"Believed what?" inquired Martha Foote, pleasantly.

"That there was anybody left in the world who could look like that in a white shirtwaist at 6:30 A.M. Is that all your own hair?"

"Strictly."

"Some people have all the luck," sighed Geisha McCoy, and dropped listlessly back on her pillows. Martha Foote came forward into the room.

At that instant the woman in the bed sat up again, tense, every nerve strained in an att.i.tude of listening. The mulatto girl had come swiftly to the foot of the bed and was clutching the footboard, her knuckles showing white.

"Listen!" A hissing whisper from the haggard woman in the bed. "What's that?"

"Wha' dat!" breathed the coloured girl, all her elegance gone, her every look and motion a hundred-year throwback to her voodoo-haunted ancestors.

The three women remained rigid, listening. From the wall somewhere behind the bed came a low, weird monotonous sound, half wail, half croaking moan, like a banshee with a cold. A clanking, then, as of chains. A s-s-swish. Then three dull raps, seemingly from within the very wall itself.

The coloured girl was trembling. Her lips were moving, soundlessly. But Geisha McCoy's emotion was made of different stuff.

"Now look here," she said, desperately, "I don't mind a sleepless night.

I'm used to 'em. But usually I can drop off at five, for a little while.

And that's been going on--well, I don't know how long. It's driving me crazy. Blanche, you fool, stop that hand wringing! I tell you there's no such thing as ghosts. Now you"--she turned to Martha Foote again--"you tell me, for G.o.d's sake, what _is_ that!"

And into Martha Foote's face there came such a look of mingled compa.s.sion and mirth as to bring a quick flame of fury into Geisha McCoy's eyes.

"Look here, you may think it's funny but--"

"I don't. I don't. Wait a minute." Martha Foote turned and was gone. An instant later the weird sounds ceased. The two women in the room looked toward the door, expectantly. And through it came Martha Foote, smiling.

She turned and beckoned to some one without. "Come on," she said. "Come on." She put out a hand, encouragingly, and brought forward the shrinking, cowering, timorous figure of Anna Czarnik, scrub-woman on the sixth floor. Her hand still on her shoulder Martha Foote led her to the centre of the room, where she stood, gazing dumbly about. She was the scrub-woman you've seen in every hotel from San Francisco to Scituate. A shapeless, moist, blue calico ma.s.s. Her shoes turned up ludicrously at the toes, as do the shoes of one who crawls her way backward, crab-like, on hands and knees. Her hands were the shrivelled, unlovely members that bespeak long and daily immersion in dirty water. But even had these invariable marks of her trade been lacking, you could not have failed to recognise her type by the large and glittering mock-diamond comb which failed to catch up her dank and stringy hair in the back.

One kindly hand on the woman's arm, Martha Foote performed the introduction.

"This is Mrs. Anna Czarnik, late of Poland. Widowed. Likewise childless.

Also brotherless. Also many other uncomfortable things. But the life of the crowd in the scrub-girls' quarters on the top floor. Aren't you, Anna? Mrs. Anna Czarnik, I'm sorry to say, is the source of the blood-curdling moan, and the swishing, and the clanking, and the ghost-raps. There is a service stairway just on the other side of this wall. Anna Czarnik was performing her morning job of scrubbing it. The swishing was her wet rag. The clanking was her pail. The dull raps her scrubbing brush striking the stair corner just behind your wall."

"You're forgetting the wail," Geisha McCoy suggested, icily.

"No, I'm not. The wail, I'm afraid, was Anna Czarnik, singing."

"Singing?"

Martha Foote turned and spoke a gibberish of Polish and English to the bewildered woman at her side. Anna Czarnik's dull face lighted up ever so little.

"She says the thing she was singing is a Polish folk-song about death and sorrow, and it's called a--what was that, Anna?"

"Dumka."

"It's called a dumka. It's a song of mourning, you see? Of grief. And of bitterness against the invaders who have laid her country bare."

"Well, what's the idea!" demanded Geisha McCoy. "What kind of a hotel is this, anyway? Scrub-girls waking people up in the middle of the night with a Polish cabaret. If she wants to sing her hymn of hate why does she have to pick on me!"

"I'm sorry. You can go, Anna. No sing, remember! Sh-sh-sh!"

Anna Czarnik nodded and made her unwieldy escape.

