Valley Of The Moon

CHAPTER IX

Sunday morning Saxon was beforehand in getting ready, and on her return to the kitchen from her second journey to peep through the front windows, Sarah began her customary attack.

"It's a shame an' a disgrace the way some people can afford silk stockings," she began. "Look at me, a-toilin' and a-stewin' day an' night, and I never get silk stockings-nor shoes, three pairs of them all at one time. But there's a just God in heaven, and there'll be some mighty big surprises for some when the end comes and folks get passed out what's comin' to them."

Tom, smoking his pipe and cuddling his youngest-born on his knees, dropped an eyelid surreptitiously on his cheek in token that Sarah was in a tantrum. Saxon devoted herself to tying a ribbon in the hair of one of the little girls. Sarah lumbered heavily about the kitchen, washing and putting away the breakfast dishes. She straightened her back from the sink with a groan and glared at Saxon with fresh hostility.

"You ain't sayin' anything, eh? An' why don't you? Because I guess you still got some natural shame in you a-runnin' with a prizefighter. Oh, I've heard about your goings-on with Bill Roberts. A nice specimen he is. But just you wait till Charley Long gets his hands on him, that's all."

"Oh, I don't know," Tom intervened. "Bill Roberts is a pretty good boy from what I hear."

Saxon smiled with superior knowledge, and Sarah, catching her, was infuriated.

"Why don't you marry Charley Long? He's crazy for you, and he ain't a drinkin' man."

"I guess he gets outside his share of beer," Saxon retorted.

"That's right," her brother supplemented. "An' I know for a fact that he keeps a keg in the house all the time as well."

"Maybe you've been guzzling from it," Sarah snapped.

"Maybe I have," Tom said, wiping his mouth reminiscently with the back of his hand.

"Well, he can afford to keep a keg in the house if he wants to," she returned to the attack, which now was directed at her husband as well. "He pays his bills, and he certainly makes good money-better than most men, anyway."

"An' he hasn't a wife an' children to watch out for," Tom said.

"Nor everlastin' dues to unions that don't do him no good."

"Oh, yes, he has," Tom urged genially. "Blamed little he'd work in that shop, or any other shop in Oakland, if he didn't keep in good standing with the Blacksmiths. You don't understand labor conditions, Sarah. The unions have got to stick, if the men aren't to starve to death."

"Oh, of course not," Sarah sniffed. "I don't understand anything. I ain't got a mind. I'm a fool, an' you tell me so right before the children." She turned savagely on her eldest, who startled and shrank away. "Willie, your mother is a fool. Do you get that? Your father says she's a fool-says it right before her face and yourn. She's just a plain fool. Next he'll be sayin' she's crazy an' puttin' her away in the asylum. An' how will you like that, Willie? How will you like to see your mother in a straitjacket an' a padded cell, shut out from the light of the sun an' beaten like a nigger before the war, Willie, beaten an' clubbed like a regular black nigger? That's the kind of a father you've got, Willie. Think of it, Willie, in a padded cell, the mother that bore you, with the lunatics screechin' an' screamin' all around, an' the quick-lime eatin' into the dead bodies of them that's beaten to death by the cruel wardens-"

She continued tirelessly, painting with pessimistic strokes the growing black future her husband was meditating for her, while the boy, fearful of some vague, incomprehensible catastrophe, began to weep silently, with a pendulous, trembling underlip. Saxon, for the moment, lost control of herself.

"Oh, for heaven's sake, can't we be together five minutes without quarreling?" she blazed.

Sarah broke off from asylum conjurations and turned upon her sister-in-law.

"Who's quarreling? Can't I open my head without bein' jumped on by the two of you?"

Saxon shrugged her shoulders despairingly, and Sarah swung about on her husband.

