Cheerful-By Request Part 37

"You shouldn't have done that."

And the answer, too, was backed by the centuries:

"I know it; but I couldn't help it. Don't be angry!"

"You know," said Sophy with a little tremulous laugh, "I'm very, very ugly--when it isn't moonlight."

"Paris," spake Max Tack, diplomat, "is so full of medium-lookers who think they're pretty, and of pretty ones who think they're beauties, that it sort of rests my jaw and mind to be with some one who hasn't any fake notions to feed. They're all right; but give me a woman with brains every time." Which was a lie!

They drove home down the Bois--the cool, s.p.a.cious, tree-bordered Bois--and through the Champs elysees. Because he was an artist in his way, and because every pa.s.sing _fiacre_ revealed the same picture, Max Tack sat very near her and looked very tender and held her hand in his.

It would have raised a laugh at Broadway and Forty-second. It was quite, quite sane and very comforting in Paris.

At the door of the hotel:

"I'm sailing Wednesday," said Max Tack. "You--you won't forget me?"

"Oh, no--no!"

"You'll call me up or run into the office when you get to New York?"

"Oh, yes!"

He walked with her to the lift, said good-bye and returned to the _fiacre_ with the tinkling bell. There was a stunned sort of look in his face. The _fiacre_ meter registered two francs seventy. Max Tack did a lightning mental calculation. The expression on his face deepened. He looked up at the cabby--the red-faced, bottle-nosed cabby, with his absurd scarlet vest, his mustard-coloured trousers and his glazed top hat.

"Well, can you beat that? Three francs thirty for the evening's entertainment! Why--why, all she wanted was just a little love!"

To the bottle-nosed one all conversation in a foreign language meant dissatisfaction with the meter. He tapped that gla.s.s-covered contrivance impatiently with his whip. A flood of French bubbled at his lips.

"It's all right, boy! It's all right! You don't get me!" And Max Tacked pressed a five-franc piece into the outstretched palm. Then to the hotel porter: "Just grab a taxi for me, will you? These tubs make me nervous."

Sophy, on her way to her room, hesitated, turned, then ran up the stairs to the next floor and knocked gently at Miss Morrissey's door. A moment later that lady's kimonoed figure loomed large in the doorway.

"Who is--oh, it's you! Well, I was just going to have them drag the Seine for you. Come in!"

She went back to the table. Sheets of paper, rough sketches of hat models done from memory, notes and letters lay scattered all about.

Sophy leaned against the door dreamily.

"I've been working this whole mortal evening," went on Ella Morrissey, holding up a pencil sketch and squinting at it disapprovingly over her working spectacles, "and I'm so tired that one eye's shut and the other's running on first. Where've you been, child?"

"Oh, driving!" Sophy's limp hair was a shade limper than usual, and a strand of it had become loosened and straggled untidily down over her ear. Her eyes looked large and strangely luminous. "Do you know, I love Paris!"

Ella Morrissey laid down her pencil sketch and turned slowly. She surveyed Sophy Gold, her shrewd eyes twinkling.

"That so? What made you change your mind?"

The dreamy look in Sophy's eyes deepened.

"Why--I don't know. There's something in the atmosphere--something in the air. It makes you do and say foolish things. It makes you feel queer and light and happy."

Ella Morrissey's bright twinkle softened to a glow. She stared for another brief moment. Then she trundled over to where Sophy stood and patted her leathery cheek. "Welcome to our city!" said Miss Ella Morrissey.

XI

THE THREE OF THEM

For eleven years Martha Foote, head housekeeper at the Senate Hotel, Chicago, had catered, unseen, and ministered, unknown, to that great, careless, s.h.i.+fting, conglomerate ma.s.s known as the Travelling Public.

Wholesale hostessing was Martha Foote's job. Senators and suffragists, amba.s.sadors and first families had found ease and comfort under Martha Foote's regime. Her carpets had bent their nap to the tread of kings, and show girls, and buyers from Montana. Her sheets had soothed the tired limbs of presidents, and princesses, and prima donnas. For the Senate Hotel is more than a hostelry; it is a Chicago inst.i.tution. The whole world is churned in at its revolving front door.

