Forrester looked again at the photograph. He visioned his great peak, a shadow against the winter stars, crowned with a tiniest point of light—a weak star that invaded those awful solitudes, those dominions of wind and cloud, dawn and darkness, to tell a girl in a store that her man hadn’t forgotten her! He roused from his vision to see Maggie’s husband on his feet, to hear him mumbling good-bye.
“. . . . be terribly amused to hear I seen you,” he heard. “Take it as a favour, boss, if you’d not mention it to no one. . . . do a steady man no good. They’d think I was drunk.”
Forrester got up and shook hands, which seemed to abash the man very much.
“It’s better that way too,” he said abruptly, “though you won’t have the least idea what I mean. If I can ever have the honour of doing anything for you or Maggie, let me know.”
The shabby man was gone. An official in blue and silver buttons was staring suspiciously at Forrester. He scowled at the official, and went and stood in front of the great photograph. He stood there so long that the official gave up watching him and moved away. The room was empty. Forrester glanced around; then he took out his fountain pen.
He looked again at the picture of the peak. “Not mine,” he said under his breath, and humbly, “not mine!” There was a large ticket attached to the frame, bearing the legend: “Mount Forrester from the South-east.” He crossed out the word “Forrester,” and above the erasure, in neat black letters, he wrote the words: “Maggie Delane.” Then he too, went away.
THE WORKER IN SANDAL-WOOD
I like to think of this as a true story, but you who read may please yourselves, siding either with the curé, who says Hyacinthe dreamed it all, and did the carving himself in his sleep, or with Madame. I am sure that Hyacinthe thinks it true, and so does Madame, but then she has the cabinet, with the little birds and the lilies carved at the corners. Monsieur le curé shrugs his patient shoulders; but then he is tainted with the infidelities of cities, good man, having been three times to Montreal, and once, in an electric car, to Sainte Anne. He and Madame still talk it over whenever they meet, though it happened so many years ago, and each leaves the other forever unconvinced. Meanwhile the dust gathers in the infinite fine lines of the little birds’ feathers, and softens the lily stamens where Madame’s duster may not go; and the wood, ageing, takes on a golden gleam as of immemorial sunsets: that pale red wood, heavy with the scent of the ancient East; the wood that Hyacinthe loved.
It was the only wood of that kind which had ever been seen in Terminaison. Pierre L’Oreillard brought it into the workshop one morning; a small heavy bundle wrapped in sacking, and then in burlap, and then in fine soft cloths. He laid it on a pile of shavings, and unwrapped it carefully and a dim sweetness filled the dark shed and hung heavily in the thin winter sunbeams.
Pierre L’Oreillard rubbed the wood respectfully with his knobby fingers. “It is sandal-wood,” he explained to Hyacinthe, pride of knowledge making him expansive; “a most precious wood that grows in warm countries, thou great goblin. Smell it, imbécile. It is sweeter than cedar. It is to make a cabinet for the old Madame at the big house. Thy great hands shall smooth the wood, nigaud, and I,—I, Pierre the cabinet-maker, shall render it beautiful.” Then he went out, locking the door behind him.