by Frank Norris
“Woult you pelief, Doktor, dot bube has torn his stockun alreatty? Walk in der front, you; stop cryun. Where is dot berliceman?”
At the door of the theatre McTeague was suddenly seized with a panic terror. He had lost the tickets. He tore through his pockets, ransacked his wallet. They were nowhere to be found. All at once he remembered, and with a gasp of relief removed his hat and took them out from beneath the sweatband.
The party entered and took their places. It was absurdly early. The lights were all darkened, the ushers stood under the galleries in groups, the empty auditorium echoing with their noisy talk. Occasionally a waiter with his tray and clean white apron sauntered up and doun the aisle. Directly in front of them was the great iron curtain of the stage, painted with all manner of advertisements. From behind this came a noise of hammering and of occasional loud voices.
While waiting they studied their programmes. First was an overture by the orchestra, after which came “The Gleasons, in their mirth-moving musical farce, entitled ‘McMonnigal’s Court-ship.’” This was to be followed by “The Lamont Sisters, Winnie and Violet, serio-comiques and skirt dancers.” And after this came a great array of other “artists” and “specialty performers,” musical wonders, acrobats, lightning artists, ventriloquists, and last of all, “The feature of the evening, the crowning scientific achievement of the nineteenth century, the kinetoscope.” McTeague was excited, dazzled. In five years he had not been twice to the theatre. Now he beheld himself inviting his “girl” and her mother to accompany him. He began to feel that he was a man of the world. He ordered a cigar.
Meanwhile the house was filling up. A few side brackets were turned on. The ushers ran up and down the aisles, stubs of tickets between their thumb and finger, and from every part of the auditorium could be heard the sharp clap-clapping of the seats as the ushers flipped them down. A buzz of talk arose. In the gallery a street gamin whistled shrilly, and called to some friends on the other side of the house.
“Are they go-wun to begin pretty soon, ma?” whined Owgooste for the fifth or sixth time; adding, “Say, ma, can’t I have some candy?” A cadaverous little boy had appeared in their aisle, chanting, “Candies, French mixed candies, popcorn, peanuts and candy.” The orchestra entered, each man crawling out from an opening under the stage, hardly larger than the gate of a rabbit hutch. At every instant now the crowd increased; there were but few seats that were not taken. The waiters hurried up and down the aisles, their trays laden with beer glasses. A smell of cigar-smoke filled the air, and soon a faint blue haze rose from all corners of the house.
“Ma, when are they go-wun to begin?” cried Owgooste. As he spoke the iron advertisement curtain rose, disclosing the curtain proper underneath. This latter curtain was quite an affair. Upon it was painted a wonderful picture. A flight of marble steps led down to a stream of water; two white swans, their necks arched like the capital letter S, floated about. At the head of the marble steps were two vases filled with red and yellow flowers, while at the foot was moored a gondola. This gondola was full of red velvet rugs that hung over the side and trailed in the water. In the prow of the gondola a young man in vermilion tights held a mandolin in his left hand, and gave his right to a girl in white satin. A King Charles spaniel, dragging a leading-string in the shape of a huge pink sash, followed the girl. Seven scarlet roses were scattered upon the two lowest steps, and eight floated in the water.
“Ain’t that pretty, Mac?” exclaimed Trina, turning to the dentist.
“Ma, ain’t they go-wun to begin now-wow?” whined Owgooste. Suddenly the lights all over the house blazed up. “Ah!” said everybody all at once.
“Ain’t ut crowdut?” murmured Mr. Sieppe. Every seat was taken; many were even standing up.
“I always like it better when there is a crowd,” said Trina. She was in great spirits that evening. Her round, pale face was positively pink.
The orchestra banged away at the overture, suddenly finishing with a great flourish of violins. A short pause followed. Then the orchestra played a quick-step strain, and the curtain rose on an interior furnished with two red chairs and a green sofa. A girl in a short blue dress and black stockings entered in a hurry and began to dust the two chairs. She was in a great temper, talking very fast, disclaiming against the “new lodger.” It appeared that this latter never paid his rent; that he was given to late hours. Then she came down to the footlights and began to sing in a tremendous voice, hoarse and flat, almost like a man’s. The chorus, of a feeble originality, ran:
“Oh, how happy I will be,
When my darling’s face I’ll see;
Oh, tell him for to meet me in the moonlight,
Down where the golden lilies bloom.”
