O. Henry Memorial Award Prize Stories of 1919 Part 7

It was late when he found himself back again before the house, and an ink-black cloud touched the moon's edge. After the airless evening a wind had sprang up in the east; it thrashed among the lilac-stems as he came through them and across the turf, silent-footed as an Indian. In his right hand he had a bread-knife, held b.u.t.t to thumb, dagger-wise.

Where he had come by the rust-bitten thing no one knows, least of all himself. In the broken light his eyes shone with a curious luminosity of their own, absorbed, introspective.

All the windows were dark, and the entrance-hall, when he slipped in between the pillars, but across its floor he saw light thrown in a yellow ribbon from the half-closed door of the drawing-room.

It took his attention, laid hands on his imagination. He began to struggle against it.

He would _not_ go into that room. He was going to another room. To stay him, he made a picture of the other room in his tumbled mind--the high, bleak walls, the bureau with the three candles burning wanly, the bed, the face of the man on the bed. And when his rebellious feet, surrendering him up to the lure of that beckoning ribbon, had edged as far as the door, and he had pushed it a little further ajar to get his head in, he saw that the face itself was there in the drawing-room.

He stood there for some time, his shoulder pressed against the door-jamb, his eyes blinking.

His slow attention moved from the face to the satin pillows that wedged it in, and then to the woman that must have been his mother, kneeling beside the casket with her arms crooked on the shining cover and her head down between them. And across from her leaned "Ugo," the 'cello, come down from his chamber to stand vigil at the other shoulder of the dead.

The first thing that came into his groping mind was a bitter sense of abandonment. The little core of candle-light hanging in the gloom left him out. Its unstirring occupants, the woman, the 'cello, and the clay, seemed sufficient to themselves. His mother had forgotten him. Even "Ugo," that had grown part and parcel of his madness, had forgotten him.

Bruised, sullen, moved by some deep-lying instinct of the clan, his eyes left them and sought the wall beyond, where there were those who would not forget him, come what might, blood of his blood and mind of his own queer mind. And there among the shadowed faces he searched for one in vain. As if that candle-lit tableau, somehow holy and somehow abominable, were not for the eyes of one of them, the face of Daniel, the wedded husband, had been turned to the wall.

Here was something definite, something Christopher could take hold of, and something that he would not have.

His mother seemed not to have known he was near till he flung the door back and came stalking into the light with the rusty bread-knife in his hand. One would not have imagined there were blood enough left in her wasted heart, but her face went crimson when she lifted it and saw him.

It brought him up short--the blush, where he had looked for fright. It shocked him, and, shocking him more than by a thousand laboured words of explanation, it opened a window in his disordered brain. He stood gawking with the effort of thought, hardly conscious of his mother's cry:

"Christopher, I never meant you to know!"

He kept on staring at the ashen face between the pillows, long (as his own was long), sensitive, worn; and at the 'cello keeping incorruptible vigil over its dead. And then slowly his eyes went down to his own left hand, to which that same old wine-brown creature had come home from the first with a curious sense of fitness and authority and right.

"Who is this man?"

"Don't look at me so! Don't, Chris!"

But he did look at her. Preoccupied as he was, he was appalled at sight of the damage the half-dozen of days had done. She had been so much the lady, so perfectly the gentlewoman. To no one had the outward gesture and symbol of purity been more precious. No whisper had ever breathed against her. If there had been secrets behind her, they had been dead; if a skeleton, the closet had been closed. And now, looking down on her, he was not only appalled, he was a little sickened, as one might be to find squalor and decay creeping into a familiar and once immaculate room.

"Who is this man?" he repeated.

"He grew up with me." She half raised herself on her knees in the eagerness of her appeal. "We were boy and girl together at home in Maryland. We were meant for each other, Chris. We were always to marry--always, Chris. And when I went away, and when I married your--when I married Daniel Kain, _he_ hunted and he searched and he found me here. He was with me, he stood by me through that awful year--and--that was how it happened. I tell you, Christopher, darling, we were meant for each other, John Sanderson and I. He loved me more than poor Daniel ever did or could, loved me enough to throw away a life of promise, just to hang on here after every one else was gone, alone with his 'cello and is one little memory. And I loved him enough to--to--_Christopher, don't look at me so!"_

His eyes did not waver. You must remember his age, the immaculate, ruthless, mid-Victorian 'teens; and you must remember his bringing-up.

"And so this was my father," he said. And then he went on without waiting, his voice breaking into falsetto with the fierceness of his charge. "And you would have kept on lying to me! If I hadn't happened, just happened, to find you here, now, you would have gone on keeping me in the dark! You would have stood by and seen me--well--_go crazy!_ Yes, go crazy, thinking I was--well, thinking I was meant for it! And all to save your precious--"

She was down on the floor again, what was left of the gentlewoman, wailing.

