as if she had begun to think of the errand that brought her downtown.
In his mind, George had already explained her to his own poignant dissatisfaction—some blond pup, probably, whom she had met during that “perfectly gorgeous time!” And he strode savagely onward, not looking back again.
But Lucy remained where she was until he was out of sight. Then she went slowly into the drugstore which had struck George as a possible source of stimulant for himself.
“Please let me have a few drops of aromatic spirits of ammonia in a glass of water,” she said, with the utmost composure.
“Yes, ma'am!” said the impressionable clerk, who had been looking at her through the display window as she stood on the corner.
But a moment later, as he turned from the shelves of glass jars against the wall, with the potion she had asked for in his hand, he uttered an exclamation: “For goshes' sake, Miss!” And, describing this adventure to his fellow-boarders, that evening, “Sagged pretty near to the counter, she was,” he said. “If I hadn't been a bright, quick, ready-for-anything young fella she'd 'a' flummixed plum! I was watchin' her out the window—talkin' to some young s'iety fella, and she was all right then. She was all right when she come in the store, too. Yes, sir; the prettiest girl that ever walked in our place and took one good look at me. I reckon it must be the truth what some you town wags say about my face!”
Chapter XXVIII
At that hour the heroine of the susceptible clerk's romance was engaged in brightening the rosy little coal fire under the white mantelpiece in her pretty white-and-blue boudoir. Four photographs all framed in decorous plain silver went to the anthracite's fierce destruction—frames and all—and three packets of letters and notes in a charming Florentine treasure-box of painted wood; nor was the box, any more than the silver frames, spared this rousing finish. Thrown heartily upon live coal, the fine wood sparkled forth in stars, then burst into an alarming blaze which scorched the white mantelpiece, but Lucy stood and looked on without moving.
It was not Eugene who told her what had happened at Isabel's door. When she got home, she found Fanny Minafer waiting for her—a secret excursion of Fanny's for the purpose, presumably, of “letting out” again; because that was what she did. She told Lucy everything (except her own lamentable part in the production of the recent miseries) and concluded with a tribute to George: “The worst of it is, he thinks he's been such a hero, and Isabel does, too, and that makes him more than twice as awful. It's been the same all his life: everything he did was noble and perfect. He had a domineering nature to begin with, and she let it go on, and fostered it till it absolutely ruled her. I never saw a plainer case of a person's fault making them pay for having it! She goes about, overseeing the packing and praising George and pretending to be perfectly cheerful about what he's making her do and about the dreadful things he's done. She pretends he did such a fine thing—so manly and protective—going to Mrs. Johnson. And so heroic—doing what his 'principles' made him—even though he knew what it would cost him with you! And all the while it's almost killing her—what he said to your father! She's always been lofty enough, so to speak, and had the greatest idea of the Ambersons being superior to the rest of the world, and all that, but rudeness, or anything like a 'scene,' or any bad manners—they always just made her sick! But she could never see what George's manners were—oh, it's been a terrible adulation!... It's going to be a task for me, living in that big house, all alone: you must come and see me—I mean after they've gone, of course. I'll go crazy if I don't see something of people. I'm sure you'll come as often as you can. I know you too well to think you'll be sensitive about coming there, or being reminded of George. Thank heaven you're too well-balanced,” Miss Fanny concluded, with a profound fervour, “you're too well-balanced to let anything affect you deeply about that—that monkey!”
The four photographs and the painted Florentine box went to their cremation within the same hour that Miss Fanny spoke; and a little later Lucy called her father in, as he passed her door, and pointed to the blackened area on the underside of the mantelpiece, and to the burnt heap upon the coal, where some metallic shapes still retained outline. She flung her arms about his neck in passionate sympathy, telling him that she knew what had happened to him; and presently he began to comfort her and managed an embarrassed laugh.
“Well, well—” he said. “I was too old for such foolishness to be getting into my head, anyhow.”
“No, no!” she sobbed. “And if you knew how I despise myself for—for ever having thought one instant about—oh, Miss Fanny called him the right name: that monkey! He is!”
“There, I think I agree with you,” Eugene said grimly, and in his eyes there was a steady light of anger that was to last. “Yes, I think I agree with you about that!”
“There's only one thing to do with such a person,” she said vehemently. “That's to put him out of our thoughts forever—forever!”
And yet, the next day, at six o'clock, which was the hour, Fanny had told her, when George and his mother were to leave upon their long journey, Lucy touched that scorched place on her mantel with her hand just as the little clock above it struck. Then, after this odd, unconscious gesture, she went to a window and stood between the curtains, looking out into the cold November dusk; and in spite of every reasoning and reasonable power within her, a pain of loneliness struck through her heart. The dim street below her window, the dark houses across the way, the vague air itself—all looked empty, and cold and (most of all) uninteresting. Something more sombre than November dusk took the colour from them and gave them that air of desertion.
The light of her fire, flickering up behind her showed suddenly a flying group of tiny snowflakes nearing the window-pane; and for an instant she felt the sensation of being dragged through a snows drift under a broken cutter, with a boy's arms about her—an arrogant, handsome, too-conquering boy, who nevertheless did his best to get hurt himself, keeping her from any possible harm.
She shook the picture out of her eyes indignantly, then came and sat before her fire, and looked long and long at the blackened mantelpiece. She did not have the mantelpiece repainted—and, since she did not, might as well have kept his photographs. One forgets what made the scar upon his hand but not what made the scar upon his wall.
She played no marche funebre upon her piano, even though Chopin's romantic lamentation was then at the top of nine-tenths of the music-racks in the country, American youth having recently discovered the distinguished congeniality between itself and this deathless bit of deathly gloom. She did not even play “Robin Adair”; she played “Bedelia” and all the new cake-walks, for she was her father's housekeeper, and rightly looked upon the office as being the same as that of his heart-keeper. Therefore it was her affair to keep both house and heart in what state of cheerfulness might be contrived. She made him “go out” more than ever; made him take her to all the gayeties of that winter, declining to go herself unless he took her, and, though Eugene danced no more, and quoted Shakespeare to prove all lightfoot caperings beneath the dignity of his age, she broke his resolution for him at the New Year's Eve “Assembly” and half coaxed, half dragged him forth upon the floor, and made him dance the New Year in with her.
New faces appeared at the dances of the winter; new faces had been appearing everywhere, for that matter, and familiar ones were disappearing, merged in the increasing crowd, or gone forever and missed a little and not long; for the town was growing and changing as it never had grown and changed before.
It was heaving up in the middle incredibly; it was spreading incredibly; and as it heaved and spread, it befouled itself and darkened its sky. Its boundary was mere shapelessness on the run; a raw, new house would appear on a country road; four or five others would presently be built at intervals between it and the outskirts
