When they picked up the limp body, from which came little moans and howls, the crowd almost turned into a mob, a silent mob, each member of which struggled for one thing. Afterward some resumed their ways with an air of relief, as if they themselves had been in pain and were at last recovered. Others still continued to stare at the ambulance on its banging, clanging return journey until it vanished into the golden haze. It was as if they had been cheated. Their eyes expressed discontent at this curtain which had been rung down in the midst of the drama. And this impenetrable fabric suddenly intervening between a suffering creature and their curiosity, seemed to appear to them as an injustice.
NEW YORK’S BICYCLE SPEEDWAY
The Bowery has had its day as a famous New York street. It is now a mere tradition. Broadway will long hold its place as the chief vein of the city’s life. No process of expansion can ever leave it abandoned to the cheap clothing dealers and dime museum robbers. It is too strategic in position. But lately the Western Boulevard which slants from the Columbus monument at the southwest corner of Central Park to the river has vaulted to a startling prominence and is now one of the sights of New York. This is caused by the bicycle. Once the Boulevard was a quiet avenue whose particular distinctions were its shade trees and its third foot-walk which extended in Parisian fashion down the middle of the street. Also it was noted for its billboards and its huge and slumberous apartment hotels. Now, however, it is the great thoroughfare for bicycles. On these gorgeous spring days they appear in thousands. All mankind is a-wheel apparently and a person on nothing but legs feels like a strange animal. A mighty army of wheels streams from the brick wilderness below Central Park and speeds over the asphalt. In the cool of the evening it returns with swaying and flashing of myriad lamps.
The bicycle crowd has completely subjugated the street. The glittering wheels dominate it from end to end. The cafes and dining rooms of the apartment hotels are occupied mainly by people in bicycle clothes. Even the billboards have surrendered. They advertise wheels and lamps and tires and patent saddles with all the flaming vehemence of circus art. Even when they do condescend to still advertise a patent medicine, you are sure to confront a lithograph of a young person in bloomers who is saying in large type: “Yes, George, I find that Willowrum always refreshes me after these long rides.”
Down at the Circle where stands the patient Columbus, the stores are crowded with bicycle goods. There are innumerable repair shops. Everything is bicycle. In the afternoon the parade begins. The great discoverer, erect on his tall grey shaft, must feel his stone head whirl when the battalions come swinging and shining around the curve.
It is interesting to note the way in which the blasphemous and terrible truck-drivers of the lower part of the city will hunt a bicyclist. A truck-driver, of course, believes that a wheelman is a pest. The average man could not feel more annoyance if nature had suddenly invented some new kind of mosquito. And so the truck-driver resolves in his dreadful way to make life as troublous and thrilling for the wheelman as he possibly can. The wheelman suffers under a great handicap. He is struggling over the most uneven cobbles which bless a metropolis. Twenty horses threaten him and forty wheels miss his shoulder by an inch. In his ears there is a hideous din. It surrounds him, envelopes him.
Add to this trouble, then, a truckman with a fiend’s desire to see dead wheelmen. The situation affords deep excitement for everyone concerned.
But when a truck-driver comes to the Boulevard the beautiful balance of the universe is apparent. The teamster sits mute, motionless, casting sidelong glances at the wheels which spin by him. He still contrives to exhibit a sort of a sombre defiance, but he has no oath nor gesture nor wily scheme to drive a three-ton wagon over the prostrate body of some unhappy cyclist. On the Boulevard this roaring lion from down town is so subdued, so isolated that he brings tears to the sympathetic eye.
There is a new game on the Boulevard. It is the game of Bicycle Cop and Scorcher. When the scorcher scorches beyond the patience of the law, the bicycle policeman, if in sight, takes after him. Usually the scorcher has a blissful confidence in his ability to scorch and thinks it much easier to just ride away from the policeman than to go to court and pay a fine. So they go flying up the Boulevard with the whole mob of wheelmen and wheelwomen, eager to see the race, sweeping after them. But the bicycle police are mighty hard riders and it takes a flier to escape them. The affair usually ends in calamity for the scorcher, but in the meantime fifty or sixty cyclists have had a period of delirious joy.