"Seein' you love your sister so much better than your wife, why did you want to marry me, that's borne your children for you, an' slaved for you, an' toiled for you, an' worked her fingernails off for you, with no thanks, an 'insultin' me before the children, an' sayin' I'm crazy to their faces. An' what have you ever did for me? That's what I want to know-me, that's cooked for you, an' washed your stinkin' clothes, and fixed your socks, an' sat up nights with your brats when they was ailin'. Look at that!"

She thrust out a shapeless, swollen foot, encased in a monstrous, untended shoe, the dry, raw leather of which showed white on the edges of bulging cracks.

"Look at that! That's what I say. Look at that!" Her voice was persistently rising and at the same time growing throaty. "The only shoes I got. Me. Your wife. Ain't you ashamed? Where are my three pairs? Look at that stockin'."

Speech failed her, and she sat down suddenly on a chair at the table, glaring unutterable malevolence and misery. She arose with the abrupt stiffness of an automaton, poured herself a cup of cold coffee, and in the same jerky way sat down again. As if too hot for her lips, she filled her saucer with the greasy-looking, nondescript fluid, and continued her set glare, her breast rising and falling with staccato, mechanical movement.

"Now, Sarah, be c'am, be c'am," Tom pleaded anxiously.

In response, slowly, with utmost deliberation, as if the destiny of empires rested on the certitude of her act, she turned the saucer of coffee upside down on the table. She lifted her right hand, slowly, hugely, and in the same slow, huge way landed the open palm with a sounding slap on Tom's astounded cheek. Immediately thereafter she raised her voice in the shrill, hoarse, monotonous madness of hysteria, sat down on the floor, and rocked back and forth in the throes of an abysmal grief.

Willie's silent weeping turned to noise, and the two little girls, with the fresh ribbons in their hair, joined him. Tom's face was drawn and white, though the smitten cheek still blazed, and Saxon wanted to put her arms comfortingly around him, yet dared not. He bent over his wife.

"Sarah, you ain't feelin' well. Let me put you to bed, and I'll finish tidying up."

"Don't touch me!-don't touch me!" she screamed, jerking violently away from him.

"Take the children out in the yard, Tom, for a walk, anything-get them away," Saxon said. She was sick, and white, and trembling. "Go, Tom, please, please. There's your hat. I'll take care of her. I know just how."

Left to herself, Saxon worked with frantic haste, assuming the calm she did not possess, but which she must impart to the screaming bedlamite upon the floor. The light frame house leaked the noise hideously, and Saxon knew that the houses on either side were hearing, and the street itself and the houses across the street. Her fear was that Billy should arrive in the midst of it. Further, she was incensed, violated. Every fiber rebelled, almost in a nausea; yet she maintained cool control and stroked Sarah's forehead and hair with slow, soothing movements. Soon, with one arm around her, she managed to win the first diminution in the strident, atrocious, unceasing scream. A few minutes later, sobbing heavily, the elder woman lay in bed, across her forehead and eyes a wet-pack of towel for easement of the headache she and Saxon tacitly accepted as substitute for the brain-storm.

When a clatter of hoofs came down the street and stopped, Saxon was able to slip to the front door and wave her hand to Billy. In the kitchen she found Tom waiting in sad anxiousness.

"It's all right," she said. "Billy Roberts has come, and I've got to go. You go in and sit beside her for a while, and maybe she'll go to sleep. But don't rush her. Let her have her own way. If she'll let you take her hand, why do it. Try it, anyway. But first of all, as an opener and just as a matter of course, start wetting the towel over her eyes."

He was a kindly, easy-going man; but, after the way of a large percentage of the Western stock, he was undemonstrative. He nodded, turned toward the door to obey, and paused irresolutely. The look he gave back to Saxon was almost dog-like in gratitude and all-brotherly in love. She felt it, and in spirit leapt toward it.

"It's all right-everything's all right," she cried hastily.

Tom shook his head.

