On the boat going back, when the man calls “Who wants the good-looking waiter?” Tobin tried to plead guilty, feeling the desire to blow the foam off a crock of suds, but when he felt in his pocket he found himself discharged for lack of evidence. Somebody had disturbed his change during the commotion. So we sat, dry, upon the stools, listening to the Dagoes fiddling on deck. If anything, Tobin was lower in spirits and less congenial with his misfortunes than when we started.
On a seat against the railing was a young woman dressed suitable for red automobiles, with hair the colour on an unsmoked meerschaum. In passing by Tobin kicks her foot without intentions, and, being polite to ladies when in drink, he tries to give his hat a twist while apologizing. But he knocks it off, and the wind carries it overboard.
Tobin came back and sat down, and I began to look out for him, for the man’s adversities were becoming frequent. He was apt, when pushed so close by hard luck, to kick the best dressed man he could see, and try to take command of the boat.
Presently Tobin grabs my arm and says, excited: “Jawn,” says he, “do ye know what we’re doing? We’re taking a voyage upon the water.”
“There now,” says I; “subdue yeself. The boat’ll land in ten minutes more.”
“Look,” says he, “at the light lady upon the bench. And have ye forgotten the nigger man that burned me ear? And isn’t the money I had gone—a dollar sixty-five it was?”
I thought he was no more than summing up his catastrophes so as to get violent with good excuse, as men will do, and I tried to make him understand such things was trifles.
“Listen,” says Tobin. “Ye’ve no ear for the gift of prophecy or the miracles of the inspired. What did the palmist lady tell ye out of me hand? ‘Tis coming true before your eyes. ‘Look out,’ says she, ‘for a dark man and a light woman; they’ll bring ye trouble.’ Have ye forgot the nigger man, though he got some of it back from me fist? Can ye show me a lighter woman than the blonde lady that was the cause of me hat falling in the water? And where’s the dollar sixty-five I had in me vest when we left the shooting gallery?”
The way Tobin put it, it did seem to corroborate the art of prediction, though it looked to me that these accidents could happen to any one at Coney without the implication of palmistry.
Tobin got up and walked around on. deck, looking close at the passengers out of his little red eyes. I asked him the interpretation of his movements. Ye never know what Tobin has in his mind until he begins to carry it out.
“Ye should know,” says he, “I’m working out the salvation promised by the lines in me palm. I’m looking for the crooked-nose man that’s to bring the good luck. ‘Tis all that will save us. Jawn, did ye ever see a straighter-nosed gang of hellions in the days of your life?”
‘Twas the nine-thirty boat, and we landed and walked up-town through Twenty-second Street, Tobin being without his hat.
On a street comer, standing under a gas-light and looking over the elevated road at the moon, was a man. A long man he was, dressed decent, with a segar between his teeth, and I saw that his nose made two twists from bridge to end, like the wriggle of a snake. Tobin saw it at the same time, and I heard him breathe hard like a horse when you take the saddle off. He went straight up to the man, and I went with him.
“Good-night to ye,” Tobin says to the man. The man takes out a segar and passes the compliments, sociable.
“Would ye hand us your name,” asks Tobin, “and let us look at the size of it? It may be our duty to become acquainted with ye.”
“My name,” says the man, polite, “is Friedenhausman—Maximus G. Friedenhausman.”
“ ’Tis the right length,” says Tobin. “Do you spell it with an ‘o’ anywhere down the stretch of it?”
“I do not,” says the man.
“Can ye spell it with an ‘o’?” inquires Tobin, turning anxious.
“If your conscience,” says the man with the nose, “is indisposed toward foreign idioms ye might, to please yourself, smuggle the letter into the penultimate syllable.”
“ ’Tis well,” says Tobin. “Ye’re in the presence of Jawn Malone and Daniel Tobin.”
“ ’Tis highly appreciated,” says the man, with a bow. “And now since I cannot conceive that ye would hold a spelling bee upon the street corner, will ye name some reasonable excuse for being at large?”