Bicycle Cop and Scorcher is a good game, but after all it is not as good as the game that was played in the old days when the suggestion of a corps of bicycle police in neat knickerbockers would have scandalized Mulberry street. This was the game of Fat Policeman on Foot Trying to Stop a Spurt. A huge, unwieldy officer rushing out into the street and wildly trying to head off and grab some rider who was spinning along in just one silver flash was a sight that caused the populace to turn out in a body. If some madman started at a fierce gait from the Columbus monument, he could have the consciousness that at frequent and exciting intervals, red-faced policemen would gallop out at him and frenziedly clutch at his coattails. And owing to a curious dispensation, the majority of the policemen along the Boulevard were very stout and could swear most graphically in from two to five languages.
But they changed all that. The un-police-like bicycle police are wonderfully clever and the vivid excitement of other days is gone. Even the scorcher seems to feel depressed and narrowly looks over the nearest officer before he starts on his frantic career.
The girl in bloomers is, of course, upon her native heath when she steers her steel steed into the Boulevard. One becomes conscious of a bewildering variety in bloomers. There are some that fit and some that do not fit. There are some that were not made to fit and there are some that couldn’t fit anyhow. As a matter of fact the bloomer costume is now in one of the primary stages of its evolution. Let us hope so at any rate. Of course every decent citizen concedes that women shall wear what they please and it is supposed that he covenants with himself not to grin and nudge his neighbor when anything particularly amazing passes him on the street but resolves to simply and industriously mind his own affairs. Still the situation no doubt harrows him greatly. No man was ever found to defend bloomers. His farthest statement, as an individual, is to advocate them for all women he does not know and cares nothing about. Most women become radical enough to say: “Why shouldn’t I wear ’em, if I choose.” Still, a second look at the Boulevard convinces one that the world is slowly, solemnly, inevitably coming to bloomers. We are about to enter an age of bloomers and the bicycle, that machine which has gained an economic position of the most tremendous importance, is going to be responsible for more than the bruises on the departed fat policemen of the Boulevard.
AN ELOQUENCE OF GRIEF
The windows were high and saintly, of the shape that is found in churches. From time to time a policeman at the door spoke sharply to some incoming person. “Take your hat off!” He displayed in his voice the horror of a priest when the sanctity of a chapel is defied or forgotten. The court-room was crowded with people who sloped back comfortably in their chairs, regarding with undeviating glances the procession and its attendant and guardian policemen that moved slowly inside the spear-topped railing. All persons connected with a case went close to the magistrate’s desk before a word was spoken in the matter, and then their voices were toned to the ordinary talking strength. The crowd in the court-room could not hear a sentence; they could merely see shifting figures, men that gestured quietly, women that sometimes raised an eager eloquent arm. They could not always see the judge, although they were able to estimate his location by the tall stands surmounted by white globes that were at either hand of him. And so those who had come for curiosity’s sweet sake wore an air of being in wait for a cry of anguish, some loud painful protestation that would bring the proper thrill to their jaded, world-weary nerves—wires that refused to vi
brate for ordinary affairs.
Inside the railing the court officers shuffled the various groups with speed and skill; and behind the desk the magistrate patiently toiled his way through mazes of wonderful testimony.
In a corner of this space, devoted to those who had business before the judge, an officer in plain clothes stood with a girl that wept constantly. None seemed to notice the girl and there was no reason why she should be noticed if the curious in the body of the courtroom were not interested in the devastation which tears bring upon some complexions. Her tears seemed to burn like acid and they left fierce pink marks on her face. Occasionally the girl looked across the room where two well-dressed young women and a man stood waiting with the serenity of people who are not concerned as to the interior fittings of a jail.
