Part 6

First, I tried out what is known as the Bay State Lunch, so called because on Thursdays they have a fishcake special. It is one of the hundreds of "self-serving" lunchrooms, where you approach the marble counter and give your order in a low tone to a man in a barber's coat, and then repeat it at intervals of one minute, each time louder and each time to a different man, until you are forced to point to a tub of salmon salad and say, "Some of that," for which your ticket is punched and you are allowed to take your portion and nurse it on the over-developed arm of a chair.

Here the roast beef shot through the Punch and Judy arrangement in the wall, a piece of meat about as large around as a man's-size mitten, steeping in its own gravy and of a pale reddish hue. The price was twenty cents, which included a dab of mashed potato dished out in an ice-cream scoop, a generous allowance of tender peas, two hot tea-biscuits and butter to match.

Considering the basic ingredient, it was a perfectly satisfactory meal, and I felt that twenty cents was little enough to pay for it, especially since it was going in on my expense account.

For the next experiment I went to a restaurant where business men are wont to gather for luncheon, men who pride themselves on their acumen and adherence to the principles of efficiency. The place has a French name and its menus are printed on a card the size of a life insurance company's complimentary calendar, always an ominous sign. The roast beef here was served cold, with a plate of escarole salad (when I was a boy I used to have to dig escarole out of the front lawn with a trowel so that the grass could have a chance) for seventy-five cents.

The meat bulked a little larger than at the Bay State Lunch, but when the fat had been cut away and trimmed off the salvage was about the size of a boy's mitten. As for the taste, the only difference that I could detect was that one had been hot and the other cold.

And, incidentally, the waiter had some bosom friends in the next room who fascinated him so that it was all I could do to make him see that if he didn't come around to me once in a while, just as a matter of form, there would be no way for me to tip him. Beef and salad, plus tip, ninety cents.

That evening I ambled up the Bowery until I came to the Busy Home Restaurant. On a black-board in front was written, "Roast Beef, Mashed Potatoes and Coffee, 10 Cents." My old hunger again seized me. I said to myself: "Look here! Be a man! This thing is getting the best of you." But before I knew it I was inside and seated at an oilcloth-covered table, saying, in a hoarse voice, "Roast beef!"

The waiter was dressed in an informal costume, with his shirt-sleeves rolled up and a mulatto apron about his waist, but he smiled genially when he took my order and was back with it in two minutes. The article itself was of the regulation size, cut somewhat thinner, perhaps, and bordering on the gray in hue, but undoubtedly roast beef. It, too, had an affinity for its own gravy and hid itself modestly under an avalanche of mashed potatoes. A cup of coffee was also included in the ten cents' initial expense, but I somehow wasn't coffee-thirsty that night, and so didn't sample it. But I did help myself to the plate piled high with fresh bread which was left in front of me. All in all, it was what I should call a representative roast beef dinner. And I got more than ten cents' worth of calories, I know.

But so far I had kept below the Fourteenth Street belt in my investigations. Roast beef is a cosmopolitan habit, and knows no arbitrary boundaries; so I went uptown. Into one of the larger of our largest hotels, one which is not so near the Grand Central Station as to be in the train-shed, and yet not so far removed from it as to be represented by a different Assemblyman. Here, I felt, would be the test. Could roast beef come back? Surrounded by glittering chandeliers and rich tapestries, snowy table linen and silver service, here was the chance for the ordinary roast beef to become a veritable dainty, with some character, some distinctive touch that should lift it above all that roast beef has ever meant before. I entered the dining-room, in high hopes.

Clad in a walking suit of virile tweed, I considered myself respectably dressed. Not ostentatiously respectable, mind you, but, since most of the other diners were in evening dress, rather _distingué_, I thought.

But apparently the hotel retainers weren't trained to look through a rough exterior and find the sterling qualities beneath. They looked through my rough exterior all right, but they didn't stop at my sterling qualities. They looked right through to the man behind me, and gave him the signal that there was a seat for him.

Not to be outdone, however, I got my place in the sun by cleverly tripping my rival as he passed me, so that he fell into the fountain arrangement, while I sat down in the seat pulled out for him by the head waiter. And, once I was in, there was nothing for them to do but let me stay.

After I had been there a few minutes a waiter came and put on a fresh table cloth. Five minutes later another man placed a knife and spoon at my plate. Later in the evening a boy with a basket of rolls wandered by and deposited one on my table with a pair of pincers. Personally, I was rather glad that it was working out this way, for it would make my story all the better, but I might have really been in a hurry for my dinner.

It wasn't long, as the crow flies, before one of the third assistant waiters unloosened enough to drop round and see if there was anything else I wanted besides one roll and a knife and spoon. I looked over the menu as if I were in a pretty captious mood, and then, with the air of an epicure who has tasted to the dregs all the condiments of Arabia and whose jaded palate refuses to thrill any longer, I ordered "roast beef."

