommy's parents, ostensibly, though, in truth, it had everything to do. She said: “Will you dine with us to-morrow, quite en famille, Thomas?”

“I ought to tell you, I suppose, that I find your house a pretty dangerous paradise, Mrs. Carriswood,” says Tommy.

“And I find you a most dangerous angel, Thomas; but--you see I ask you!”

“Thank you,” answers Tommy, in a different tone; “you've always been an angel to me. What I owe to you and Harry Lossing--well, I can't talk about it. But see here, Mrs. Carriswood, you always have called me Tommy; now you say Thomas; why this state?”

“I think you have won your brevet, Thomas.”

He looked puzzled, and she liked him the better that he should not make enough of his conduct to understand her; but, though she has called him Tommy often since, he keeps the brevet in her thoughts. In fact, Mrs. Carriswood is beginning to take the Honorable Thomas Fitzmaurice and his place in the world seriously, herself.

MOTHER EMERITUS

THE Louders lived on the second floor, at the head of the stairs, in the Lossing Building. There is a restaurant to the right; and a new doctor, every six months, who is every kind of a healer except “regular,” keeps the permanent boarders in gossip, to the left; two or three dressmakers, a dentist, and a diamond merchant up-stairs, one flight; and half a dozen families and a dozen single tenants higher--so you see the Louders had plenty of neighbors. In fact, the multitude of the neighbors is one cause of my story.

Tilly Louder came home from the Lossing factory (where she is a typewriter) one February afternoon. As she turned the corner, she was face to the river, which is not so full of shipping in winter that one cannot see the steel-blue glint of the water. Back of her the brick paved street climbed the hill, under a shapeless arch of trees. The remorseless pencil of a railway has drawn black lines at the foot of the hill; and, all day and all night, slender red bars rise and sink in their black sockets, to the accompaniment of the outcry of tortured steam. All day, if not all night, the crooked pole slips up and down the trolley wire, as the yellow cars rattle, and flash, and clang a spiteful little bell, that sounds like a soprano bark, over the crossings.

It is customary in the Lossing Building to say, “We are so handy to the cars.” The street is a handsome street, not free from dingy old brick boxes of stores below the railway, but fast replacing them with fairer structures. The Lossing Building has the wide arches, the recessed doors, the balconies and the colonnades of modern business architecture. The occupants are very proud of the balconies, in particular; and, summer days, these will be a mass of greenery and bright tints. To-day, it was so warm, February day though it was, that some of the potted plants were sunning themselves outside the windows.

Tilly could see them if she craned her neck. There were some bouvardias and fuchsias of her mother's among them.

“It IS a pretty building,” said Tilly; and, for some reason, she frowned.

She was a young woman, but not a very young woman. Her figure was slim, and she looked better in loose waists than in tightly fitted gowns. She wore a dark green gown with a black jacket, and a scarlet shirt-waist underneath. Her face was long, with square chin and high cheek-bones, and thin, firm lips; yet she was comely, because of her lustrous black hair, her clear, gray eyes, and her charming, fair skin. She had another gift: everything about her was daintily neat; at first glance one said, “Here is a person who has spent pains, if not money, on her toilet.”

By this time Tilly was entering the Lossing Building. Half-way up the stairway a hand plucked her skirts. The hand belonged to a tired-faced woman in black, on whose breast glittered a little crowd of pins and threaded needles, like the insignia of an Order of Toil.

“Please excuse me, Miss Tilly,” said the woman, at the same time presenting a flat package in brown paper, “but WILL you give this pattern back to your mother. I am so very much obliged. I don't know how I WOULD git along without your mother, Tilly.”

“I'll give the pattern to her,” said Tilly, and she pursued her way.

Not very far. A stout woman and a thin young man, with long, wavy, red hair, awaited her on the landing. The woman held a plate of cake which she thrust at Tilly the instant they were on the same level, saying: “The cake was just splendid, tell your mother; it's a lovely recipe, and will you tell her to take this, and see how well I succeeded?”

“And--ah--Miss Louder,” said the man, as the stout woman rustled away, “here are some Banner of Lights; I think she'd be interested in some of the articles on the true principles of the inspirational faith----” Tilly placed the bundle of newspapers at the base of her load--“and--and, I wish you'd tell your dear mother that, under the angels, her mustard plaster really saved my life.”

“I'll tell her,” said Tilly.

She had advanced a little space before a young girl in a bright blue silk gown flung a radiant presence between her and the door. “Oh, Miss Tilly,” she murmured, blushing, “will you just give your mother this?--it's--it's Jim's photograph. You tell her it's ALL right; and SHE was exactly right, and I was wrong. She'll understand.”

Tilly, with a look of resignation, accepted a stiff package done up in white tissue paper. She had now only three steps to take: she took two, only two, for--“Miss Tilly, PLEASE!” a voice pealed around the corner, while a flushed and breathless young woman, with a large baby toppling over her lean shoulder, staggered into view. “My!” she panted, “ain't it tiresome lugging a child! I missed the car, of course, coming home from ma's. Oh, say, Tilly, your mother was so good, she said she'd tend Blossom next time I went to the doctor's, and----”

“I'll take the baby,” said Tilly. She hoisted the infant on to her own shoulder with her right arm. “Perhaps you'll be so kind's to turn the handle of the door,” said she in a slightly caustic tone, “as I haven't got any hands left. Please shut it, too.”

As the young mother opened the door, Tilly entered the parlor. For a second she stood and stared grimly about her. The furniture of the room was old-fashioned but in the best repair. There was a cabinet organ in one corner. A crayon portrait of Tilly's father (killed in the civil war) glared out of a florid gilt frame. Perhaps it was the fault of the portrait, but he had a peevish frown. There were two other portraits of him, large ghastly gray tintypes in oval frames of rosewood, obscurely suggesting coffins. In these he looked distinctly sullen. He was represented in uniform (being a lieutenant of volunteers), and the artist had conscientiously gilded his buttons until, as Mrs. Louder was wont to observe, “It most made you want to cut them off with the scissors.” There were other tintypes and a flock of photographs in the room. What Mrs. Louder named “a throw” decorated each framed picture and each chair. The largest arm-chair was drawn up to a table covered with books and magazines: in the chair sat Mrs. Louder, reading.