Most frequently, however, Adelaide was busy with her own affairs, and when this was the case, the two men sat quietly together, sometimes talking and sometimes listening.
"The Bishop is here," Adelaide would say to Cally-Lou. Then it seemed that Cally-Lou would make some reply that could only be heard through the ears of the imagination, to which Adelaide would respond most earnestly: "Why of course he isn't asleep, 'cause I saw him wink both eyes just now"—and the conversation would go on, sometimes good-humouredly, and sometimes charged with pretended indignation. If there had been any telephones, Mr. Sanders would inevitably have said: "You can't make me believe thar ain't some un at the other eend of the line."
I would say it was all like a play on the stage, only it wasn't as small as that. A play on the stage, as you well know, has its times and places. It must come to an end within a reasonable time. The curtain comes down, the audience files out, laughing and chatting, or wiping its eyes—as the case may be—the actors run to their cheerless rooms to strip off their tinsel finery, then the lights are put out, and everything is left to the chill of emptiness and gloom. But this was not the way with the play at old Jonas's home. It began early in the morning—for Adelaide was a very early riser—and lasted until bed-time; and, sometimes, longer, as Lucindy could have told you. Old Jonas had a way of covering his bald head with a flannel night-cap, and tucking the bed-covering about his face and ears, so that light and sound, no matter where they came from, would have as much as they could do to reach his eyes and ears; and, while he lay very still, as though he were sound asleep, he was sometimes awake for a very long time, thinking old thoughts and new ones, remembering people he had pinched in money matters, and thinking of those he intended to pinch.
After Adelaide came to live with him he had few thoughts of this kind, and less desire to sleep. Frequently he lay awake for hours at a time, wondering if the child was comfortable. Adelaide slept in a poster bed, one of the old-fashioned kind, and many a night, when everything was still and dark as the gloomy plague that fell over Egypt, old Jonas would slip from under his carefully tucked cover, steal into the room where the child slept, and listen by her bedside to convince himself that she was really breathing, so softly and shyly did she draw her breath. And sometimes he would put out his hand and feel—oh, ever so gently!—if she had kicked off the covering.
"Old Jonas would listen by her bedside to convince himself that she was really breathing"
Now, it frequently happened that Lucindy, the cook, had the same spells of uneasiness, and it chanced one night that they were both at the child's bed at the same time. Old Jonas was feeling, and Lucindy was feeling, and their hands met; the cold hand of old Jonas touched Lucindy's hand. This was enough! Lucindy said not a word—indeed, words were beyond her—she said afterward that she came within one of uttering a scream and dropping to the floor. But the fright that had weakened her, had also given her strength to escape. She stole back to her place on tip-toe, declaring in her mind that she would never again enter that room at night unless she had torch-bearers to escort her.