It was billed as "90 (.80)," which didn't strike me as being very steep, considering the overhead expense there must be in keeping little knots of waiters and 'bus-boys standing round doing nothing in the further corner of the room.

The waiter wasn't very enthusiastic over my order, and something saved me from asking him if they threw in "a side" of mashed potatoes with the meat. He seemed to expect something more, even after I had ordered potatoes, so I suggested an artichoke. That cheered him up more than anything I had done that evening, and he really got quite fratty and said: "A little salad, sir?" Again I imitated a man who has had more experience with salads than any other three men put together and who has found them a miserable sham.

"No; that will be all for now," I said, and turned wearily away. I wanted to tell him that I had a dinner coat at home that looked enough sight better than his, but there is no use in making a scene when it can be avoided.

During the next twenty minutes the orchestra played once and I ate my roll. Then the roast beef came.

On a silver platter, with a silver cover, it was placed before me under the best possible scenic conditions. But the thing that met my gaze when the cover was lifted might just as well have been the same property piece of roast beef that was keeping company with a dab of mashed potato in the Bay State Lunch. It had a trifle more fat, was just a shade pinker, and perhaps a micrometer could have detected a bit more bulk; but, so far as I was concerned or so far as the calories were concerned, it was the same. I won't say that it was the same as the Roast Beef Special of the Bowery Restaurant, because the service in the Bowery Restaurant was infinitely better.

As a fitting garniture to such a dish, there was a corsage of watercress draped on the corner of the salver. At any rate, it could be said for it that it was not intoxicating, and so could never cause any real misery in this world.

I nibbled at my roast beef, but my spirit was broken. I had gone through a week of self-denial, ordering roast beef when I craved edibles, eating at restaurants while my family waited for me at home, and here was the result of my researches: Roast beef is roast beef, and nothing can prevent it. From the ten-cent order of the Busy Home Restaurant, up through to the piece I was then eating, it was the same grim reality, the only justification for a difference in price being a silver salver or a waiter in a tuxedo.

"But," I said to myself, "eighty cents isn't so much, at that. Besides, I have heard the orchestra play one tune every half-hour, and have had a kind word from one of the _chargés d'affaires_ of the waiter's staff."

This quite reconciled me, until my check was brought. There, added to the initial expense of eighty cents, was the upkeep, such as "Cover, 25c." "Potatoes, 30c." And to this must be added the modest fee of twenty cents to the waiter and ten cents to the hat-boy who gave me the wrong hat. Total expense for one piece of roast beef, $1.70.

These investigations may not prove to be much of a contribution to modern science or economics. I doubt if they are ever incorporated in any textbook, even if it should be a textbook on this very subject. But I must take credit to myself for one thing: Not once throughout the whole report have I alluded to the Tenderloin District.

XII

THE COMMUNITY MASQUE AS A SUBSTITUTE FOR WAR

With War and Licker removed from the list of "What's Going on This Week," how will mankind spend the long summer evenings? Some advocate another war. Others recommend a piece of yeast in a glass of grape-juice. The effect is said to be equally devastating.

But there is a new school, led by Percy Mackaye, which brings forward a scheme for occupying the spare time of the world which has, at least, the savor of novelty. It presents the community masque as a substitute for war. Whenever a neighborhood, or county, feels the old craving for blood-letting and gas-bombing coming on, a town meeting is to be called and plans drawn up for the presentation of a masque entitled "Democracy" or "From Chrysalis to Butterfly." In this simple way, one and all will be kept out in the open air and will get to know each other better, thus relieving their bellicose cravings right there on the village green among themselves, without dragging a foreign nation into the mess at all. The slogan is "Fight Your Neighbors First. Why Go Abroad for War?"

The community masque idea is all right in itself. There certainly can be no harm in dressing up to represent the Three Platoon System, or the Spirit of Machinery, and reciting free verse to the effect that:

"I am the Three Platoon System. Firemen I represent, And the clash and clang of the Hook and Ladder Company."

No one could find fault with that, provided that those taking part in the thing do so of their own free will and understand what they are doing.

The trouble with the community masque is not so much with the masque as with the community. For while the masque may be a five star sporting extra hot from the presses of Percy Mackaye, the community is the same old community that has been getting together for inter-Sunday School track-meets and Wig and Footlight Club Amateur Theatricals for years and years, and the result has always been the same.

Let us say, for instance, that the community of Wimblehurst begins to feel the lack of a good, rousing war to keep the Ladies' Guild and the men over thirty-five busy. What could be more natural than to call in Mr. Mackaye, and say: "What have you got in the way of a nice masque for a suburban district containing many socially possible people and others who might do very well in ensemble work?"