The business of the court progressed and presently the girl, the officer and the well-dressed contingent stood before the judge. Thereupon two lawyers engaged in some preliminary fire-wheels which were endured, generally, in silence. The girl, it appeared, was accused of stealing fifty dollars’ worth of silk clothing from the room of one of the well-dressed women. She had been a servant in the house.
In a clear way and with none of the ferocity that an accuser often exhibits in a police-court, calmly and moderately, the two young women gave their testimony. Behind them stood their escort, always mute. His part, evidently, was to furnish the dignity, and he furnished it heavily, almost massively.
When they had finished, the girl told her part. She had full, almost Afric, lips, and they had turned quite white. The lawyer for the others asked some questions, which he did—be it said, in passing—with the air of a man throwing flower-pots at a stone house.
It was a short case and soon finished. At the end of it the judge said that, considering the evidence, he would have to commit the girl for trial. Instantly the quick-eyed court officer began to clear the way for the next case. The well-dressed women and their escort turned one way and the girl turned another, toward a door with an austere arch leading into a stone-paved passage. Then it was that a great cry rang through the court-room, the cry of this girl who believed that she was lost.
The loungers, many of them, underwent a spasmodic movement as if they had been knived. The court officers rallied quickly. The girl fell back opportunely for the arms of one of them, and her wild heels clicked twice on the floor. “I am innocent! Oh, I am innocent!”
People pity those who need none, and the guilty sob alone; but innocent or guilty, this girl’s scream described such a profound depth of woe—it was so graphic of grief, that it slit with a dagger’s sweep the curtain of common-place, and disclosed the gloom-shrouded spectre that sat in the young girl’s heart so plainly, in so universal a tone of the mind, that a man heard expressed some far-off midnight terror of his own thought.
The cries died away down the stone-paved passage. A patrolman leaned one arm composedly on the railing, and down below him stood an aged, almost toothless wanderer, tottering and grinning.
“Plase, yer honer,” said the old man as the time arrived for him to speak, “if ye’ll lave me go this time, I’ve niver been dhrunk be-foor, sir.”
A court officer lifted his hand to hide a smile.
IN THE TENDERLOIN:
A DUEL BETWEEN AN ALARM CLOCK AND A SUICIDAL PURPOSE
Everybody knows all about the Tenderloin district of New York. There is no man that has the slightest claim to citizenship that does not know all there is to know concerning the Tenderloin. It is wonderful—this amount of truth which the world’s clergy and police forces have collected concerning the Tenderloin. My friends from the stars obtain all this information, if possible, and then go into this wilderness and apply it. Upon observing you, certain spirits of the jungle will term you a wise guy, but there is no gentle humor in the Tenderloin, so you need not fear that this remark is anything but a tribute to your knowledge.
Once upon a time there was fought in the Tenderloin a duel between an Alarm Clock and a Suicidal Purpose. That such a duel was fought is a matter of no consequence, but it may be worth a telling, because it may be the single Tenderloin incident about which every man in the world has not exhaustive information.
It seems that Swift Doyer and his girl quarreled. Swift was jealous in the strange and devious way of his kind, and at midnight, his voice burdened with admonition, grief and deadly menace, roared through the little flat and conveyed news of the strife up the airshaft and down the air-shaft.
“Lied to me, didn’t you?” he cried. “Told me a lie and thought I wouldn’t get onto you. Lied to me! Lied to me! There’s where I get crazy. If you hadn’t lied to me in one thing, and I hadn’t collared you flat in it, I might believe all the rest, but now—how do I know you ever tell the truth? How do I know I ain’t always getting a game? Hey? How do I know?”
To the indifferent people whose windows opened on the airshaft there came the sound of a girl’s low sobbing, while into it at times burst wildly the hoarse bitterness and rage of the man’s tone. A grim thing is a Tenderloin air-shaft.
Swift arose and paused his harangue for a moment while he lit a cigarette. He puffed at it vehemently and scowled, black as a storm-god, in the direction of the sobbing.
“Come! Get up out of that,” he said, with ferocity. “Get up and look at me and let me see you lie!”
