And now for Hetty’s thumb-nail biography while she climbs the two flights of stairs.
She walked into the Biggest Store one morning four years before with seventy-five other girls, applying for a job behind the waist department counter. The phalanx of wage-earners formed a bewildering scene of beauty, carrying a total mass of blond hair sufficient to have justified the horseback gallops of a hundred Lady Godivas.
The capable, cool-eyed, impersonal, young, bald-headed man whose task it was to engage six of the contestants, was aware of a feeling of suffocation as if he were drowning in a sea of frangipanni, while white clouds, hand-embroidered, floated about him. And then a sail hove in sight. Hetty Pepper, homely of countenance, with small, contemptuous, green eyes and chocolate-colored hair, dressed in a suit of plain burlap and a commonsense hat, stood before him with every one of her twenty-nine years of life unmistakably in sight.
“You’re on!” shouted the bald-headed young man, and was saved. And that is how Hetty came to be employed in the Biggest Store. The story of her rise to an eight-dollar-a-week salary is the combined stories of Hercules, Joan of Arc, Una, Job, and Little-Red-Riding-Hood. You shall not learn from me the salary that was paid her as a beginner. There is a sentiment growing about such things, and I want no millionaire store-proprietors climbing the fire-escape of my tenement-house to throw dynamite bombs into my skylight boudoir.
The story of Hetty’s discharge from the Biggest Store is so nearly a repetition of her engagement as to be monotonous.
In each department of the store there is an omniscient, omnipresent, and omnivorous person carrying always a mileage book and a red necktie, and referred to as a “buyer.” The destinies of the girls in his department who live on (see Bureau of Victual Statistics) — so much per week are in his hands.
This particular buyer was a capable, cool-eyed, impersonal, young, bald-headed man. As he walked along the aisles of his department he seemed to be sailing on a sea of frangipanni, while white clouds, machine-embroidered, floated around him. Too many sweets bring surfeit. He looked upon Hetty Pepper’s homely countenance, emerald eyes, and chocolate-colored hair as a welcome oasis of green in a desert of cloying beauty. In a quiet angle of a counter he pinched her arm kindly, three inches above the elbow. She slapped him three feet away with one good blow of her muscular and not especially lily-white right. So, now you know why Hetty Pepper came to leave the Biggest Store at thirty minutes’ notice, with one dime and a nickel in her purse.
This morning’s quotations list the price of rib beef at six cents per (butcher’s) pound. But on the day that Hetty was “released” by the B. S. the price was seven and one-half cents. That fact is what makes this story possible. Otherwise, the extra four cents would have —
But the plot of nearly all the good stories in the world is concerned with shorts who were unable to cover; so you can find no fault with this one.
Hetty mounted with her rib beef to her $3.50 third-floor back. One hot, savory beef-stew for supper, a night’s good sleep, and she would be fit in the morning to apply again for the tasks of Hercules, Joan of Arc, Una, Job, and Little-Red-Riding-Hood.
In her room she got the granite-ware stewpan out of the 2×4-foot china — er — I mean earthenware closet, and began to dig down in a rat’s-nest of paper bags for the potatoes and onions. She came out with her nose and chin just a little sharper pointed.
There was neither a potato nor an onion. Now, what kind of a beef-stew can you make out of simply beef? You can make oyster-soup without oysters, turtle-soup without turtles, coffee-cake without coffee, but you can’t make beef-stew without potatoes and onions.
But rib beef alone, in an emergency, can make an ordinary pine door look like a wrought-iron gambling-house portal to the wolf. With salt and pepper and a tablespoonful of flour (first well stirred in a little cold water) ‘twill serve— ’tis not so deep as a lobster à la Newburg nor so wide as a church festival doughnut; but ‘twill serve.
Hetty took her stewpan to the rear of the third-floor hall. According to the advertisements of the Vallambrosa there was running water to be found there. Between you and me and the water-meter, it only ambled or walked through the faucets; but technicalities have no place here. There was also a sink where housekeeping roomers often met to dump their coffee grounds and glare at one another’s kimonos.
At this sink Hetty found a girl with heavy, gold-brown, artistic hair and plaintive eyes, washing two large “Irish” potatoes. Hetty knew the Vallambrosa as well as any one not owning “double hextra-magnifying eyes” could compass its mysteries. The kimonos were her encyclopedia, her “Who’s What?” her clearinghouse of news, of goers and comers. From a rose-pink kimono edged with Nile green she had learned that the girl with the potatoes was a miniature-painter living in a kind of attic — or “studio,” as they prefer to call it — on the top floor. Hetty was not certain in her mind what a miniature was; but it certainly wasn’t a house; because house-painters, although they wear splashy overalls and poke ladders in your face on the street, are known to indulge in a riotous profusion of food at home.
The potato girl was quite slim and small, and handled her potatoes as an old bachelor uncle handles a baby who is cutting teeth. She had a dull shoemaker’s knife in her right hand, and she had begun to peel one of the potatoes with it.
Hetty addressed her in the punctiliously formal tone of one who intends to be cheerfully familiar with you in the second round.
“Beg pardon,” she said, “for butting into what’s not my business, but if you peel them potatoes you lose out. They’re new Bermudas. You want to scrape ‘em. Lemme show you.”
She took a potato and the knife, and began to demonstrate.
“Oh, thank you,” breathed the artist. “I didn’t know. And I did hate to see the thick peeling go; it seemed such a waste. But I thought they always had to be peeled. When you’ve got only potatoes to eat, the peelings count, you know.”
“Say, kid,” said Hetty, staying her knife, “you ain’t up against it, too, are you?”
The miniature artist smiled starvedly.
“I suppose I am. Art — or, at least, the way I interpret it — doesn’t seem to be much in demand. I have only these potatoes for my dinner. But they aren’t so bad boiled and hot, with a little butter and salt.”
“Child,” said Hetty, letting a brief smile soften her rigid features, “Fate has sent me and you together. I’ve had it handed to me in the neck, too; but I’ve got a chunk of meat in my, room as big as a lap-dog. And I’ve done everything to get potatoes except pray for ‘em. Let’s me and you bunch our commissary departments and make a stew of ‘em. We’ll cook it in my room. If we only had an onion to go in it! Say, kid, you haven’t got a couple of pennies that’ve slipped down into the lining of your last winter’s sealskin, have you? I could step down to the corner and get one at old Giuseppe’s stand. A stew without an onion is worse’n a matinée without candy.”
“You may call me Cecilia,” said the artist. “No; I spent my last penny three days ago.”
“Then we’ll have to cut the onion out instead of slicing it in,” said Hetty. “I’d ask the janitress for one, but I don’t want ’em hep just yet to the fact that I’m pounding the asphalt for another job. But I wish we did have an onion.”
In the shopgirl’s room the two began to prepare their supper. Cecilia’s part was to sit on the couch helplessly and beg to be allowed to do something, in the voice of a cooing ring-dove. Hetty prepared the rib beef, putting it in cold salted water in the stewpan and setting it on the one-burner gas-stove.
“I wish we had an onion,” said Hetty, as she scraped the two potatoes.
On the wall opposite the couch was pinned a flaming, gorgeous advertising picture of one of the new ferryboats of the P. U. F.