“By the two signs,” answers Tobin, trying to explain, “which ye display according to the reading of the Egyptian palmist from the sole of me hand, ye’ve been nominated to offset with good luck the lines of trouble leading to the nigger man and the blonde lady with her feet crossed in the boat, besides the financial loss of a dollar sixty-five, all so far fulfilled according to Hoyle.”
The man stopped smoking and looked at me.
“Have ye any amendments,” he asks, “to offer to that statement, or are ye one too? I thought by the looks of ye ye might have him in charge.”
“None,” says I to him, “except that as one horseshoe resembles another so are ye the picture of good luck as predicted by the hand of me friend. If not, then the lines of Danny’s hand may have been crossed, I don’t know.”
“There’s two of ye,” says the man with the nose, looking up and down for the sight of a policeman. “I’ve enjoyed your company immense. Good-night. ”
With that he shoves his segar in his mouth and moves across the street, stepping fast. But Tobin sticks close to one side of him and me at the other.
“What!” says he, stopping on the opposite sidewalk and pushing back his hat; “do ye follow me? I tell ye,” he says, very loud, “I’m proud to have met ye. But it is my desire to be rid of ye. I am off to me home.”
“Do,” says Tobin, leaning against his sleeve. “Do be off to your home. And I will sit at the door of it till ye come out in the morning. For the dependence is upon ye to obviate the curse of the nigger man and the blonde lady and the financial loss of the one-sixty-five.”
“ ’Tis a strange hallucination,” says the man, turning to me as a more reasonable lunatic. “Hadn’t ye better get him home?”
“Listen, man,” says I to him. “Daniel Tobin is as sensible as he ever was. Maybe he is a bit deranged on account of having drink enough to disturb but not enough to settle his wits, but he is no more than following out the legitimate path of his superstitions and predicaments, which I will explain to you.” With that I relates the facts about the palmist lady and how the finger of suspicion points to him as an instrument of good fortune. “Now, understand,” I concludes, “my position in this riot. I am the friend of me friend Tobin, according to me interpretations. ‘Tis easy to be a friend to the prosperous, for it pays; ’tis not hard to be a friend to the poor, for ye get puffed up by gratitude and have your picture printed standing in front of a tenement with a scuttle of coal and an orphan in each hand. But it strains the art of friendship to be true friend to a bom fool. And that’s what I’m doing,” says I, “for, in my opinion, there’s no fortune to be read from the palm of me hand that wasn’t printed there with the handle of a pick. And, though ye’ve got the crookedest nose in New York City, I misdoubt that all the fortune-tellers doing business could milk good luck from ye. But the lines of Danny’s hand pointed to ye fair, and I’ll assist him to experiment with ye until he’s convinced ye’re dry.”
After that the man turns, sudden, to laughing. He leans against a comer and laughs considerable. Then he claps me and Tobin on the backs of us and takes us by an arm apiece.
“ ’Tis my mistake,” says he. “How could I be expecting anything so fine and wonderful to be turning the corner upon me? I came near being found unworthy. Hard by,” says he, “is a café, snug and suitable for the entertainment of idiosyncrasies. Let us go there and have a drink while we discuss the unavailability of the categorical.”
So saying, he marched me and Tobin to the back room of a saloon, and ordered the drinks, and laid the money on the table. He looks at me and Tobin like brothers of his, and we have the sega
rs.
“Ye must know,” says the man of destiny, “that me walk in life is one that is called the literary. I wander abroad be night seeking idiosyncrasies in the masses and truth in the heavens above. When ye came upon me I was in contemplation of the elevated road in conjunction with the chief luminary of night. The rapid transit is poetry and art: the moon but a tedious, dry body, moving by rote. But these are private opinions, for, in the business of literature, the conditions are reversed. ‘Tis me hope to be writing a book to explain the strange things I have discovered in life.”
“Ye will put me in a book,” says Tobin, disgusted; “will ye put me in a book?”
“I will not,” says the man, “for the covers will not hold ye. Not yet. The best I can do is to enjoy ye meself, for the time is not ripe for destroying the limitations of print. Ye would look fantastic in type. All alone by meself must I drink this cup of joy. But, I thank ye, boys; I am truly grateful.”