There was a flurry of white in the darkness, which was no more definite to the man than the ice-floes which your reeling ship passes in the night. Then, when the gas glared out suddenly, the girl stood before him. She was a wondrous white figure in her vestal-like robe. She resembled the priestess in paintings of long-gone Mediterranean religions. Her hair fell wildly on her shoulder. She threw out her arms and cried to Swift in a woe that seemed almost as real as the woe of good people.
“Oh, oh, my heart is broken! My heart is broken!”
But Swift knew as well as the rest of mankind that these girls have no hearts to be broken, and this acting filled him with a new rage. He grabbed an alarm clock from the dresser and banged her heroically on the head with it.
She fell and quivered for a moment. Then she arose, and, calm and dry-eyed, walked to the mirror. Swift thought she was taking an account of the bruises, but when he resumed his cyclonic tirade, she said: “I’ve taken morphine, Swift!”
Swift leaped at a little red pill box. It was empty. Eight quartergrain pills make two grains. The Suicidal Purpose was distinctly ahead of the Alarm Clock. With great presence of mind Swift now took the empty pill box and flung it through the window.
At this time a great battle was begun in the dining-room of the little flat. Swift dragged the girl to the sideboard, and in forcing her to drink whisky he almost stuffed the bottle down her throat. When the girl still sank to the depths of an infinite drowsiness, sliding limply in her chair like a cloth figure, he dealt her furious blows, and our decorous philosophy knows little of the love and despair that was in those caresses. With his voice he called the light into her eyes, called her from the sinister slumber which her senses welcomed, called her soul back from the verge.
He propped the girl in a chair and ran to the kitchen to make coffee. His fingers might have been from a dead man’s hands, and his senses confused the coffee, the water, the coffee-pot, the gas stove, but by some fortune he managed to arrange them correctly. When he lifted the girlish figure and carried her to the kitchen, he was as wild, haggard, gibbering, as a man of midnight murders, and it is only because he was not engaged in the respectable and literary assassination of a royal juke that almost any sensible writer would be ashamed of this story. Let it suffice, then, that when the steel-blue dawn came and distant chimneys were black against a rose sky, the girl sat at the dining-room table chattering insanely and gesturing. Swift, with his hands pressed to his temples, watched her from the other side of the table, with all his mind in his eyes, for each gesture was still a reminiscence, and each tone of her voice a ballad to him. And yet he could not half measure his misery. The tragedy w
as made of homeliest details. He had to repeat to himself that he, worn-out, stupefied from his struggle, was sitting there awaiting the moment when the unseen hand should whirl this soul into the abyss, and that then he should be alone.
The girl saw a fly alight on a picture. “Oh,” she said, “there’s a little fly.” She arose and thrust out her finger. “Hello, little fly,” she said, and touched the fly. The insect was perhaps too cold to be alert, for it fell at the touch of her finger. The girl gave a cry of remorse, and, sinking to her knees, searched the floor, meanwhile uttering tender apologies.
At last she found the fly, and, taking it, her palm went to the gasjet which still burned weirdly in the dawning. She held her hand close to the flame. “Poor little fly,” she said, “I didn’t mean to hurt you. I wouldn’t hurt you for anything. There now—p’r’aps when you get warm you can fly away again. Did I crush the poor little bit of fly? I’m awful sorry—honest, I am. Poor little thing! Why I wouldn’t hurt you for the world, poor little fly——”
Swift was wofully pale and so nerve-weak that his whole body felt a singular coolness. Strange things invariably come into a man’s head at the wrong time, and Swift was aware that this scene was defying his preconceptions. His instruction had been that people when dying behaved in a certain manner. Why did this girl occupy herself with an accursed fly? Why in the name of the gods of the drama did she not refer to her past? Why, by the shelves of the saints of literature, did she not clutch her brow and say: “Ah, once I was an innocent girl”? What was wrong with this death scene? At one time he thought that his sense of propriety was so scandalized that he was upon the point of interrupting the girl’s babble.