The orchestra played the tune of this chorus a second time, with certain variations, while the girl danced to it. She sidled to one side of the stage and kicked, then sidled to the other and kicked again. As she finished with the song, a man, evidently the lodger in question, came in. Instantly McTeague exploded in a roar of laughter. The man was intoxicated, his hat was knocked in, one end of his collar was unfastened and stuck up into his face, his watch-chain dangled from his pocket, and a yellow satin slipper was tied to a button-hole of his vest; his nose was vermilion, one eye was black and blue. After a short dialogue with the girl, a third actor appeared. He was dressed like a little boy, the girl’s younger brother. He wore an immense turned-down collar, and was continually doing hand-springs and wonderful back somersaults. The “act” devolved upon these three people; the lodger making love to the girl in the short blue dress, the boy playing all manner of tricks upon him, giving him tremendous digs in the ribs or slaps upon the back that made him cough, pulling chairs from under him, running on all fours between his legs and upsetting him, knocking him over at inopportune moments. Every one of his falls was accentuated by a bang upon the bass drum. The whole humor of the “act” seemed to consist in the tripping up of the intoxicated lodger.
This horse-play delighted McTeague beyond measure. He roared and shouted every time the lodger went down, slapping his knee, wagging his head. Owgooste crowed shrilly, clapping his hands and continually asking, “What did he say, ma? What did he say?” Mrs. Sieppe laughed immoderately, her huge fat body shaking like a mountain of jelly. She exclaimed from time to time, “Ach, Gott, dot fool!” Even Trina was moved, laughing demurely, her lips closed, putting one hand with its new glove to her mouth.
The performance went on. Now it was the “musical marvels,” two men extravagantly made up as negro minstrels, with immense shoes and plaid vests. They seemed to be able to wrestle a tune out of almost anything — glass bottles, cigar-box fiddles, strings of sleigh-bells, even graduated brass tubes, which they rubbed with resined fingers. McTeague was stupefied with admiration.
“That’s what you call musicians,” he announced gravely. “‘Home, Sweet Home,’ played upon a trombone. Think of that! Art could go no farther.”
The acrobats left him breathless. They were dazzling young men with beautifully parted hair, continually making graceful gestures to the audience. In one of them the dentist fancied he saw a strong resemblance to the boy who had tormented the intoxicated lodger and who had turned such marvellous somersaults. Trina could not bear to watch their antics. She turned away her head with a little shudder. “It always makes me sick,” she explained.
The beautiful young lady, “The Society Contralto,” in evening dress, who sang the sentimental songs, and carried the sheets of music at which she never looked, pleased McTeague less. Trina, however, was captivated. She grew pensive over
“You do not love me — no;
Bid me good-by and go;”
and split her new gloves in her enthusiasm when it was finished.
“Don’t you love sad music, Mac?” she murmured.
Then came the two comedians. They talked with fearful rapidity; their wit and repartee seemed inexhaustible.
“As I was going down the street yesterday—”<
br />
“Ah! as YOU were going down the street — all right.”
“I saw a girl at a window — —”
“YOU saw a girl at a window.”
“And this girl she was a corker — —”
“Ah! as YOU were going down the street yesterday YOU saw a girl at a window, and this girl she was a corker. All right, go on.”
The other comedian went on. The joke was suddenly evolved. A certain phrase led to a song, which was sung with lightning rapidity, each performer making precisely the same gestures at precisely the same instant. They were irresistible. McTeague, though he caught but a third of the jokes, could have listened all night.
After the comedians had gone out, the iron advertisement curtain was let down.
“What comes now?” said McTeague, bewildered.
“It’s the intermission of fifteen minutes now.”
The musicians disappeared through the rabbit hutch, and the audience stirred and stretched itself. Most of the young men left their seats.
During this intermission McTeague and his party had “refreshments.” Mrs. Sieppe and Trina had Queen Charlottes, McTeague drank a glass of beer, Owgooste ate the orange and one of the bananas. He begged for a glass of lemonade, which was finally given him.
“Joost to geep um quiet,” observed Mrs. Sieppe.
But almost immediately after drinking his lemonade Owgooste was seized with a sudden restlessness. He twisted and wriggled in his seat, swinging his legs violently, looking about him with eyes full of a vague distress. At length, just as the musicians were returning, he stood up and whispered energetically in his mother’s ear. Mrs. Sieppe was exasperated at once.
“No, no,” she cried, reseating him brusquely.
The performance was resumed. A lightning artist appeared, drawing caricatures and portraits with incredible swiftness. He even went so far as to ask for subjects from the audience, and the names of prominent men were shouted to him from the gallery. He drew portraits of the President, of Grant, of Washington, of Napoleon Bonaparte, of Bismarck, of Garibaldi, of P. T. Barnum.