"But you don't know what it means to a woman, Chris! You don't know what it means to a woman!"

A wave of rebellion brought her up and she strained toward him across the coffin.

"Isn't it something, then, that I gave you a father with a _mind_? And if you think you've been sinned against, think of _me_! Sin! You call it _sin_! Well, isn't it _anything at all_ that by my 'sin' my son's blood came down to him _clean_? Tell me that!"

He shook himself, and his flame turned to sullenness.

"It's not so," he glowered.

All the girl in him, the poet, the hero-worshipping boy, rebelled. His hara.s.sed eyes went to the wall beyond and the faces there, the ghosts of the doomed, glorious, youth-ridden line, priceless possessions of his dreams. He would not lose them: he refused to be robbed of a tragic birthright. He wanted some gesture puissant enough to turn back and blot out all that had been told him.

"It's not his!" he cried. And reaching out fiercely he dragged the 'cello away from the coffin's side. He stood for an instant at bay, bitter, defiant.

"It's not his! It's mine! It's--it's--_ours!_"

And then he fled out into the dark of the entrance-hall and up the black stairs. In his room there was no moonlight now, for the cloud ran over the sky and the rain had come.

"It isn't so, it isn't so!" It was like a sob in his throat.

He struck on the full strings. And listening breathless through the dying discord he heard the liquid whispers of the rain, nothing more. He lashed with a wild bow, time and again. But something was broken, something was lost: out of the surf of sound he could no longer fashion the measure of marching feet. The mad Kains had found him out, and cast him out. No longer could he dream them in dreams or run naked-hearted with them in the flood of the moon, for he was no blood of theirs, and they were gone. And huddling down on the edge of the bed, he wept.

The tears washed his eyes and falling down bathed his strengthless hands. And beyond the phantom windows, over the marsh and the moor and the hill that were not his, the graves of strangers and the lost Willow Wood, lay the healing rain. He heard it in gurgling rivulets along the gutters overhead. He heard the soft impact, like a kiss, brushing the reedy cheeks of the marsh, the showery shouldering of branches, the aspiration of myriad drinking gra.s.ses, the far whisper of waters coming home to the waters of the sea--the long, low melody of the rain.

And by and by he found it was "Ugo," the 'cello, and he was playing.

They went home the following afternoon, he and his mother. Or rather, she went home, and he with her as far as the Junction, where he changed for school.

They had not much to say to each other through the journey. The boy had to be given time. Five years younger, or fifteen years older, it would have been easier for him to look at his mother. You must remember what his mother had meant to him, and what, bound up still in the fierce and sombre battle of adolescence, she must mean to him now.

As for Agnes Kain, she did not look at him, either. Through the changing hours her eyes rested on the transparent hands lying crossed in her lap.

She seemed very tired and very white. Her hair was not done as tidily, her lace cuffs were less fresh than they had used to be. About her whole presence there was a troubling hint of let-down, something obscurely slovenly, a kind of awkward and unlovely nakedness.

She really spoke to him for the first time at the Junction, when he stood before her, slim and uncouth under the huge burden of "Ugo,"

fumbling through his leave-taking.

"Christopher," she said, "try not to think of me--always--as--as--well, when you're older, Christopher, you'll know what I mean."

That was the last time he ever heard her speak. He saw her once again, but the telegram was delayed and his train was late, and when he came beside her bed she said nothing. She looked into his eyes searchingly, for a long while, and died.

That s.p.a.ce stands for the interval of silence that fell after Christopher had told me the story. I thought he had quite finished. He sat motionless, his shoulders fallen forward, his eyes fixed in the heart of the incandescent globe over the dressing-table, his long fingers wrapped around the neck of the 'cello.

"And so she got me through those years," he said. "Those nip-and-tuck years that followed. By her lie.

"Insanity is a queer thing," he went on, still brooding into the light.

"There's more of it about than we're apt to think. It works in so many ways. In hobbies, arts, philosophies. Music is a kind of insanity. I know. I've got mine penned up in the music now, and I think I can keep it there now, and save my soul."

"Yours?"

"Yes, mine. I know now--now that it's safe for me to know. I was down at that village by the beach a year or so ago. I'm a Kain, of course, one of the crazy Kains, after all. John Sanderson was born in the village and lived there till his death. Only once that folks could remember had he been away, and that was when he took some papers to the city for Mrs. Kain to sign. He was caretaker at the old 'Kain place' the last ten years of his life, and deaf, they said, since his tenth year--'deaf as a post.' And they told me something else. They said there was a story that before my father, Daniel, married her, my mother had been an actress. An actress! You'll understand that I needed no one to tell me _that_!

"They told me that they had heard a story that she was a _great_ actress. Dear G.o.d, if they could only know! When I think of that night and that setting, that scene! It killed her, and it got me over the wall--"