The Lady Doc. Caroline Lockhart
voice was more ominous, more final than anger, and she found it hard to preserve her elaborate assumption of ease.
A dull red mounted slowly to her cheeks and faded, leaving them ashen.
"Two doors are open to you." He weighed his words carefully. "If you remain here, suit will be brought against you by Alexander Freoff; and since, in this case, you have acted in violation of all recognized methods of medical science, I will not uphold you. As a matter of fact, immediate action will be taken by the State Medical Board, of which I am a member, to disqualify you. If you leave town within twenty-four hours you will be permitted to go unmolested. This concession I am willing to make; not for your sake but for the sake of the profession which you have disgraced. You have my ultimatum; you may take your choice."
She gripped the arms of her chair hard, silent from an inability to speak. At last she arose uncertainly and said in a voice which was barely audible:
"I will go."
And so it happened that while Dr. Emma Harpe was saying good-by to a few wondering acquaintances who accompanied her to the station, Essie Tisdale was making preparations for a dance which was an event in the embryotic metropolis of Crowheart, several hundred miles away.
Crowheart was booming and the news of its prosperity had spread. Settlers were hurrying toward it from the Middle West to take up homesteads and desert claims in the surrounding country. There was no specific reason why the town should boom, but it did boom in that mysterious fashion which far western towns have, up to a certain stage, after which the reaction sets in.
But there was no thought of reaction now. All was life, eagerness, good-nature, boundless belief in a great and coming prosperity. The Far West and the Middle West greeted each other with cordial, outstretched hands and this dance, though given by a single individual, was in the nature of a reception from the old settlers to the new as well as to celebrate the inception of an undertaking which was to insure Crowheart's prosperity for all time.
Crowheart was platted on a sagebrush "bench" on a spur of a branch railroad. The snow-covered peaks of a lofty range rose skyward in the west. To the north was the solitary butte from which the town received its name. To the south was a line of dimpled foothills, while eastward stretched a barren vista of cactus, sand, and sagebrush. A shallow stream flowed between alkali-coated banks on two sides of the town. In the spring when melting mountain snows filled it to overflowing, it ran swift and yellow; but in the late fall and winter it dropped to an inconsequential creek of clear water, hard with alkali. The inevitable "Main Street" was wide and its two business blocks consisted of one-story buildings of log and unpainted pine lumber. There was the inevitable General Merchandise Store with its huge sign on the high front, and the inevitable newspaper which always exists, like the faithful at prayer, where two or three are gathered together. There were saloons in plenty with irrelevant and picturesque names, a dance hall and a blacksmith shop. The most conspicuous and pretentious building in Crowheart was the Terriberry House, bilious in color and Spartan in its architecture, located in the centre of Main Street on a corner. The houses as yet were chiefly tar-paper shacks or floored and partially boarded tents, but the sound of the saw and the hammer was heard week-days and Sundays so no one could doubt but that it was only a question of time when Crowheart would be comfortably housed. There was nothing distinctive about Crowheart; it had its prototype in a thousand towns between Peace River and the Rio Grande; it was typical of the settlements which are springing up every year along the lines of those railroads that are stretching their tentacles over the Far West. Yet the hopes of Crowheart expressed themselves in boulevards outlined with new stakes and in a park which should, some day, be a breathing spot for a great city. It was Crowheart's last thought that it should remain stationary and obscure.
To Dr. Harpe swinging down from the high step of the single passenger coach in the mixed train of coal and cattle cars, it looked like a highly colored picture on a drop-curtain. The effect was impressionistic and bizarre as it lay in the gorgeous light of the setting sun, yet it pleased and rested the eye of the woman whose thoughts had not been conducive to an appreciation of scenery during the journey past.
As she drew a deep breath of the thin, stimulating air, the tension lessened on her strained nerves. She looked back at the interminable miles over which she had come, the miles which lay between her and the nightmare of disgrace and failure she had left, and then at the new, untried field before her. The light of new hope shone in her handsome hazel eyes, and there was fresh life in her step as she picked up her suitcase and started across the railroad track toward the town.
"Emma Harpe … St. Louis," she wrote boldly upon the bethumbed register of the Terriberry House.
The loungers in the office studied her signature earnestly but it told them nothing of that which they most wished to know—her business. She might be selling books upon the instalment plan: she might be peddling skin-food warranted to restore their weather-beaten complexions to the texture of a baby's: she might be a new inmate for the dance hall. Anything was possible in Crowheart.
She was the object of interested glances as she ate her supper in the long dining-room for, although she was nearly thirty, there was still something of girlhood in her tired face. But she seemed engrossed in her own thoughts and returned to her room as soon as she had eaten. There she lay down upon the patchwork quilt which covered her bed, with her hands clasped above her head, staring at the ceiling and trying to forget the past in conjecturing the future.
The clatter of dishes ceased after a time and with the darkness came the sound of many voices in the hall below. There was laughter and much scurrying to and fro. Then she heard the explanatory tuning of a violin and finally a loud and masterful voice urging the selection of partners for a quadrille. Whoops of exuberance, shrill feminine laughter, and jocose personalities shouted across the room followed. Then, simultaneous with a burst of music, the scuffling of sliding soles and stamping heels told her that the dance was on.
The jubilant shriek of the violin, the lively twang of a guitar, the "boom! boom" of a drum marking time, the stentorian voice of the master of ceremonies, reached her plainly as she lay staring at the stars through the single window of her room. She liked the sounds; they were cheerful; they helped to shut out the dying face of Alice Freoff and to dull the pitiless voice of the coroner. She found herself keeping time with her foot to the music below.
An hour passed with no diminution of the hilarity downstairs and having no desire to sleep she still lay with her lamp unlighted. While she listened her ear caught a sound which had no part in the gayety below. It came faintly at first, then louder as a smothered sob became a sharp intake of breath.
Dr. Harpe sat up and listened intently. The sound was close, apparently at the head of the stairs. She was not mistaken, a woman was crying—so she opened the door.
A crouching figure on the top step shrank farther into the shadow.
"Is that you crying?"
Another sob was the answer.
"What ails you? Come in here."
While she struck a match to light the lamp the girl obeyed mechanically.
Dr. Harpe shoved a chair toward her with her foot.
"Now what's the trouble?" she demanded half humorously. "Are you a wall-flower or is your beau dancing with another girl?"
There was a rush of tears which the girl covered her face with her hands to hide.
"Huh—I hit it, did I?"
While she wept softly, Dr. Harpe inspected her with deliberation. She was tall and awkward, with long, flat feet, and a wide face with high cheek bones that was Scandinavian in its type. Her straight hair was the drab shade which flaxen hair becomes before it darkens, and her large mouth had a solemn, unsmiling droop. Her best feature was her brown, melancholy, imaginative eyes. She looked like the American-born daughter of Swedish or Norwegian emigrants and her large-knuckled hands, too, bespoke the peasant strain.
"Quit it, Niobe, and tell me your name."
The girl raised her tearful eyes.
"Kunkel—Augusta