"No, it ain't. It's a shame, a blamed shame, that's what it is." He shrugged his shoulders. "Oh, I don't care for myself. But it's for you. You got your life before you yet, little kid sister. You'll get old, and all that means, fast enough. But it's a bad start for a day off. The thing for you to do is to forget all this, and skin out with your fellow, an' have a good time." In the open door, his hand on the knob to close it after him, he halted a second time. A spasm contracted his brow. "Hell! Think of it! Sarah and I used to go buggy-riding once on a time. And I guess she had her three pairs of shoes, too. Can you beat it?"

In her bedroom Saxon completed her dressing, for an instant stepping upon a chair so as to glimpse critically in the small wall-mirror the hang of her ready-made linen skirt. This, and the jacket, she had altered to fit, and she had double-stitched the seams to achieve the coveted tailored effect. Still on the chair, all in the moment of quick clear-seeing, she drew the skirt tightly back and raised it. The sight was good to her, nor did she under-appraise the lines of the slender ankle above the low tan tie nor did she under-appraise the delicate yet mature swell of calf outlined in the fresh brown of a new cotton stocking. Down from the chair, she pinned on a firm sailor hat of white straw with a brown ribbon around the crown that matched her ribbon belt. She rubbed her cheeks quickly and fiercely to bring back the color Sarah had driven out of them, and delayed a moment longer to put on her tan lisle-thread gloves. Once, in the fashion-page of a Sunday supplement, she had read that no lady ever put on her gloves after she left the door.

With a resolute self-grip, as she crossed the parlor and passed the door to Sarah's bedroom, through the thin wood of which came elephantine moanings and low slubberings, she steeled herself to keep the color in her cheeks and the brightness in her eyes. And so well did she succeed that Billy never dreamed that the radiant, live young thing, tripping lightly down the steps to him, had just come from a bout with soul-sickening hysteria and madness.

To her, in the bright sun, Billy's blondness was startling. His cheeks, smooth as a girl's, were touched with color. The blue eyes seemed more cloudily blue than usual, and the crisp, sandy hair hinted more than ever of the pale straw-gold that was not there. Never had she seen him quite so royally young. As he smiled to greet her, with a slow white flash of teeth from between red lips, she caught again the promise of easement and rest. Fresh from the shattering chaos of her sister-in-law's mind, Billy's tremendous calm was especially satisfying, and Saxon mentally laughed to scorn the terrible temper he had charged to himself.

She had been buggy-riding before, but always behind one horse, jaded, and livery, in a top-buggy, heavy and dingy, such as livery stables rent because of sturdy unbreakableness. But here stood two horses, head-tossing and restless, shouting in every high-light glint of their satin, golden-sorrel coats that they had never been rented out in all their glorious young lives. Between them was a pole inconceivably slender, on them were harnesses preposterously string-like and fragile. And Billy belonged here, by elemental right, a part of them and of it, a master-part and a component, along with the spidery-delicate, narrow-boxed, wide- and yellow-wheeled, rubber-tired rig, efficient and capable, as different as he was different from the other man who had taken her out behind stolid, lumbering horses. He held the reins in one hand, yet, with low, steady voice, confident and assuring, held the nervous young animals more by the will and the spirit of him.

It was no time for lingering. With the quick glance and fore-knowledge of a woman, Saxon saw, not merely the curious children clustering about, but the peering of adult faces from open doors and windows, and past window-shades lifted up or held aside. With his free hand, Billy drew back the linen robe and helped her to a place beside him. The high-backed, luxuriously upholstered seat of brown leather gave her a sense of great comfort; yet even greater, it seemed to her, was the nearness and comfort of the man himself and of his body.

"How d'ye like 'em?" he asked, changing the reins to both hands and chirruping the horses, which went out with a jerk in an immediacy of action that was new to her. "They're the boss's, you know. Couldn't rent animals like them. He lets me take them out for exercise sometimes. If they ain't exercised regular they're a handful.-Look at King, there, prancin'. Some style, eh? Some style! The other one's the real goods, though. Prince is his name. Got to have some bit on him to hold'm.-Ah! Would you?-Did you see'm, Saxon? Some horse! Some horse!"

