The Heart Line: A Drama of San FranciscoBurgess, Gelett
General
The Heart Line: A Drama of San Francisco
Burgess, Gelett
Bohemianism -- Fiction; Fortune-tellers -- Fiction; San Francisco (Calif.) -- Fiction
This had once been a dining-room and its walls were covered with a
figured paper, above which was a bright red border decorated with
Japanese fans and parasols. A few gaudy paper lanterns hung from the
ceiling, and here and there were hung framed mottoes: "There Is No
Death"—"We Shall Meet Again"—"There Is a Land that is Fairer than Day."
This room was filled with chairs set in rows, and would hold some forty
or fifty persons. It was separated by an arch from a smaller room
beyond, where, upon a platform, stood a table with an open Bible, an
organ, two chairs and a folding screen.
Only the front seats were at present occupied, these by habitués of the
place, all firm believers, a picturesque group showing at a glance the
stigmata of eccentricity or mental aberration. For the most part they
were women in black; they bowed to one another as they sat down, then
waited in stolid patience for the séance to open. The others were pale,
blue-eyed men with drooping mustaches and carefully parted hair, and a
whiskered, bald-headed old gentleman or two who sat in silence. The
room was dimly illuminated by side lights.
Farther down the hallway, opposite the foot of a flight of stairs
leading upward to her living-rooms, was Madam Spoll’s "study," and here
she was, this evening, preparing for business.
This room was small and crowded with furniture. The marble mantel held
an assortment of bisque bric-à-brac, sea-shells, paper knives and cheap
curiosities. The walls were covered with photographs, a placque or two,
fans and picture cards. A huge folding bed, foolishly imitating a
mirrored sideboard, occupied one corner of the room. A couch covered
with fancy cushions and tidies ran beside it. A table, heavily draped,
a three-legged tea-stand, an easel with a satin sash bearing the
portrait, photographically enlarged in crayon, of a bold, smirking,
overdressed little girl, a ragged trunk and several plush-covered chairs
were huddled, higgledy-piggledy, along the other side of the room.
Upon the couch Madam Spoll sat, spraying envelopes with alcohol from an
atomizer on a small bamboo stand before her.
She was an enormous woman of masculine type, with short, briskly
curling, iron-gray hair and a triple chin. Heavy eyebrows, heavy lips,
heavy ears and cheeks had Madam Spoll, but her forehead was unlined with
wrinkles; her expression was serene, and, when she smiled, engaging and
conciliating. She was dressed in black satin with wing-like sleeves,
the front of her waist being covered with a triangular decoration of
bead-work.
Watching her with roving, black eyes was Professor Vixley, smoking a
vile cigar. His face was sallow, of a predatory mold with a pointed,
mangy beard, and sharp, yellow teeth. He wore a soft, striped flannel
shirt with a flowing pink tie. From the sleeves of his shiny, cutaway
coat, faded to a purplish hue, his thin, tanned, muscular hands showed
like the claws of a vulture.
Public-domain text, read in full here on John Shaqi.
The Heart Line: A Drama of San Francisco — John Shaqi
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