"Turnips? No; it can't be.
"Well, it's very much like it."
The puzzled doctor opened the door into the hall, and at first it
appeared that he was going to give back two paces. A result of
frizzling turnips, which was almost as tangible as mist, had blown in
upon his face and made him gasp. "Good God! Willis, what can this be?"
he cried.
"Whee!" said the painter. "It's awful, isn't it?"
The doctor made his way hurriedly to his wife, but before he could
speak with her he had to endure the business of greeting a score of
women. Then he whispered, "Out in the hall there's an awful--"
[Illustration: "THE SOLEMN ODOR OF BURNING TURNIPS ROLLED IN LIKE A
SEA-FOG"]
But at that moment it came to them on the wings of a sudden draught.
The solemn odor of burning turnips rolled in like a sea-fog, and fell
upon that dainty, perfumed tea party. It was almost a personality; if
some unbidden and extremely odious guest had entered the room, the
effect would have been much the same. The sprightly talk stopped with
a jolt, and people looked at each other. Then a few brave and
considerate persons made the usual attempt to talk away as if nothing
had happened. They all looked at their hostess, who wore an air of
stupefaction.
The odor of burning turnips grew and grew. To Trescott it seemed to
make a noise. He thought he could hear the dull roar of this outrage.
Under some circumstances he might have been able to take the situation
from a point of view of comedy, but the agony of his wife was too
acute, and, for him, too visible. She was saying: "Yes, we saw the
play the last time we were in New York. I liked it very much. That
scene in the second act--the gloomy church, you know, and all
that--and the organ playing--and then when the four singing little
girls came in--" But Trescott comprehended that she did not know if
she was talking of a play or a parachute.
He had not been in the room twenty seconds before his brow suddenly
flushed with an angry inspiration. He left the room hastily, leaving
behind him an incoherent phrase of apology, and charged upon his
office, where he found the painter somnolent.
"Willis!" he cried, sternly, "come with me. It's that damn kid of
yours!"
The painter was immediately agitated. He always seemed to feel more
than any one else in the world the peculiar ability of his child to
create resounding excitement, but he seemed always to exhibit his
feelings very late. He arose hastily, and hurried after Trescott to
the top of the inside cellar stairway. Trescott motioned him to pause,
and for an instant they listened.
"Hurry up, Jim," cried the busy little Cora. "Here's another whole
batch of lovely puddings. Hurry up now, an' put 'em in the oven."
Trescott looked at the painter; the painter groaned. Then they
appeared violently in the middle of the great kitchen of the hotel
with a thousand people in it. "Jimmie, go up-stairs!" said Trescott,
and then he turned to watch the painter deal with the angel child.
With some imitation of wrath, the painter stalked to his daughter's
side and grasped her by the arm.
[Illustration: "'HERE'S ANOTHER BATCH OF LOVELY PUDDINGS'"]
"Oh, papa! papa!" she screamed. "You're pinching me! You're pinching
me! You're pinching me, papa!"
At first the painter had seemed resolved to keep his grip, but
suddenly he let go her arm in a panic. "I've hurt her," he said,
turning to Trescott.
Trescott had swiftly done much towards the obliteration of the hotel
kitchen, but he looked up now and spoke, after a short period of
reflection. "You've hurt her, have you? Well, hurt her again. Spank
her!" he cried, enthusiastically. "Spank her, confound you, man! She
needs it. Here's your chance. Spank her, and spank her good. Spank
her!"
The painter naturally wavered over this incendiary proposition, but at
last, in one supreme burst of daring, he shut his eyes and again
grabbed his precious offspring.
The spanking was lamentably the work of a perfect bungler. It couldn't
have hurt at all; but the angel child raised to heaven a loud, clear
soprano howl that expressed the last word in even mediaeval anguish.
Soon the painter was aghast. "Stop it, darling! I didn't mean--I
didn't mean to--to hurt you so much, you know." He danced nervously.
Trescott sat on a box, and devilishly smiled.
But the pasture call of suffering motherhood came down to them, and a
moment later a splendid apparition appeared on the cellar stairs. She
understood the scene at a glance. "Willis! What have you been doing?"
Trescott sat on his box, the painter guiltily moved from foot to foot,
and the angel child advanced to her mother with arms outstretched,
making a piteous wail of amazed and pained pride that would have moved
Peter the Great. Regardless of her frock, the panting mother knelt on
the stone floor and took her child to her bosom, and looked, then,
bitterly, scornfully, at the cowering father and husband.
The painter, for his part, at once looked reproachfully at Trescott,
as if to say: "There! You see?"
Trescott arose and extended his hands in a quiet but magnificent
gesture of despair and weariness. He seemed about to say something
classic, and, quite instinctively, they waited. The stillness was
deep, and the wait was longer than a moment. "Well," he said, "we
can't live in the cellar. Let's go up-stairs."
X