Geisha McCoy waved a hand at the mulatto maid. "Go to your room, Blanche. I'll ring when I need you." The girl vanished, gratefully, without a backward glance at the disorderly room. Martha Foote felt herself dismissed, too. And yet she made no move to go. She stood there, in the middle of the room, and every housekeeper inch of her yearned to tidy the chaos all about her, and every sympathetic impulse urged her to comfort the nerve-tortured woman before her. Something of this must have shone in her face, for Geisha McCoy's tone was half-pettish, half-apologetic as she spoke.

"You've no business allowing things like that, you know. My nerves are all shot to pieces anyway. But even if they weren't, who could stand that kind of torture? A woman like that ought to lose her job for that.

One word from me at the office and she--"

"Don't say it, then," interrupted Martha Foote, and came over to the bed. Mechanically her fingers straightened the tumbled covers, removed a jumble of magazines, flicked away the crumbs. "I'm sorry you were disturbed. The scrubbing can't be helped, of course, but there is a rule against unnecessary noise, and she shouldn't have been singing.

But--well, I suppose she's got to find relief, somehow. Would you believe that woman is the cut-up of the top floor? She's a natural comedian, and she does more for me in the way of keeping the other girls happy and satisfied than--"

"What about me? Where do I come in? Instead of sleeping until eleven I'm kept awake by this Polish dirge. I go on at the Majestic at four, and again at 9.45 and I'm sick, I tell you! Sick!"

She looked it, too. Suddenly she twisted about and flung herself, face downward, on the pillow. "Oh, G.o.d!" she cried, without any particular expression. "Oh, G.o.d! Oh, G.o.d!"

That decided Martha Foote.

She crossed over to the other side of the bed, first flicking off the glaring top lights, sat down beside the shaken woman on the pillows, and laid a cool, light hand on her shoulder.

"It isn't as bad as that. Or it won't be, anyway, after you've told me about it."

She waited. Geisha McCoy remained as she was, face down. But she did not openly resent the hand on her shoulder. So Martha Foote waited. And as suddenly as Six-eighteen had flung herself p.r.o.ne she twisted about and sat up, breathing quickly. She pa.s.sed a hand over her eyes and pushed back her streaming hair with an oddly desperate little gesture. Her lips were parted, her eyes wide.

"They've got away from me," she cried, and Martha Foote knew what she meant. "I can't hold 'em any more. I work as hard as ever--harder.

That's it. It seems the harder I work the colder they get. Last week, in Indianapolis, they couldn't have been more indifferent if I'd been the educational film that closes the show. And, oh my G.o.d! They sit and knit."

"Knit!" echoed Martha Foote. "But everybody's knitting nowadays."

"Not when I'm on. They can't. But they do. There were three of them in the third row yesterday afternoon. One of 'em was doing a grey sock with four shiny needles. Four! I couldn't keep my eyes off of them. And the second was doing a sweater, and the third a helmet. I could tell by the shape. And you can't be funny, can you, when you're hypnotised by three stony-faced females all doubled up over a bunch of olive-drab?

Olive-drab! I'm scared of it. It sticks out all over the house. Last night there were two young kids in uniform right down in the first row, centre, right. I'll bet the oldest wasn't twenty-three. There they sat, looking up at me with their baby faces. That's all they are. Kids. The house seems to be peppered with 'em. You wouldn't think olive-drab could stick out the way it does. I can see it farther than red. I can see it day and night. I can't seem to see anything else. I can't--"

Her head came down on her arms, that rested on her tight-hugged knees.

"Somebody of yours in it?" Martha Foote asked, quietly. She waited. Then she made a wild guess--an intuitive guess. "Son?"

"How did you know?" Geisha McCoy's head came up.

"I didn't."

"Well, you're right. There aren't fifty people in the world, outside my own friends, who know I've got a grown-up son. It's bad business to have them think you're middle-aged. And besides, there's nothing of the stage about Fred. He's one of those square-jawed kids that are just cut out to be engineers. Third year at Boston Tech."

"Is he still there, then?"

"There! He's in France, that's where he is. Somewhere--in France. And I've worked for twenty-two years with everything in me just set, like an alarm-clock, for the time when that kid would step off on his own. He always hated to take money from me, and I loved him for it. I never went on that I didn't think of him. I never came off with a half dozen encores that I didn't wish he could hear it. Why, when I played a college town it used to be a riot, because I loved every fresh-faced boy in the house, and they knew it. And now--and now--what's there in it?

What's there in it? I can't even hold 'em any more. I'm through, I tell you. I'm through!"

And waited to be disputed. Martha Foote did not disappoint her.

"There's just this in it. It's up to you to make those three women in the third row forget what they're knitting for, even if they don't forget their knitting. Let 'em go on knitting with their hands, but keep their heads off it. That's your job. You're lucky to have it."