From behind came the admiring cheer of the neighborhood children, and Saxon, with a sigh of content, knew that the happy day had at last begun.

CHAPTER X

"I don't know horses," Saxon said. "I've never been on one's back, and the only ones I've tried to drive were single, and lame, or almost falling down, or something. But I'm not afraid of horses. I just love them. I was born loving them, I guess."

Billy threw an admiring, appreciative glance at her.

"That's the stuff. That's what I like in a woman-grit. Some of the girls I've had out-well, take it from me, they made me sick. Oh, I'm hep to 'em. Nervous, an' trembly, an' screechy, an' wabbly. I reckon they come out on my account an' not for the ponies. But me for the brave kid that likes the ponies. You're the real goods, Saxon, honest to God you are. Why, I can talk like a streak with you. The rest of 'em make me sick. I'm like a clam. They don't know nothin', an' they're that scared all the time-well, I guess you get me"

"You have to be born to love horses, maybe," she answered. "Maybe it's because I always think of my father on his roan war-horse that makes me love horses. But, anyway, I do. When I was a little girl I was drawing horses all the time. My mother always encouraged me. I've a scrapbook mostly filled with horses I drew when I was little. Do you know, Billy, sometimes I dream I actually own a horse, all my own. And lots of times I dream I'm on a horse's back, or driving him."

"I'll let you drive 'em, after a while, when they've worked their edge off. They're pullin' now.-There, put your hands in front of mine-take hold tight. Feel that? Sure you feel it. An' you ain't feelin' it all by a long shot. I don't dast slack, you bein' such a lightweight."

Her eyes sparkled as she felt the apportioned pull of the mouths of the beautiful, live things; and he, looking at her, sparkled with her in her delight.

"What's the good of a woman if she can't keep up with a man?" he broke out enthusiastically.

"People that like the same things always get along best together," she answered, with a triteness that concealed the joy that was hers at being so spontaneously in touch with him.

"Why, Saxon, I've fought battles, good ones, frazzlin' my silk away to beat the band before whisky-soaked, smokin' audiences of rotten fight-fans, that just made me sick clean through. An' them, that couldn't take just one stiff jolt or hook to jaw or stomach, a-cheerin' me an' yellin' for blood. Blood, mind you! An' them without the blood of a shrimp in their bodies. Why, honest, now, I'd sooner fight before an audience of one-you for instance, or anybody I liked. It'd do me proud. But them sickenin', sap-headed stiffs, with the grit of rabbits and the silk of mangy ky-yi's, a-cheerin' me-ME! Can you blame me for quittin' the dirty game?-Why, I'd sooner fight before broke-down old plugs of work-horses that's candidates for chicken-meat, than before them rotten bunches of stiffs with nothin' thicker'n water in their veins, an' Contra Costa water at that when the rains is heavy on the hills."

"I… I didn't know prizefighting was like that," she faltered, as she released her hold on the lines and sank back again beside him.

"It ain't the fightin', it's the fight-crowds," he defended with instant jealousy. "Of course, fightin' hurts a young fellow because it frazzles the silk outa him an' all that. But it's the low-lifers in the audience that gets me. Why the good things they say to me, the praise an' that, is insulting. Do you get me? It makes me cheap. Think of it-booze-guzzlin' stiffs that 'd be afraid to mix it with a sick cat, not fit to hold the coat of any decent man, think of them a-standin' up on their hind legs an' yellin' an' cheerin' me-ME!"

"Ha! ha! What d'ye think of that? Ain't he a rogue?"

A big bulldog, sliding obliquely and silently across the street, unconcerned with the team he was avoiding, had passed so close that Prince, baring his teeth like a stallion, plunged his head down against reins and check in an effort to seize the dog.