For eleven years Martha Foote, then, had beheld humanity throwing its grimy suitcases on her immaculate white bedspreads; wiping its muddy boots on her bath towels; scratching its matches on her wall paper; scrawling its pencil marks on her cream woodwork; spilling its greasy crumbs on her carpet; carrying away her dresser scarfs and pincus.h.i.+ons.

There is no supremer test of character. Eleven years of hotel housekeepers.h.i.+p guarantees a knowledge of human nature that includes some things no living being ought to know about her fellow men. And inevitably one of two results must follow. You degenerate into a bitter, waspish, and fault-finding shrew; or you develop into a patient, tolerant, and infinitely understanding woman. Martha Foote dealt daily with Polack scrub girls, and Irish porters, and Swedish chambermaids, and Swiss waiters, and Halsted Street bell-boys. Italian tenors fried onions in her Louis-Quinze suite. College boys burned cigarette holes in her best linen sheets. Yet any one connected with the Senate Hotel, from Pete the pastry cook to H.G. Featherstone, lessee-director, could vouch for Martha Foote's serene unacidulation.

Don't gather from this that Martha Foote was a beaming, motherly person who called you dearie. Neither was she one of those managerial and magnificent blonde beings occasionally encountered in hotel corridors, engaged in addressing strident remarks to a damp and crawling huddle of calico that is doing something sloppy to the woodwork. Perhaps the shortest cut to Martha Foote's character is through Martha Foote's bedroom. (Twelfth floor. Turn to your left. That's it; 1246. Come in!)

In the long years of its growth and success the Senate Hotel had known the usual growing pains. Starting with walnut and red plush it had, in its adolescence, broken out all over into bra.s.s beds and birds'-eye maple. This, in turn, had vanished before mahogany veneer and brocade.

Hardly had the white scratches on these ruddy surfaces been doctored by the house painter when--whisk! Away with that sombre stuff! And in minced a whole troupe of near-French furnis.h.i.+ngs; cream enamel beds, cane-backed; spindle-legged dressing tables before which it was impossible to dress; perilous chairs with raspberry complexions. Through all these changes Martha Foote, in her big, bright twelfth floor room, had clung to her old black walnut set.

The bed, to begin with, was a ma.s.sive, towering edifice with a headboard that sc.r.a.ped the lofty ceiling. Head and foot-board were fretted and carved with great blobs representing grapes, and cornucopias, and tendrils, and k.n.o.bs and other bedevilments of the cabinet-maker's craft.

It had been polished and rubbed until now it shone like soft brown satin. There was a monumental dresser too, with a liver-coloured marble top. Along the wall, near the windows, was a couch; a heavy, wheezing, fat-armed couch decked out in white ruffled cus.h.i.+ons. I suppose the mere statement that, in Chicago, Illinois, Martha Foote kept these cus.h.i.+ons always crisply white, would make any further characterization superfluous. The couch made you think of a plump grandmother of bygone days, a beruffled white fichu across her ample, comfortable bosom. Then there was the writing desk; a substantial structure that bore no relation to the pindling rose-and-cream affairs that graced the guest rooms. It was the solid sort of desk at which an English novelist of the three-volume school might have written a whole row of books without losing his dignity or cramping his style. Martha Foote used it for making out reports and instruction sheets, for keeping accounts, and for her small private correspondence.

Such was Martha Foote's room. In a modern and successful hotel, whose foyer was rose-shaded, bra.s.s-grilled, peac.o.c.k-alleyed and tessellated, that bed-sitting-room of hers was as wholesome, and satisfying, and real as a piece of home-made rye bread on a tray of French pastry; and as incongruous.

It was to the orderly comfort of these accustomed surroundings that the housekeeper of the Senate Hotel opened her eyes this Tuesday morning.

