Part 38

"You see, I understand you," she called after him. "I'm sorry you go away in the bitterness of being found out."

"Found out!" His stick ceased for a moment to tap the cement. "Pooh!" he ejaculated, uneasily. There was a pause, followed by a malevolent chuckle. "At any rate," he said, with joy in the afterthought, "you'll never go walkin' with him AGAIN!"

He waited for the answer, which came, after a time, sadly. "Perhaps you are right. Perhaps I shall not."

"Ha, I thought so! Good-night."

"Good-night, Mr. Arp."

She turned toward the lighted house. Through the windows nearest her she could see Mamie, seated in the familiar chair, following with happy and tender eyes the figure of Eugene, who was pacing up and down the room. The town was deadly quiet: Ariel could hear the sound of footsteps perhaps a block away. She went to the gate and gazed a long time into the empty street, watching the yellow grains of light, sieved through the maples from the arc lights on the corner, moving to and fro in the deep shadow as the lamp swung slightly in the night air. Somewhere, not far away, the peace was broken by the screams of a "parlor organ," which honked and wailed in pious agonies (the intention was hymnal), interminably protracting each spasm. Presently a woman's voice outdid the organ, a voice which made vivid the picture of the woman who owned it, and the ploughed forehead of her, above the nose-glasses, when the "grace-notes" were proudly given birth. "Rescue the Perishing" was the startlingly appropriate selection, rendered with inconceivable lingering upon each syllable: "Roos-cyoo the Poor-oosh-oong!" At unexpected intervals two male voices, evidently belonging to men who had contracted the habit of holding tin in their mouths, joined the lady in a thorough search for the Lost Chord.

That was the last of silence in Canaan for an hour or so. The organ was merely inaugural: across the street a piano sounded; firm, emphatic, determined, vocal competition with the instrument here also; "Rock of Ages" the incentive. Another piano presently followed suit, in a neighboring house: "Precious Jewels." More distant, a second organ was heard; other pianos, other organs, took up other themes; and as a wakeful puppy's barking will go over a village at night, stirring first the nearer dogs to give voice, these in turn stimulating those farther away to join, one passing the excitement on to another, until hounds in farm-yards far beyond the town contribute to the long-distance conversation, even so did "Rescue the Perishing" enliven the greater part of Canaan.

It was this that made Ariel realize a thing of which hitherto she had not been able to convince herself: that she was actually once more in the town where she had spent her long-ago girlhood; now grown to seem the girlhood of some other person. It was true: her foot was on her native heath and her name was Ariel Tabor--the very name of the girl who had shared the town's disapproval with Joe Louden! "Rescue the Perishing" brought it all back to her; and she listened to these sharply familiar rites of the Canaanite Sabbath evening with a shiver of pain.

She turned from the gate to go into the house, heard Eugene's voice at the door, and paused. He was saying good-night to Mamie.

"And please say 'au revoir' to Miss Tabor for me," he added, peering out under his hand. "I don't know where she can have gone."

"Probably she came in and went to her room," said Mamie.

"Don't forget to tell her 'au revoir.'"

"I won't, dear. Good-night."

"Good-night." She lifted her face and he kissed her perfunctorily. Then he came down the steps and went slowly toward the gate, looking about him into the darkness as if searching for something; but Ariel had fled away from the path of light that led from the open door.

She skimmed noiselessly across the lawn and paused at the side of the house, leaning against the veranda, where, on a night long past, a boy had hid and a girl had wept. A small creaking sound fell upon her ear, and she made out an ungainly figure approaching, wheeling something of curious shape.

"Is that you, Sam?" she said.

Mr. Warden stopped, close by. "Yes'm," he replied. "I'm a-gittin' out de hose to lay de dus' yonnah." He stretched an arm along the cross-bar of the reel, relaxing himself, apparently, for conversation. "Y'all done change consid'able, Miss Airil," he continued, with the directness of one sure of privilege.

"You think so, Sam?"

"Yes'm. Ev'ybody think so, I reckon. Be'n a tai'ble lot o' talkum 'bout you to-day. Dun'no' how all dem oth' young ladies goin' take it!" He laughed with immoderate delight, yet, as to the volume of mere sound, discreetly, with an eye to open windows. "You got 'em all beat, Miss Airil! Dey ain' be'n no one 'roun' dis town evah got in a thousum mile o' you! Fer looks, an' de way you walk an' ca'y yo'self; an' as fer de clo'es--name o' de good lan', honey, dey ain' nevah SEE style befo'! My ole woman say you got mo' fixin's in a minute dan de whole res' of 'em got in a yeah. She say when she helpin' you onpack she must 'a' see mo'n a hunerd paihs o' slippahs alone! An' de good Man knows I 'membuh w'en you runnin' roun' back-yods an' up de alley rompin' 'ith Joe Louden, same you's a boy!"

"Do you ever see Mr. Louden, nowadays?" she asked.

His laugh was repeated with the same discreet violence. "Ain' I seen him dis ve'y day, fur up de street at de gate yonnah, stan'in' 'ith you, w'en I drivin' de Judge?"

"You--you didn't happen to see him anywhere this--this afternoon?"

"No'm, I ain' SEE him." Sam's laughter vanished and his lowered voice became serious. "I ain' SEE him, but I hearn about him."

"What did you hear?"

"Dey be'n consid'able stir on de aidge o' town, I reckon," he answered, gravely, "an' dey be'n havin' some trouble out at de Beach--"

"Beaver Beach, do you mean?"

"Yes'm. Dey be'n some shootin' goin' on out dat way."

She sprang forward and caught at his arm without speaking.