Something entitled "The March of Civilization" is selected, because it calls for Boy Scout uniforms and a Goddess of Liberty costume, all of which are on hand, together with lots of Red Cross regalia, left over from the war drives. The plot of the thing concerns the adventures of the young girl _Civilization_ who leaves her home in the _Neolithic Period_ accompanied only by her faithful old nurse _Language_ and _Language's_ little children the _Vowels_ and the _Consonants_. She is followed all the way from the Neolithic Age to the Present Time by the evil spirit, _Indigestion_, but, thanks to the helpful offices of the _Spirits of Capillary Attraction_, and _Indestructibility of Matter_, she overcomes all obstacles and reaches her goal, _The League of Nations_, at last.

But during the course of her wanderings, there have been all kinds of sub-plots which bring the element of suspense into the thing. For instance, it seems that this person _Indigestion_ has found out something about _Civilization's_ father which gives him the upper hand over the girl, and he, together with the two gunmen, _Heat_ and _Humidity_, arrange all kinds of traps for the poor thing to fall into. But she takes counsel with the kind old lady, _Self-Determination of Peoples_, and is considerably helped by the low comedy character, _Obesity_, who always appears at just the right moment. So in the end, there is a big ensemble, involving Boy Scouts, representatives of those Allies who happen to be in good standing in that particular month, seven boys and girls personifying the twelve months of the year, Red Cross workers, the Mayor's Committee of Welcome, a selection of Major Prophets, children typifying the ten different ways of cooking an egg, and the all-pervading _Spirit of the Post-Office Department_, seated on a daïs in the rear and watching over the assemblage with kindly eyes and an armful of bricks.

This, then, is in brief outline, "The March of Civilization," selected for presentation by the Community Council of Wimblehurst. It is to be done on the edge of the woods which line the golf-course, and on paper, the thing shapes up rather well.

Considerable hard feeling arises, however, over the choice of the children to play the parts of the _Vowels_ and the _Consonants_. It is, of course, not possible to have all the vowels and consonants represented, as they would clutter up the stage and might prove unwieldy in the allegretto passages. A compromise is therefore effected by personifying only the more graceful ones, like _S_ and the lower-case _f_, and this means that a certain discrimination must be used in selecting the actors. It also means that a great many little girls are going to be disappointed and their mothers' feelings outraged.

Little Alice Withstanley is chosen to play the part of the _Craft Guild Movement in Industry_, showing the rise of coöperation and unity among the working-classes. She is chosen because she has blonde hair which can be arranged in braids down her back, obviously essential to a proper representation of industrial team-work as a moving force in the world's progress. It so happens, however, that the daughter of the man who is cast for _Humidity_ has had her eyes on this ingénue part ever since the printed text was circulated and had virtually been promised it by the Head of the House Committee of the Country Club, through whose kindness the grounds were to be used for the performance. There is a heated discussion over the merits of the two contestants between Mrs. Withstanley and the mother of the betrayed girl, which results in the withdrawal of the latter's offer to furnish Turkish rugs for the Oriental Decadence scene.

Following this, the rougher element of the community--enlisted to take part in the scenes showing the building of the Pyramids and the first Battle of Bull Run--appear at one of the early rehearsals in a state of bolshevik upheaval, protesting against the unjust ruling which makes them attend all rehearsals and wait around on the side hill until their scenes are on, keeping them inactive sometimes from two to three hours, according to the finish with which the principals get through the prologue and opening scenes showing the Creation. The proletariat present an ultimatum, saying that the Committee in charge can either shorten their waiting hours or remove the restrictions on crap-shooting on the side-hill during their periods of inaction.

There is a meeting of the Director and his assistants who elect a delegation to confer with the striking legionaries, with the result that no compromise is reached, the soviet withdraws from the masque in a body, threatening to set fire to the grass on the first night of the performance.

During the rehearsals the husband of the woman who is portraying _Winter Wheat_ is found wandering along the brookside with her sister cereal _Spring Wheat_, which, of course, makes further polite coöperation between these two staples impossible, and the Dance of the Food Stuffs has to be abandoned at the last moment. This adds to the general tension.

Three nights before the first performance the Director calls every one to a meeting in the trophy room of the Club-house and says that, so far as he is concerned, the show is off. He has given up his time to come out here, night after night, in an attempt to put on a masque that will be a credit to the community and a significant event in the world of art, and what has he found? Indifference, irresponsibility, lack of coöperation, non-attendance at rehearsals, and a spirit of _laissez-faire_ in the face of which it is impossible to produce a successful masque. Consideration for his own reputation, as well as that of the township, makes it necessary for him to throw the whole thing over, here and now.

The Chairman of the Committee then gets up and cries a little, and says that he is sure that if every one agrees to pull together during these last three days and to attend rehearsals faithfully and to try to get plenty of sleep, Mr. Parsleigh, the coach, will consent to help them through with the performance, and he asks every one who is willing to coöperate to say "Aye." Every one says "Aye" and Mr. Parsleigh is won over.

As for the masque itself, it is given, of course; and as most of the able-bodied people of the community are taking part, the audience is composed chiefly of the aged and the infirm, who catch muscular rheumatism from sitting out-of-doors and are greatly bored, except during those scenes when their relatives are taking part. The masque is hailed as a great success, however, in spite of the fact that the community has been disrupted and social life made impossible until the next generation grows up and agrees to let bygones be bygones.

But as a substitute for war, it has no equal.

XIII

CALL FOR MR. KENWORTHY!

A great many people have wondered to themselves, in print, just where the little black laundry-studs go after they have been yanked from the shirt. Others pass this by as inconsequential, but are concerned over the ultimate disposition of all the pencil stubs that are thrown away. Such futile rumination is all well enough for those who like it. As for me, give me a big, throbbing question like this: "Who are the people that one hears being paged in hotels? Are they real people or are they decoys? And if they are real people, what are they being paged for?"

Now, there's something vital to figure out. And the best of it is that it _can_ be figured out by the simple process of following the page to see whether he ever finds any one.

In order that no expense should be spared, I picked out a hotel with poor service, which means that it was an expensive hotel. It was so expensive that all you could hear was the page's voice as he walked by you; his footfalls made no noise in the extra heavy Bokhara. It was just a mingling of floating voices, calling for "Mr. Bla-bla, Mr. Schwer-a-a, Mr. Twa-a-a."

Out of this wealth of experimental material I picked a boy with a discouraged voice like Wallace Eddinger's, who seemed to be saying "I'm calling these names--because that's my job--if I wasn't calling these--I'd be calling out cash totals in an honor system lunchery--but if any one should ever answer to one of these names--I'd have a poor spell."

Allowing about fifteen feet distance between us for appearance's sake, I followed him through the lobby. He had a bunch of slips in his hand and from these he read the names of the pagees.

"Call for Mr. Kenworthy--Mr. Shriner--Mr. Bodkin--Mr. Blevitch--Mr. Kenworthy--Mr. Bodkin--Mr. Kenworthy--Mr. Shriner--call for Mr. Kenworthy--Mr. Blevitch--Mr. Kenworthy."

Mr. Kenworthy seemed to be standing about a 20 per cent better chance of being located than any of the other contestants. Probably the boy was of a romantic temperament and liked the name. Sometimes that was the only name he would call for mile upon mile. It occurred to me that perhaps Mr. Kenworthy was the only one wanted, and that the other names were just put in to make it harder, or to give body to the thing.

But when we entered the bar the youth shifted his attack. The name of Kenworthy evidently had begun to cloy. He was fed up on romance and wanted something substantial, homely, perhaps, but substantial.

So he dropped Kenworthy and called: "Mr. Blevitch. Call for Mr. Blevitch--Mr. Shriner--Mr. Bodkin--Mr. Blevitch--"

But even this subtle change of tactics failed to net him a customer. We had gone through the main lobby, along the narrow passage lined with young men waiting on sofas for young women who would be forty minutes late, through the grill, and now had crossed the bar, and no one had raised even an eyebrow. No wonder the boy's voice sounded discouraged.

As we went through one of the lesser dining-rooms, the dining-room that seats a lot of heavy men in business suits holding cigarettes, who lean over their plates the more confidentially to converse with their blond partners, in this dining-room the plaintive call drew fire. One of the men in business suits, who was at a table with another man and two women, lifted his head when he heard the sound of names being called.

"Boy!" he said, and waved like a traffic officer signaling, "Come!"

Eagerly the page darted forward. Perhaps this was Mr. Kenworthy! Or better yet, Mr. Blevitch.

"Anything here for Studz?" said the man in the business suit, when he was sure that enough people were listening.

"No, sir," sighed the boy. "Mr. Blevitch, Mr. Kenworthy, Mr. Shriner, Mr. Bodkin?" he suggested, hopefully.

"Naw," replied the man, and turned to his associates with an air of saying: "Rotten service here--just think of it, no call for me!"

On we went again. The boy was plainly skeptical. He read his lines without feeling. The management had led him into this; all he could do was to take it with as good grace as possible.

He slid past the coat-room girl at the exit (no small accomplishment in itself) and down a corridor, disappearing through a swinging door at the end. I was in no mood to lose out on the finish after following so far, and I dashed after him.

The door led into a little alcove and another palpitating door at the opposite end showed me where he had gone. Setting my jaw for no particular reason, I pushed my way through.

At first, like the poor olive merchant in the Arabian Nights I was blinded by the glare of lights and the glitter of glass and silver. Oh, yes, and by the snowy whiteness of the napery, too. "By the napery of the neck" wouldn't be a bad line to get off a little later in the story. I'll try it.