Further Foolishness | Page 5

both sides.
But the Snoopopaths, Man and Woman, can't do this sort of thing, or, at any rate, the snoopopathic writer won't let them. The opportunity is too good to miss. As soon as The Man comes into The Woman's room--before he knows who she is, for she has her back to him--he gets into a condition dear to all snoopopathic readers.
His veins simply "surged." His brain beat against his temples in mad pulsation. His breath "came and went in quick, short pants." (This last might perhaps be done by one of the hotel bellboys, but otherwise it is hard to imagine.)
And The Woman--"Noiseless as his step had been, she seemed to sense his presence. A wave seemed to sweep over her --She turned and rose fronting him full." This doesn't mean that he was full when she fronted him. Her gown--but we know about that already. "It was a coward's trick," she panted.
Now if The Man had had the kind of savoir faire that I have, he would have said: "Oh, pardon me! I see this room is 341. My own room is 343, and to me a one and a three often look so alike that I seem to have walked into 341 while looking for 343." And he could have explained in two words that he had no idea that she was in New York, was not following her, and not proposing to interfere with her in any way. And she would have explained also in two sentences why and how she came to be there. But this wouldn't do. Instead of it, The Man and The Woman go through the grand snoopopathic scene which is so intense that it needs what is really a new kind of language to convey it.
"Helene," he croaked, reaching out his arms--his voice tensed with the infinity of his desire.
"Back," she iced. And then, "Why have you come here?" she hoarsed. "What business have you here?"
"None," he glooped, "none. I have no business." They stood sensing one another.
"I thought you were in Philadelphia," she said--her gown clinging to every fibre of her as she spoke.
"I was," he wheezed.
"And you left it?" she sharped, her voice tense.
"I left it," he said, his voice glumping as he spoke. "Need I tell you why?" He had come nearer to her. She could hear his pants as he moved.
"No, no," she gurgled. "You left it. It is enough. I can understand"--she looked bravely up at him--"I can understand any man leaving it."
Then as he moved still nearer her, there was the sound of a sudden swift step in the corridor. The door opened and there stood before them The Other Man, the Husband of The Woman--Edward Dangerfield.
This, of course, is the grand snoopopathic climax, when the author gets all three of them--The Man, The Woman, and The Woman's Husband--in an hotel room at night. But notice what happens.
He stood in the opening of the doorway looking at them, a slight smile upon his lips.
"Well?" he said. Then he entered the room and stood for a moment quietly looking into The Man's face.
"So," he said, "it was you." He walked into the room and laid the light coat that he had been carrying over his arm upon the table. He drew a cigar-case from his waistcoat pocket.
"Try one of these Havanas," he said.
Observe the calm of it. This is what the snoopopath loves--no rage, no blustering--calmness, cynicism. He walked over towards the mantelpiece and laid his hat upon it. He set his boot upon the fender.
"It was cold this evening," he said. He walked over to the window and gazed a moment into the dark.
"This is a nice hotel," he said. (This scene is what the author and the reader love; they hate to let it go. They'd willingly keep the man walking up and down for hours saying "Well!")
The Man raised his head! "Yes, it's a good hotel," he said. Then he let his head fall again.
This kind of thing goes on until, if possible, the reader is persuaded into thinking that there is nothing going to happen. Then:
"He turned to The Woman. 'Go in there,' he said, pointing to the bedroom door. Mechanically she obeyed." This, by the way, is the first intimation that the reader has that the room in which they were sitting was not a bedroom. The two men were alone. Dangerfield walked over to the chair where he had thrown his coat.
"I bought this coat in St. Louis last fall," he said. His voice was quiet, even passionless. Then from the pocket of the coat he took a revolver and laid it on the table. Marsden watched him without a word.
"Do you see this pistol?" said Dangerfield.
Marsden raised his head a moment and let it sink.
Of course the ignorant reader keeps