“The talk of ye,” says Tobin, blowing through his moustache and pounding the table with his fist, “is an eyesore to me patience. There was good luck promised out of the crook of your nose, but ye bear fruit like the bang of a drum. Ye resemble, with your noise of books, the wind blowing through a crack. Sure, now, I would be thinking the palm of me hand lied but for the coming true of the nigger man and the blonde lady and—”
“Whist!” says the long man; “would ye be led astray by physiognomy? Me nose will do what it can within bounds. Let us have these glasses filled again, for ‘tis good to keep idiosyncrasies well moistened, they being subject to deterioration in a dry moral atmosphere.”
So, the man of literature makes good, to my notion, for he pays, cheerful, for everything, the capital of me and Tobin being exhausted by prediction. But Tobin is sore, and drinks quiet, with the red showing in his eye.
By and by we moved out, for ‘twas eleven o’clock, and stands a bit upon the sidewalk. And then the man says he must be going home, and invites me and Tobin to walk that way. We arrives on a side street two blocks away where there is a stretch of brick houses with high stoops and iron fences. The man stops at one of them and looks up at the top windows which he finds dark.
“ ’Tis me humble dwelling,” says he, “and I begin to perceive by the signs that me wife has retired to slumber. Therefore I will venture a bit in the way of hospitality. ’Tis me wish that ye enter the basement room, where we dine, and partake of a reasonable refreshment. There will be some fine cold fowl and cheese and a bottle or two of ale. Ye will be welcome to enter and eat, for I am indebted to ye for diversions.”
The appetite and conscience of me and Tobin was congenial to the proposition, though ’twas sticking hard in Danny’s superstitions to think that a few drinks and a cold lunch should represent the good fortune promised by the palm of his hand.
“Step down the steps,” says the man with the crooked nose, “and I will enter by the door above and let ye in. I will ask the new girl we have in the kitchen,” says he, “to make ye a pot of coffee to drink before ye go. ’Tis fine coffee Katie Mahorner makes for a green girl just landed three months. Step in,” says the man, “and I’ll send her down to ye.”
The Last Leaf
In a little district west of Washington Square the streets have run crazy and broken themselves into small strips called “places.” These “places” make strange angles and curves. One street crosses itself a time or two. An artist once discovered a valuable possibility in this street. Suppose a collector with a bill for paints, paper and canvas should, in traversing this route, suddenly meet himself coming back, without a cent having been paid on account!
So, to quaint old Greenwich Village the art people soon came prowling, hunting for north windows and eighteenth-century gables and Dutch attics and low rents. Then they imported some pewter mugs and a chafing dish or two from Sixth Avenue, and became a “colony.”
At the top of a squatty, three-story brick Sue and Johnsy had their studio. “Johnsy” was familiar for Joanna. One was from Maine; the other from California. They had met at the table d‘hôte of an Eighth Street “Delmonico’s,” and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted.
That was in May. In November a cold, unseen stranger, whom the doctors called Pneumonia, stalked about the colony, touching one here and there with his icy fingers. Over on the east side this ravager strode boldly, smiting his victims by scores, but his feet trod slowly through the maze of the narrow and moss-grown “places.”
Mr. Pneumonia was not what you would call a chivalric old gentleman. A mite of a little woman with blood thinned by California zephyrs was hardly fair game for the red-fisted, short-breathed old duffer. But Johnsy he smote; and she lay, scarcely moving, on her painted iron bedstead, looking through the small Dutch window-panes at the blank side of the next brick house.
One morning the busy doctor invited Sue into the hallway with a shaggy, gray eyebrow.
“She has one chance in—let us say, ten,” he said, as he shook down the mercury in his clinical thermometer. “And that chance is for her to want to live. This way people have of lining-up on the side of the undertaker makes the entire phannacœia look silly. Your little lady has made up her mind that she’s not going to get well. Has she anything on her mind?”
“She—she wanted to paint the Bay of Naples some day,” said Sue.
“Paint?—bosh! Has she anything on her mind worth thinking about twice—a man, for instance?”
“A man?” said Sue, with a jew‘s-harp twang in her voice. “Is a man worth—but, no, doctor; there is nothing of the kind.”
