Part 36 (2/2)

THE FLATS

Helen Ward knew that she could not put off much longer giving McIver a definite answer. When she was with him, the things that so disturbed her mind and heart were less real--she was able to see things clearly from the point of view to which she had been trained. Her father's mental condition was nothing more than a nervous trouble resulting from overwork--John's ideals were highly creditable to his heart and she loved him dearly for them, but they were wholly impossible in a world where certain cla.s.s standards must be maintained--the Mill took again its old vague, indefinite place in her life--the workman Charlie Martin must live only in her girlhood memories, those secretly sad memories that can have no part in the grown-up present and must not be permitted to enter into one's consideration of the future. In short, the presence of McIver always banished effectually the Helen of the old house: with him the daughter of Adam Ward was herself.

And Helen was tempted by this feeling of relief to speak the decisive word that would finally put an end to her indecision and bring at least the peace of certainty to her troubled mind. In the light of her education and environment, there was every reason why she should say, ”Yes” to McIver's insistent pleadings. There was no shadow of a reason why she should refuse him. One word and the Helen of the old house would be banished forever--the princess lady would reign undisturbed.

And yet, for some reason, that word was not spoken. Helen told herself that she would speak it. But on each occasion she put it off. And always when the man was gone and she was alone, in spite of the return in full force of all her disturbing thoughts and emotions, she was glad that she had not committed herself irrevocably--that she was still free.

She had never felt the appeal of all that McIver meant to her as she felt it that Sunday. She had never been more disturbed and unhappy than she was the following day when John told her a little of his midnight experience with their father and how Adam's excitement had been caused by Peter Martin's visit. All of which led her, early in the afternoon, to the Interpreter.

She found the old basket maker working with feverish energy. Billy Rand at the bench in the corner of the room was as busy with his part of their joint industry.

It was the Interpreter's habit, when Helen was with him, to lay aside his work. But of late he had continued the occupation of his hands even as he talked with her. She had noticed this, as women always notice such things--but that was all. On this day, when the old man in the wheel chair failed to give her his undivided attention, something in his manner impressed the trivial incident more sharply on her mind.

He greeted her kindly, as always, but while she was conscious of no lack of warmth in his welcome, she felt in the deep tones of that gentle voice a sadness that moved her to quick concern. The dark eyes that never failed to light with pleasure at her coming were filled with weary pain. The strong face was thin and tired. As he bent his white head over the work in his lap he seemed to have grown suddenly very weak and old.

With an awakened mind, the young woman looked curiously about the room.

She had never seen it so filled with materials and with finished baskets. The table with the big lamp and the magazines and papers had been moved into the far corner against the book shelves, as though he had now neither time nor thought for reading. The floor was covered thick with a litter of chips and shavings. Even silent Billy's face was filled with anxiety and troubled care as he looked from Helen to his old companion in the wheel chair and slowly turned back to his work on the bench.

”What is the matter here?” she demanded, now thoroughly aroused.

”Matter?” returned the Interpreter. ”Is there anything wrong here, Helen?”

”You are not well,” she insisted. ”You look all worn out--as if you had not slept for weeks--what is it?”

”Oh, that is nothing,” he answered, with a smile. ”Billy and I have been working overtime a little--that is all.”

”But why?” she demanded, ”why must you wear yourself out like this?

Surely there is no need for you to work so hard, day and night.”

He answered as if he were not sure that he had heard her aright. ”No need, Helen? Surely, child, you cannot be so ignorant of the want that exists within sight of your home?”

She returned his look wonderingly. ”You mean the strike?”

Bending over his work again, the old basket maker answered, sorrowfully, ”Yes, Helen, I mean the strike.”

There was something in the Interpreter's manner--something in the weary, drooping figure in that wheel chair--in the tired, deep-lined face--in the pain-filled eyes and the gentle voice that went to the deeps of Helen Ward's woman heart.

With her, as with every one in Millsburgh, the strike was a topic of daily conversation. She sympathized with her brother in his anxiety.

She was worried over the noticeable effect of the excitement upon her father. She was interested in McIver's talk of the situation. But in no vital way had her life been touched by the industrial trouble. In no way had she come in actual contact with it. The realities of the situation were to her vague, intangible, remote from her world, as indeed the Mill itself had been, before her visit with John that day.

To her, the Interpreter was of all men set apart from the world. In his little hut on the cliff, with his books and his basket making, her gentle old friend's life, it seemed to her, held not one thing in common with the busy world that lay within sight of the balcony-porch.

The thought that the industrial trouble could in any way touch him came to her with a distinct shock.

”Surely,” she protested, at last, ”the strike cannot affect you. It has nothing to do with your work.”

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