"Not to-night, Emily," the planchette spelled. "I am all broken up. I didn't want Ellis to die. I tried to figure a way to save him; but I couldn't make it go."
When we met again, on the 2d of October, the dictation began with these words:
"I want Edwin to go back to the beginning of the last chapter. I left out a sentence that is necessary. It explains why Ellis left by rail. You insert."
Then he dictated the passage relating to the new railroad and the temporary station. When he had finished he said, "Go on with the story," and the next sentence began, "When Ellis went away it was to the sound of jollity." The reference to Robert Louis Stevenson was new to both of us, and we have not sought to verify the incident. That Mark wanted it included in his story was sufficient for us.
That next chapter contained another accumulation of brevity which was afterward untied. The funeral, the reading of Ellis Hinton's will, Judge Bowers's candidacy, the nomination of Jap Herron as the ugliest man in Bloomtown, Bill's first spree and the local option fight, all these were sketched with the sharpness and sudden transition of pictures on a cinematograph screen. The following chapter was almost as tightly packed with incident, and in the midst of it there was a break, with an astonishing explanation. Three evenings in succession we had had trouble with the planchette. It had seemed to me that Mrs. Hays was trying to pull it from beneath my fingers. Meanwhile she had mentally accused me of digital heaviness. She uses the finger tips of her left hand while I use my right. As a rule our touch is so light that the planchette glides automatically. On these three evenings we had left the board with cramped fingers, and a general sense of dissatisfaction. Several sentences that were plainly spurious were afterward stricken from the record; but we had forgotten about the other scribes who wanted "a pencil on earth," until Mark interrupted the story to say:
"I must ask you to be wary and sharp to dismiss impostors. Right now there are more than twenty hands trying to control your dictation. It is very hard for me. I am disconsolate, and powerless to help myself. If we do not watch every avenue, our work is spoiled. There has been a constant struggle for my rights. I only ask a little help, and you are all my hope. If you fail me, I am undone."
This illuminating outburst served to clear the atmosphere, and the three chapters were afterward expanded into seven, much of the same diction being reproduced. It was as if Mark, knowing the difficulties on his own side of the shadow-line, had tried to get at least the outline of his story down on paper, lest he lose his hold entirely. After that evening we had almost no trouble with intruders.
The story of Jones, of the Barton Standard, came to us like a thunder clap from a cloudless sky, for the part which old Pee-Dee Jones played in the development of Bloomtown and Barton was not related until we had begun the work of revision. In the original story of that near-fight, Mark gave us a significant cross-light on the conditions under which he lives. The marshal had appeared in the office at the crucial moment, as if he had dropped through the roof or arisen out of the floor. Several times in the earlier part of the work the characters had thus appeared without obvious means of locomotion, and I had called attention to the inconsistency, with the result that Mark had dictated a few words to show how or whence the new arrival had come. When Wilfred Jones shouted to the marshal, "I demand protection," my husband, who was reading the evening's copy aloud to us, said:
"How does the marshal happen to be there? I don't see any previous mention of him."
Instantly the planchette, which we always kept in readiness under our finger tips, began to move. It dictated this: