Chapter 10

The railroad division superintendent, a well-fed and easy-going man, came down from his office on the second floor of the station building and saw Pop sitting on a baggage-truck. The old negro, forgetful of the clod in his coat-tail pocket, had felt it when he sat down. He had taken it out of his pocket and was now casually looking at it as he held it in his hand.

“Hello, Pop!” said the division superintendent, upon whose hand time was hanging heavily. “What have you there?”

“Doan' know, Mistah Monroe. Doan' know, sah. Looks like jes' a chunk o' mud.”

He held out the clod to Mr. Monroe.

The spectacle of the division superintendent talking to the old negro attracted a group of lazy fellows,--the driver of an express wagon, the man who hauls the mail to the post-office, a boy who sold fruit to passengers on the train, two porters, with tin signs upon their hats, who solicited patronage from the hotels.

“Why, Pop,” said the superintendent, winking to the expressman, “this lump looks as though it contained gold.”

“Yes,” put in the expressman, “that's how gold comes in a mine. I've often handled it. That's the stuff, sure.”

The fruit-selling boy and the mail-man grinned. Pop Thornberry opened wide his mouth and eyes and softly repeated the word:

“Goal!”

“I'd be careful of it,” advised Mr. Monroe, handing the clod back to the negro.

Pop took it with a trembling hand and looked at it. Presently he asked:

“W'at'll you give me foh dat air goal, Mistah Monroe.”

“Oh, a piece like that would be no use to me. It has to be washed and it wouldn't be worth while putting just one piece through the whole process of cleaning. Now. If you have a lot of it, we might go into partnership in the gold business.”

Before the old man could answer to this pleasantry a whistle was heard up the track, and Pop was forgotten in the excitement attending the arrival of the train.

Dislodged from the baggage-truck, the old man looked around for Mr. Monroe, but the superintendent had disappeared. Pop did not seek to carry any satchels that day. His mind was full of other matters. He went behind the station and sat down beside the river.

“Goal!” That meant proper tombstones for the graves of his wife and children, a new pulpit for the African Methodist Church, equal to that of the African Baptist Church, future ease for his somewhat weary legs and arms and back.

The next afternoon the division superintendent found himself awaited at his office door by Pop Thornberry, who was very dusty and who carried a basket heavy with clods of clay and mica. He had been out to the arid field that morning.

“H-sh!” whispered Pop. “Doan' say a word, Mistah Monroe! Hyah's a lot o' dem air goal lumps, and I know weah dey's bushels moah,--plenty 'nuff to go into pahtnehship on.”

The superintendent, looked bewildered, then amused, then ashamed. Embarrassed for a reply, he finally said:

“I haven't time to talk to you now, Pop. Besides, I've made up my mind not to go into the gold business. You see, I'm rich enough already. Good day.”

Thereafter Pop lay in wait for Mr. Monroe daily, but the superintendent always avoided him. Pop neglected to earn his living and spent his time going about town with his basket of clods in search of the superintendent. Finally being openly ignored by Mr. Monroe when the two met face to face, Pop became angry and took his secret to a jeweller on Main Street. The jeweller laughed and told Pop that the gold in the basket must be worth at least a thousand dollars, but he was not in a position to buy crude gold. Then the jeweller made known to many that Pop Thornberry was crazy over some lumps of mud and mica that he mistook for gold.

After that, people would stop Pop on the street and say:

“Let's see a piece of the gold in your basket.”

Pop, astonished that his secret was out, but somewhat proud at being thought the possessor of a treasure, would hesitate and then comply. The small boys soon recognized in Pop's delusion a new means of fun. Observing the solicitude with which he watched his clod while out of his own hands, they would innocently ask for a glimpse into his basket. This granted, they would grasp a piece of his treasure and run away, greatly annoying the old man, who was in a state of keen distress until he recovered the abstracted clod. These affairs between Pop and the boys were of hourly recurrence. They diverted barroom loungers and passers-by.

Pop called on one local capitalist after another, seeking one who would buy his gold or aid into preparing it for the market. All laughed at his delusion, deeming it harmless, and all gave him good reason for not accepting his offer of business partnership. So he went from the bank president to the baker, from the member of congress for whom he had voted to the barber, from the hotel proprietor to the bartender. The negroes of the town, feeling that their race was humiliated in Pop, began to hold aloof from him. No serious-minded person who learned of his delusion gave it a second thought.

“Say Pop, where do you get this gold, anyhow?” asked a tobacco-chewing gamin at the railroad station one day.

“Dat's my business,” replied Thornberry, with some dignity.

“Oh,” said his questioner, “I know. Tobe McStenger followed you out the other day and saw where you got it. He'd a brung some in hisself, but it wasn't on his property.”

“Yes, Pop, you better look out,” put in a telegraph operator, “or you'll be taken up for trespassing. 'Tisn't your land, you know, where you find your gold.”

There was no truth in the assertion of the gamin. No one had taken the trouble to follow Pop in his semiweekly excursions to the barren field. But the old man knew that the field was not his. A ludicrous expression of overwhelming fright came over his face.

Three days afterward, the farmer who owned the worthless field was astonished when Pop offered to buy it.

“But what on earth do you want that land fer?” asked the farmer, sitting on his barnyard fence.

Pop made a guilty attempt to appear guileless, and told the farmer that he wished to build a shanty and raise potatoes. He was tired of living in town and sought the quietude of the hills.

“Bein' as dat ere fiel' ain't good foh much, I thought you might be willin' to paht with it,” explained Pop.

The farmer eventually agreed to build a shanty on the field and sell it to Pop for $180. Pop desired immediate occupancy. There was a legal hitch, owing to the badness of the land and the questionable condition of Pop's mind. But the transfer of the property was finally recorded.

Pop no longer had to fear arrest for trespass. His gold field was now legally his. But he was still kept uneasy by his inability to make his gold marketable. His uneasiness increased as September approached. He had applied to the purchase of the field the sum saved to cancel the mortgage upon his house at the rear end of the town.

The three days before the foreclosure of the mortgage were days of exquisite anguish to Pop. When the foreclosure came and he and his goods were turned out on the banks of the creek to make room for the mill-owner's improvements, his mental turmoil ended. He took the crisis calmly.

“Jes' wait,” he said to a neighbour who had stopped at sight of the moving-out. “Wait till I get dat ere goal on de mahket. I'll bull' a mill dat'll drive dis yer mill out o' d' business. Den I'll done buy back dis yer ol' home.”

But the next day, when the unexpected happened,--when builders began to tear down his house,--the enormity of his deed dawned upon him. After a day of moaning and staring, as he sat amidst his household goods on the bank of the creek, he became animated by a deep rage against the mill-owner. Now more than ever had he a special purpose for enriching himself by means of his treasure across the hill.

The coming of two circuses in succession had taken the interest of the boys away from Pop during August and part of September. Now they turned again to him for amusement. First they besieged the abandoned stable to which he had conveyed his goods, and in which he slept,--for he had not found will to betake himself from the town he had so long inhabited, and his shanty in the field remained unoccupied. His purchase of the land had betrayed to general knowledge the location of his treasure, of which he continued to bring in new specimens.

One October day he had just come from vainly attempting to induce the postmaster to join him in the enterprise of exploiting his gold-field. In front of the post-office, he was met by some boys coming noisily from school. They surrounded him and demanded to see the gold in his basket. As the town policeman was sauntering up the street, Pop felt safe in refusing. The boys, also observing the officer of the law, contented themselves with retaliating in words only,

“Say, Pop,” cried one of them, “you'd better keep an eye on your gold-field. Nick Hennessey knows where it is, and he's gittin' up a diggin' party to take a wagon out some night and bring away all your gold.”

The boys, laughing at this quickly invented announcement, ran off after a hand-organ. The old man stood perfectly still, or as nearly so as the feebleness of his legs would permit.

That evening Pop was missing from the town. And when Abraham Wesley, who had often lent his shotgun to the old man, went to look for that weapon, intending to shoot glass balls in the fairgrounds across the river, the fowling-piece too was missing.

Pop had gone out to protect his possession. Three nights passed and three days. The few country folk and others who travelled that way during this time saw the old man walking about in his field or sitting in front of his shanty, his shotgun on his shoulders, his eyes fixed suspiciously on all who might become intruders. Night and day he patrolled his little domain.

At dusk of the third day a lively party was returning to the town in a wagon from a search for nuts. The full moon was rising and the merrymakers were singing. One of the girls was thirsty. When she saw the shanty in the rugged field, she asked a young man to get her a glass of water at the hut. The wagon stopped and the youth climbed astride the rail fence. Suddenly an unnaturally shrill and excited voice was heard:

“Hyah, you, doan' come no farder! Dese yer's my premises!”

From behind the empty shanty appeared the thin old negro, bareheaded, his shotgun at his shoulder, a striking figure against the rising moon.

The young man descended from the fence into the field. There came a flash and a crack from Pop Thornberry's gun. The youth felt the sting of a piece of birdshot in his leg. Howling and limping, he turned quickly over the fence into the wagon, which made a hasty flight.

The next morning some idlers went out from the town to the scene of the adventure. They found the old man lying hatless in the middle of the field, face downwards, upon the shotgun. He had died of sheer exhaustion, on guard--and on his own land, as befit an honest citizen who had never intruded upon the peace of other men.

XXI. -- AT THE STAGE DOOR

[Footnote: Courtesy of _Lippincott's Magazine_.Copyright, 1892, by J. B. Lippincott Company.]

First let me explain how I came to be sitting in so unsavoury a place as Gorson's “fifteen cent oyster and chop house” that night. Most newspaper men--the rank and file--receive remuneration by the week. Those not given over to domesticity, those who enjoy that alluring regularity identical with liberty, fare sumptuously, as a rule, on “pay-day.” Thereafter the quantity and quality of the good things of life that they enjoy diminish daily until the next pay-day.

Pay-day with us was Friday. This was Thursday night. I having gone to unusual lengths of good cheer in the early part of that week, had now fallen low, and was duly thankful for what I could get--even at Gorson's.

As my glance wandered over my table, over the beer-bottles and the oysters, beyond the crowd of ravenous and vulgar eaters and hurrying waiters, to the street door, some one opened that door from the outside and entered. An odd looking personage this some one.

A person very tall and conspicuously thin. These peculiarities were accentuated by the dilapidated frock coat that reached to his knees, and thus concealed the greater portion of his gray summer trousers, which “bagged” exceedingly and were picturesquely frayed at the bottom edges, as I could see when he came nearer to me. He wore a faded straw hat, which looked forlorn, as the month was January. His face, despite its angularity of outline and its wanness, had that expression of complacency which often relieves from pathos the countenances of harmlessly demented people. His hair was gray, but his somewhat formidable looking moustache was still dark. He carried an unadorned walking-stick and under his left arm was what a journalistic eye immediately recognized as manuscript. From the man's aspect of extreme poverty, I deduced that his manuscripts were never accepted.

As he passed the cashier's desk, he stopped, lowered his body, not by stooping in the usual way, but by bending his knees, and with a quick sweep of his eyes by way of informing himself whether or not he was observed, he picked up a cigar stump that some one had dropped there.

Then he walked with a rather shambling but self-important gait to the table next mine, carefully placed his manuscript upon a chair, and sat down upon it. He was soon lost in a prolonged contemplation of the limited bill of fare posted on the wall, a study which resulted in his ordering, through a hustling, pugnacious-looking waiter, a bowl of oatmeal.

A bowl of oatmeal is the least expensive item on the bill of fare at Gorson's. When I hear a man ordering oatmeal in a cheap eating-house, my heart aches for him. I had just the money and the intention to procure another bottle of beer and another box of cigarettes. The sum required to obtain these necessaries of life is exactly the price of a bowl of oatmeal and a steak at Gorson's. So I hastily arose to go, and on my way out I had a brief conversation with the bellicose-appearing waiter, which resulted in my unknown friend's being overwhelmed with amazement later when the waiter brought him a warm steak with his oatmeal and said that some one else had already paid his bill. I did not wait to witness this result, for the man looked one of the sort to put forth a show of indignation at being made an object of charity.

An hour later I saw him walking with an air of consequence up Broadway, smoking what was probably the bit of cigar he had picked up in the restaurant. He still carried his manuscript, which was wrapped in a soiled blue paper. As I was hurrying up-town on an assignment for the newspaper, I could not observe his movements further than to see that when he reached Fourteenth Street he made for one of the benches in Union Square.

It was by the size, shape, and blue cover that I recognized that manuscript two days later upon the desk of the editor of the Sunday supplementary pages of the paper, as I was submitting to that personage a “special” I had written upon the fertile theme, “Producing a Burlesque.”

“May I ask what that stuff is wrapped in blue?”

“Certainly. A crank in the last stages of alcoholism and mental depression brought it in yesterday. It's an idiotic jumble about Beautiful Women of History, part in prose and part in doggerel.”

“Of course you'll reject it?”

“Naturally. I'll ease his mind by telling him the subject lacks contemporaneousness. Have a cigarette? By the way, have you any special interest in the rubbish?”

“No; I only think I've seen it before somewhere. What's the writer's name and address?”

“It's to be called for. He didn't leave any address. From that fact and his appearance, I infer that he doesn't have any permanent abode. Here's his name,--Ernest Ruddle. Not half as much individuality in the name as in the man. I remember him because he had a straw hat on.”

The burlesque production which had served as material for my Sunday article saw the light for the first time on the following Monday night. There being no other theatrical novelty in New York that night, the town--represented by the critics and the sporting and self-styled Bohemian elements--was there. The performance was to have a popular comedian as the central figure, and was to serve, also, to reintroduce a once favourite comic-opera prima donna, who had been abroad for some years. This stage queen had once beheld the town at her feet. She had abdicated her throne in the height of her glory, having made the greatest success of her career on a certain Monday night, and having disappeared from New York on Tuesday, shortly afterward materializing in Paris.

There was abundant curiosity awaiting the appearance of Louise Moran, as the playbills called her. It was whispered, to be sure, by some who had seen her in burlesque in London, after her flight from America, that she had grown a bit passée; but this was refuted by the interviewers who had met her on her return and had duly chronicled that she looked “as rosy and youthful as ever.” Brokers, gilded youth, all that curious lot of masculinity classified under the general head of “men about town,” crowded into the theatre that night, and when, after being heralded at length by the chorus, the returned prima donna appeared, in shining drab tights, she had a long and noisy reception.

My friendly acquaintance with the leading comedian and the stage manager had served to obtain for me an unusual privilege,--that of witnessing the first night's performance from the wings. As I looked out across the stage and the footlights, and saw the sea of faces in the yellowish haze, a familiar visage held my eye. It was in the front row of the top gallery, and was projected far over the railing, putting its owner in some risk of decapitation. An intent look on the pale countenance at once distinguished it from the terrace of uninteresting, monotonous faces that rose back of it. The face was that of my man of the restaurant and of the blue-covered manuscript.

I stood, somewhat in the way of the light man, where my eye could command most of the stage, and a brief section of the auditorium, from parquet to roof. The star of the evening, having rattled off, with much sang-froid and a London intonation, a few lines of thinly humourous dialogue, came toward the footlights to sing. While the conductor of the orchestra poised his baton and cast an apprehensive look at her, she began:

“I'm one of the swells Whose accent tells That we've done the Contenong.”

When she had sung only to this point, people in the audience were exchanging significant smiles. There was no doubt of it; Louise Moran's voice had lost its beauty. The years and joys of life abroad had done their work. We now knew why she had given up comic opera and had gone into burlesque. The house was so taken by surprise that at the end of her second stanza, where applause should have come, none came. There was no occasion for her to draw upon her supply of “encore verses.”

Unprepared for the chilling silence that followed her song, she bestowed upon the audience a look of mingled astonishment, pain, and resentment. But she recovered self-possession promptly and delivered the few spoken lines preceding her exit gaily enough. Her face clouded as soon as she was off the stage. She abused her maid in her dressing-room and sent the comedian's “dresser” out for some troches. The state of her mind was not improved by the sound of a hail-storm-like sound that came from the direction of the stage shortly after,--the applause at the leading comedian's entrance.

As the newspapers said the next day, the only honours of that performance were with the comedian. The star of Louise Moran had set. Not only was her singing-voice a ruin, but the actress had grown coarse in visage. The once willowy outlines of her figure had rounded vulgarly. On the face, audacity had taken place of piquancy. Even the dark gray eyes, which somehow seemed black across the footlights, had lost some lustre.

Why had the once lovely creature come back from Europe to disturb the memories of her other radiant self, and to turn those dainty photographs of her earlier person into lies?

Every man in the house was thinking this question at the end of the first act.

She had another solo to sing in the second act. It was while she was attempting this that my glance strayed to the man in the gallery. His face this time surprised me.

It wore a look of ineffable sympathy and sorrow. Surely tears were falling from the sad eyes.

This pity touched me. It was so solitary. The feeling of the rest of the audience was plainly one of resentful derision at being disappointed.

After the performance I waited for the comedian. He was called before the curtain and a speech was extorted from him. There were but a few faint cries for the actress, to which she did not respond. She had summoned the manager to her dressing-room. While she hastily assumed her wraps for the street, she was excitedly complaining of the musical director “for not knowing his business,” the comedian for “interfering” in her scenes, the composer for writing the music too high, and the librettist for supplying such “beastly rubbish” in the way of dialogue.

“Very well; I'll call a rehearsal to-morrow at ten,” the conciliatory manager replied. “You talk to Myers” (the musical director) “yourself about it. And you can introduce those two songs you speak of. Myers will fix the other music to suit your voice.”

“And you start Elliott to write over the libretto at once,” she commanded, “and see that that song and dance clown” (the comedian) “never comes on the stage when I'm on, if it can be helped, or I won't go on at all. That's settled!”

The comedian and I left the stage door together. The actress's cab was waiting at the opposite side of the dark alley-like street upon which the stage door opened. This street or court, stretching its gloomy way from a main street, is a place of tall warehouses, rear walls, and bad paving. The electric light at its point of junction with the main street does not penetrate half-way to the stage entrance, and the blackness thereabout is diluted with the rays of the lonely, indifferent gas-lamp that projects above the old wooden door. Farther on, an old-fashioned street-lamp marks the place where the alley turns to wind about until it eventually reaches another main street.

This dark region, the feeble lamp above the stage door, the shadows opposite, have a peculiar charm, especially at night. One would not think that within that door is a short corridor leading to the mystic realm which the people “in front” idealize into a wonderful inaccessible country, the playworld. Back here, especially on a rainy night and before the playworld's inhabitants begin to sally forth to partake of terrestrial beer and sandwiches, one seems millions of miles away from the crowds of men and women in the theatre and from the illumined street in front.