"Now he's some fighter, that Prince. An' he's natural. He didn't make that reach just for some low-lifer to yell'm on. He just done it outa pure cussedness and himself. That's clean. That's right. Because it's natural. But them fight-fans! Honest to God, Saxon…."

And Saxon, glimpsing him sidewise, as he watched the horses and their way on the Sunday morning streets, checking them back suddenly and swerving to avoid two boys coasting across street on a toy wagon, saw in him deeps and intensities, all the magic connotations of temperament, the glimmer and hint of rages profound, bleaknesses as cold and far as the stars, savagery as keen as a wolf's and clean as a stallion's, wrath as implacable as a destroying angel's, and youth that was fire and life beyond time and place. She was awed and fascinated, with the hunger of woman bridging the vastness to him, daring to love him with arms and breast that ached to him, murmuring to herself and through all the halls of her soul, "You dear, you dear."

"Honest to God, Saxon," he took up the broken thread, "they's times when I've hated them, when I wanted to jump over the ropes and wade into them, knock-down and drag-out, an' show'm what fightin' was. Take that night with Billy Murphy. Billy Murphy!-if you only knew him. My friend. As clean an' game a boy as ever jumped inside the ropes to take the decision. Him! We went to the Durant School together. We grew up chums. His fight was my fight. My trouble was his trouble. We both took to the fightin' game. They matched us. Not the first time. Twice we'd fought draws. Once the decision was his; once it was mine. The fifth fight of two lovin' men that just loved each other. He's three years older'n me. He's a wife and two or three kids, an' I know them, too. And he's my friend. Get it?

"I'm ten pounds heavier-but with heavyweights that 'a all right. He can't time an' distance as good as me, an' I can keep set better, too. But he's cleverer an' quicker. I never was quick like him. We both can take punishment, an' we're both two-handed, a wallop in all our fists. I know the kick of his, an' he knows my kick, an' we're both real respectful. And we're even-matched. Two draws, and a decision to each. Honest, I ain't any kind of a hunch who's gain' to win, we're that even.

"Now, the fight.-You ain't squeamish, are you?"

"No, no," she cried. "I'd just love to hear-you are so wonderful."

He took the praise with a clear, unwavering look, and without hint of acknowledgment.

"We go along-six rounds-seven rounds-eight rounds; an' honors even. I've been timin' his rushes an' straight-leftin' him, an' meetin' his duck with a wicked little right upper-cut, an' he's shaken me on the jaw an' walloped my ears till my head's all singin' an' buzzin'. An' everything lovely with both of us, with a noise like a draw decision in sight. Twenty rounds is the distance, you know.

"An' then his bad luck comes. We're just mixin' into a clinch that ain't arrived yet, when he shoots a short hook to my head-his left, an' a real hay-maker if it reaches my jaw. I make a forward duck, not quick enough, an' he lands bingo on the side of my head. Honest to God, Saxon, it's that heavy I see some stars. But it don't hurt an' ain't serious, that high up where the bone's thick. An' right there he finishes himself, for his bad thumb, which I've known since he first got it as a kid fightin' in the sandlot at Watts Tract-he smashes that thumb right there, on my hard head, back into the socket with an out-twist, an' all the old cords that'd never got strong gets theirs again. I didn't mean it. A dirty trick, fair in the game, though, to make a guy smash his hand on your head. But not between friends. I couldn't a-done that to Bill Murphy for a million dollars. It was a accident, just because I was slow, because I was born slow.

"The hurt of it! Honest, Saxon, you don't know what hurt is till you've got a old hurt like that hurt again. What can Billy Murphy do but slow down? He's got to. He ain't fightin' two-handed any more. He knows it; I know it; The referee knows it; but nobody else. He goes on a-moving that left of his like it's all right. But it ain't. It's hurtin' him like a knife dug into him. He don't dast strike a real blow with that left of his. But it hurts, anyway. Just to move it or not move it hurts, an' every little dab-feint that I'm too wise to guard, knowin' there's no weight behind, why them little dab-touches on that poor thumb goes right to the heart of him, an' hurts worse than a thousand boils or a thousand knockouts-just hurts all over again, an' worse, each time an' touch.