Opened them, and lay a moment, bridging the morphean chasm that lay between last night and this morning. It was 6:30 A.M. It is bad enough to open one's eyes at 6:30 on Monday morning. But to open them at 6:30 on Tuesday morning, after an indigo Monday.... The taste of yesterday lingered, brackish, in Martha's mouth.

"Oh, well, it won't be as bad as yesterday, anyway. It can't." So she a.s.sured herself, as she lay there. "There never were _two_ days like that, hand running. Not even in the hotel business."

For yesterday had been what is known as a muddy Monday. Thick, murky, and oozy with trouble. Two conventions, three banquets, the lobby so full of khaki that it looked like a sand-storm, a threatened strike in the laundry, a travelling man in two-twelve who had the grippe and thought he was dying, a shortage of towels (that bugaboo of the hotel housekeeper) due to the laundry trouble that had kept the linen-room telephone jangling to the tune of a hundred damp and irate guests. And weaving in and out, and above, and about and through it all, like a neuralgic toothache that can't be located, persisted the constant, nagging, maddening complaints of the Chronic Kicker in six-eighteen.

Six-eighteen was a woman. She had arrived Monday morning, early. By Monday night every girl on the switchboard had the nervous jumps when they plugged in at her signal. She had changed her rooms, and back again. She had quarrelled with the room clerk. She had complained to the office about the service, the food, the linen, the lights, the noise, the chambermaid, all the bell-boys, and the colour of the furnis.h.i.+ngs in her suite. She said she couldn't live with that colour. It made her sick. Between 8:30 and 10:30 that night, there had come a lull.

Six-eighteen was doing her turn at the Majestic.

Martha Foote knew that. She knew, too, that her name was Geisha McCoy, and she knew what that name meant, just as you do. She had even laughed and quickened and responded to Geisha McCoy's manipulation of her audience, just as you have. Martha Foote knew the value of the personal note, and it had been her idea that had resulted in the rule which obliged elevator boys, chambermaids, floor clerks, doormen and waiters if possible, to learn the names of Senate Hotel guests, no matter how brief their stay.

"They like it," she had said, to Manager Brant. "You know that better than I do. They'll be flattered, and surprised, and tickled to death, and they'll go back to Burlington, Iowa, and tell how well known they are at the Senate."

When the suggestion was met with the argument that no human being could be expected to perform such daily feats of memory Martha Foote battered it down with:

"That's just where you're mistaken. The first few days are bad. After that it's easier every day, until it becomes mechanical. I remember when I first started waiting on table in my mother's quick lunch eating house in Sorghum, Minnesota. I'd bring 'em wheat cakes when they'd ordered pork and beans, but it wasn't two weeks before I could take six orders, from soup to pie, without so much as forgetting the catsup. Habit, that's all."

So she, as well as the minor hotel employes, knew six-eighteen as Geisha McCoy. Geisha McCoy, who got a thousand a week for singing a few songs and chatting informally with the delighted hundreds on the other side of the footlights. Geisha McCoy made nothing of those same footlights. She reached out, so to speak, and shook hands with you across their amber glare. Neither lovely nor alluring, this woman. And as for her voice!--And yet for ten years or more this rather plain person, somewhat dumpy, no longer young, had been singing her every-day, human songs about every-day, human people. And invariably (and figuratively) her audience clambered up over the footlights, and sat in her lap. She had never resorted to cheap music-hall tricks. She had never invited the gallery to join in the chorus. She descended to no finger-snapping. But when she sang a song about a waitress she was a waitress. She never hesitated to twist up her hair, and pull down her mouth, to get an effect. She didn't seem to be thinking about herself, at all, or about her clothes, or her method, or her effort, or anything but the audience that was plastic to her deft and magic manipulation.

Until very recently. Six months had wrought a subtle change in Geisha McCoy. She still sang her every-day, human songs about every-day, human people. But you failed, somehow, to recognise them as such. They sounded sawdust-stuffed. And you were likely to hear the man behind you say, "Yeh, but you ought to have heard her five years ago. She's about through."