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Paul Harrington, the reporter, shifted his eagle glance from one feature to another of the obsequies with the comprehensive yet swift perception of an artist. An experience of three years on the staff had made him an expert on ceremonies, and, captious as he could be when the occasion merited his scorn, his predilection was for praise, as he was an optimist by instinct. This time he could praise unreservedly, and he was impatient to transfer to the pages of his note-book his seething impressions of the solemn beauty and simplicity of the last rites in the painful tragedy. In the rustic church into which he had wormed his way he had already found time to scribble a brief paragraph to the effect that the melancholy event had “shrouded the picturesque little town of Carver in gloom,” and now as he stood on the greensward near, though not too near, he hastily jotted down the points of interest with keen anticipation of working out some telling description on the way home.

Out from the little church where the families of the pair of lovers had worshipped in summer time for a generation, the two coffins, piled high with flowers (Harrington knew them reportorially as caskets), were borne by the band of pall-bearers, stalwart young intimate friends, and lifted by the same hands tenderly into the hearse. The long blackness of their frock-coats and the sable accompaniment of their silk hats, gloves, and ties appealed to the observant faculties of Harrington as in harmony both with the high social position of the parties and the peculiar sadness of the occasion. That a young man and woman, on the eve of matrimony, and with everything to live for, should be hurled into eternity (a Harringtonian figure of speech) by a railroad train at a rustic crossing, while driving, was certainly an affair heartrending enough to invite every habiliment of woe. As he thus reasoned Harrington became aware that one of the stalwart young men was looking at him with an expression which seemed to ask only too plainly, “What the devil are you doing here?”

As a newspaper man of some years’ standing Harrington was hardened. Such an expression of countenance was an almost daily experience and slipped off the armor of his self-respecting hardihood like water off the traditional duck’s back. When people looked at him like this he simply took refuge in his consciousness of the necessities of the case and the honesty of his own artistic purpose. The press must be served faithfully and indefatigably–boldly, moreover, and at times officiously, in order to attain legitimate results; yet he flattered himself that no one could ever say of him that he had “butted in” where others of his craft would have paused, or was lacking in reportorial delicacy. Was he not simply doing his professional duty for hire, like any respectable lawyer or doctor or architect, in order to support his family? Were he to trouble his head because impetuous people frowned, his wife, Amelia, and infant son, Tesla, would be the sufferers–a thought which was a constant stimulus to enterprise. His “job” required “cheek” perhaps, but nine people out of ten were not sensible enough to realize that he was a modern necessity, and to ask themselves, “Is this man doing his work creditably?” There was the essence of the situation for Harrington, and from the world’s lack of nice perception he had made for himself a grievance which rendered him indifferent to ill-considered scowls.

But, however indifferent his attitude, nothing ever escaped Harrington, and he noticed that the young man whose eyes met his with the expression of annoyance was well set up and manly in appearance–a “dude,” in Harrington’s parlance, but a pleasant-looking dude, with an open and rather strong countenance. Such was Harrington’s deduction, in spite of the obvious hostility to himself, and in confirmation of this view he had the satisfaction of perceiving the tension of the young man’s face relax, as though he had come to the conclusion, on second thoughts, that interference was, on the whole, not worth while.