"Now suppose he an' me was boxin' for fun, out in the back yard, an' he hurts his thumb that way, why we'd have the gloves off in a jiffy an' I'd be putting cold compresses on that poor thumb of his an' bandagin' it that tight to keep the inflammation down. But no. This is a fight for fight-fans that's paid their admission for blood, an' blood they're goin' to get. They ain't men. They're wolves.

"He has to go easy, now, an' I ain't a-forcin' him none. I'm all shot to pieces. I don't know what to do. So I slow down, an' the fans get hep to it. 'Why don't you fight?' they begin to yell; 'Fake! Fake!' 'Why don't you kiss'm?' 'Lovin' cup for yours, Bill Roberts!' an' that sort of bunk.

"'Fight!' says The referee to me, low an' savage. 'Fight, or I'll disqualify you-you, Bill, I mean you.' An' this to me, with a touch on the shoulder 'so they's no mistakin'.

"It ain't pretty. It ain't right. D'ye know what we was fightin' for? A hundred bucks. Think of it! An' the game is we got to do our best to put our man down for the count because of the fans has bet on us. Sweet, ain't it? Well, that's my last fight. It finishes me deado. Never again for yours truly.

"'Quit,' I says to Billy Murphy in a clinch; 'for the love of God, Bill, quit.' An' he says back, in a whisper, 'I can't, Bill-you know that.'

"An' then the referee drags us apart, an' a lot of the fans begins to hoot an' boo.

"'Now kick in, damn you, Bill Roberts, an' finish'm' the referee says to me, an' I tell'm to go to hell as Bill an' me flop into the next clinch, not hittin', an' Bill touches his thumb again, an' I see the pain shoot across his face. Game? That good boy's the limit. An' to look into the eyes of a brave man that's sick with pain, an' love 'm, an' see love in them eyes of his, an' then have to go on givin' 'm pain-call that sport? I can't see it. But the crowd's got its money on us. We don't count. We've sold ourselves for a hundred bucks, an' we gotta deliver the goods.

"Let me tell you, Saxon, honest to God, that was one of the times I wanted to go through the ropes an' drop them fans a-yellin' for blood an' show 'em what blood is.

"'For God's sake finish me, Bill,' Bill says to me in that clinch; 'put her over an' I'll fall for it, but I can't lay down.'

"D'ye want to know? I cry there, right in the ring, in that clinch. The weeps for me. 'I can't do it, Bill,' I whisper back, hangin' onto'm like a brother an' the referee ragin' an' draggin' at us to get us apart, an' all the wolves in the house snarlin'.

"'You got 'm!' the audience is yellin'. 'Go in an' finish 'm!' 'The hay for him, Bill; put her across to the jaw an' see 'm fall!'

"'You got to, Bill, or you're a dog,' Bill says, lookin' love at me in his eyes as the referee's grip untangles us clear.

"An' them wolves of fans yellin': 'Fake! Fake! Fake!' like that, an' keepin' it up.

"Well, I done it. They's only that way out. I done it. By God, I done it. I had to. I feint for 'm, draw his left, duck to the right past it, takin' it across my shoulder, an come up with my right to his jaw. An' he knows the trick. He's hep. He's beaten me to it an' blocked it with his shoulder a thousan' times. But this time he don't. He keeps himself wide open on purpose. Blim! It lands. He's dead in the air, an' he goes down sideways, strikin' his face first on the rosin-canvas an' then layin' dead, his head twisted under 'm till you'd a-thought his neck was broke. ME-I did that for a hundred bucks an' a bunch of stiffs I'd be ashamed to wipe my feet on. An' then I pick Bill up in my arms an' carry'm to his corner, an' help bring'm around. Well, they ain't no kick comin'. They pay their money an' they get their blood, an' a knockout. An' a better man than them, that I love, layin' there dead to the world with a skinned face on the mat."