“Well, it is the weakness, then,” said the doctor. “I will do all that science, so far as it may filter through my efforts, can accomplish. But whenever my patient begins to count the carriages in her funeral procession I subtract 50 per cent. from the curative power of medicines. If you will get her to ask one question about the new winter styles in cloak sleeves I will promise you a one-in-five chance for her, instead of one in ten.”
After the doctor had gone Sue went into the workroom and cried a Japanese napkin to a pulp. Then she swaggered into Johnsy’s room with her drawing board, whistling ragtime.
Johnsy lay, scarcely making a ripple under the bedclothes, with her face toward the window. Sue stopped whistling, thinking she was asleep.
She arranged her board and began a pen-and-ink drawing to illustrate a magazine story. Young artists must pave their way to Art by drawing pictures for magazine stories that young authors write to pave their way to Literature.
As Sue was sketching a pair of elegant horseshow riding trousers and a monocle on the figure of the hero, an Idaho cowboy, she heard a low sound, several times repeated. She went quickly to the bedside.
Johnsy’s eyes were open wide. She was looking out the window and counting—counting backward.
“Twelve,” she said, and a little later “eleven”; and then “ten,” and “nine”; and then “eight” and “seven,” almost together.
Sue looked solicitously out of the window. What was there to count? There was only a bare, dreary yard to be seen, and the blank side of the brick house twenty feet away. An old, old ivy vine, gnarled and decayed at the roots, climbed half way up the brick wall. The cold breath of autumn had stricken its leaves from the vine until its skeleton branches clung, almost bare, to the crumbling bricks.
“What is it, dear?” asked Sue.
“Six,” said Johnsy, in almost a whisper. “They’re falling faster now. Three days ago there were almost a hundred. It made my head ache to count them. But now it’s easy. There goes another one. There are only five left now.”
“Five what, dear? Tell your Sudie.”
“Leaves. On the ivy vine. When the last one falls I must go, too. I’ve known that for three days. Didn’t the doctor tell you?”
“Oh, I never heard of such nonsense,” complained Sue, with magnificent scorn. “What have old ivy leaves to do with your getting well?
And you used to love that vine, so, you naughty girl. Don’t be a goosey. Why, the doctor told me this morning that your chances for getting well real soon were—let’s see exactly what he said—he said the chances were ten to one! Why, that’s almost as good a chance as we have in New York when we ride on the street cars or walk past a new building. Try to take some broth now, and let Sudie go back to her drawing, so she can sell the editor man with it, and buy port wine for her sick child, and pork chops for her greedy self.”
“You needn’t get any more wine,” said Johnsy, keeping her eyes fixed out the window. “There goes another. No, I don’t want any broth. That leaves just four. I want to see the last one fall before it gets dark. Then I’ll go, too.”
“Johnsy, dear,” said Sue, bending over her, “will you promise me to keep your eyes closed, and not look out the window until I am done working? I must hand those drawings in by to-morrow. I need the light, or I would draw the shade down. ”
“Couldn’t you draw in the other room?” asked Johnsy, coldly.
“I’d rather be here by you,” said Sue. “Besides, I don’t want you to keep looking at those silly ivy leaves.”
“Tell me as soon as you have finished,” said Johnsy, closing her eyes, and lying white and still as a fallen statue, “because I want to see the last one fall. I’m tired of waiting. I’m tired of thinking. I want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves.”
“Try to sleep,” said Sue. “I must call Behrman up to be my model for the old hermit miner. I’ll not be gone a minute. Don’t try to move ’til I come back. ”
Old Behrman was a painter who lived on the ground floor beneath them. He was past sixty and had a Michael Angelo’s Moses beard curling down from the head of a satyr along the body of an imp. Behrman was a failure in art. Forty years he had wielded the brush without getting near enough to touch the hem of his Mistress’s robe. He had been always about to paint a masterpiece, but had never yet begun it. For several years he had painted nothing except now and then a daub in the line of commerce or advertising. He earned a little by serving as a model to those young artists in the colony who could not pay the price of a professional. He drank gin to excess, and still talked of his coming masterpiece. For the rest he was a fierce little old man, who scoffed terribly at softness in any one, and who regarded himself as especial mastiff-in-waiting to protect the two young artists in the studio above.