For a moment he was still, gazing straight before him at the horses, his face hard and angry. He sighed, looked at Saxon, and smiled.

"An' I quit the game right there. An' Billy Murphy's laughed at me for it. He still follows it. A side-line, you know, because he works at a good trade. But once in a while, when the house needs paintin', or the doctor bills are up, or his oldest kid wants a bicycle, he jumps out an' makes fifty or a hundred bucks before some of the clubs. I want you to meet him when it comes handy. He's some boy I'm tellin' you. But it did make me sick that night."

Again the harshness and anger were in his face, and Saxon amazed herself by doing unconsciously what women higher in the social scale have done with deliberate sincerity. Her hand went out impulsively to his holding the lines, resting on top of it for a moment with quick, firm pressure. Her reward was a smile from lips and eyes, as his face turned toward her.

"Gee!" he exclaimed. "I never talk a streak like this to anybody. I just hold my hush an' keep my thinks to myself. But, somehow, I guess it's funny, I kind of have a feelin' I want to make good with you. An' that's why I'm tellin' you my thinks. Anybody can dance."

The way led uptown, past the City Hall and the Fourteenth Street skyscrapers, and out Broadway to Mountain View. Turning to the right at the cemetery, they climbed the Piedmont Heights to Blair Park and plunged into the green coolness of Jack Hayes Canyon. Saxon could not suppress her surprise and joy at the quickness with which they covered the ground.

"They are beautiful," she said. "I never dreamed I'd ever ride behind horses like them. I'm afraid I'll wake up now and find it's a dream. You know, I dream horses all the time. I'd give anything to own one some time."

"It's funny, ain't it?" Billy answered. "I like horses that way. The boss says I'm a wooz at horses. An' I know he's a dub. He don't know the first thing. An' yet he owns two hundred big heavy draughts besides this light drivin' pair, an' I don't own one."

"Yet God makes the horses," Saxon said.

"It's a sure thing the boss don't. Then how does he have so many?-two hundred of 'em, I'm tellin' you. He thinks he likes horses. Honest to God, Saxon, he don't like all his horses as much as I like the last hair on the last tail of the scrubbiest of the bunch. Yet they're his. Wouldn't it jar you?"

"Wouldn't it?" Saxon laughed appreciatively. "I just love fancy shirtwaists, an' I spent my life ironing some of the beautifullest I've ever seen. It's funny, an' it isn't fair."

Billy gritted his teeth in another of his rages.

"An' the way some of them women gets their shirtwaists. It makes me sick, thinkin' of you ironin' 'em. You know what I mean, Saxon. They ain't no use wastin' words over it. You know. I know. Everybody knows. An' it's a hell of a world if men an' women sometimes can't talk to each other about such things." His manner was almost apologetic yet it was defiantly and assertively right. "I never talk this way to other girls. They'd think I'm workin up to designs on 'em. They make me sick the way they're always lookin' for them designs. But you're different I can talk to you that way. I know I've got to. It's the square thing. You're like Billy Murphy, or any other man a man can talk to."

She sighed with a great happiness, and looked at him with unconscious, love-shining eyes.

"It's the same way with me," she said. "The fellows I've run with I've never dared let talk about such things, because I knew they'd take advantage of it. Why, all the time, with them, I've a feeling that we're cheating and lying to each other, playing a game like at a masquerade ball." She paused for a moment, hesitant and debating, then went on in a queer low voice. "I haven't been asleep. I've seen… and heard. I've had my chances, when I was that tired of the laundry I'd have done almost anything. I could have got those fancy shirtwaists… an' all the rest… and maybe a horse to ride. There was a bank cashier… married, too, if you please. He talked to me straight out. I didn't count, you know. I wasn't a girl, with a girl's feelings, or anything. I was nobody. It was just like a business talk. I learned about men from him. He told me what he'd do. He…"