And so the evening passed. The hall grew very hot, and the smoke of innumerable cigars made the eyes smart. A thick blue mist hung low over the heads of the audience. The air was full of varied smells — the smell of stale cigars, of flat beer, of orange peel, of gas, of sachet powders, and of cheap perfumery.
One “artist” after another came upon the stage. McTeague’s attention never wandered for a minute. Trina and her mother enjoyed themselves hugely. At every moment they made comments to one another, their eyes never leaving the stage.
“Ain’t dot fool joost too funny?”
“That’s a pretty song. Don’t you like that kind of a song?”
“Wonderful! It’s wonderful! Yes, yes, wonderful! That’s the word.”
Owgooste, however, lost interest. He stood up in his place, his back to the stage, chewing a piece of orange peel and watching a little girl in her father’s lap across the aisle, his eyes fixed in a glassy, ox-like stare. But he was uneasy. He danced from one foot to the other, and at intervals appealed in hoarse whispers to his mother, who disdained an answer.
“Ma, say, ma-ah,” he whined, abstractedly chewing his orange peel, staring at the little girl.
“Ma-ah, say, ma.” At times his monotonous plaint reached his mother’s consciousness. She suddenly realized what this was that was annoying her.
“Owgooste, will you sit down?” She caught him up all at once, and jammed him down into his place. “Be quiet, den; loog; listun at der yunge girls.”
Three young women and a young man who played a zither occupied the stage. They were dressed in Tyrolese costume; they were yodlers, and sang in German about “mountain tops” and “bold hunters” and the like. The yodling chorus was a marvel of flute-like modulations. The girls were really pretty, and were not made up in the least. Their “turn” had a great success. Mrs. Sieppe was entranced. Instantly she remembered her girlhood and her native Swiss village.
“Ach, dot is heavunly; joost like der old country. Mein gran’mutter used to be one of der mos’ famous yodlers. When I was leedle, I haf seen dem joost like dat.”
“Ma-ah,” began Owgooste fretfully, as soon as the yodlers had departed. He could not keep still an instant; he twisted from side to side, swinging his legs with incredible swiftness.
“Ma-ah, I want to go ho-ome.”
“Pehave!” exclaimed his mother, shaking him by the arm; “loog, der leedle girl is watchun you. Dis is der last dime I take you to der blay, you see.”
“I don’t ca-are; I’m sleepy.” At length, to their great relief, he went to sleep, his head against his mother’s arm.
The kinetoscope fairly took their breaths away.
“What will they do next?” observed Trina, in amazement. “Ain’t that wonderful, Mac?”
McTeague was awe-struck.
“Look at that horse move his head,” he cried excitedly, quite carried away. “Look at that cable car coming — and the man going across the street. See, here comes a truck. Well, I never in all my life! What would Marcus say to this?”
“It’s all a drick!” exclaimed Mrs. Sieppe, with sudden conviction. “I ain’t no fool; dot’s nothun but a drick.”
“Well, of course, mamma,” exclaimed Trina, “it’s — —”
But Mrs. Sieppe put her head in the air.
“I’m too old to be fooled,” she persisted. “It’s a drick.” Nothing more could be got out of her than this.
The party stayed to the very end of the show, though the kinetoscope was the last number but one on the programme, and fully half the audience left immediately afterward. However, while the unfortunate Irish comedian went through his “act” to the backs of the departing people, Mrs. Sieppe woke Owgooste, very cross and sleepy, and began getting her “things together.” As soon as he was awake Owgooste began fidgeting again.
“Save der brogramme, Trina,” whispered Mrs. Sieppe. “Take ut home to popper. Where is der hat of Owgooste? Haf you got mein handkerchief, Trina?”
But at this moment a dreadful accident happened to Owgooste; his distress reached its climax; his fortitude collapsed. What a misery! It was a veritable catastrophe, deplorable, lamentable, a thing beyond words! For a moment he gazed wildly about him, helpless and petrified with astonishment and terror. Then his grief found utterance, and the closing strains of the orchestra were mingled with a prolonged wail of infinite sadness.
“Owgooste, what is ut?” cried his mother eyeing him with dawning suspicion; then suddenly, “What haf you done? You haf ruin your new Vauntleroy gostume!” Her face blazed; without more ado she smacked him soundly. Then it was that Owgooste touched the limit of his misery, his unhappiness, his horrible discomfort; his utter wretchedness was complete. He filled the air with his doleful outcries. The more he was smacked and shaken, the louder he wept.
“What — what is the matter?” inquired McTeague.
Trina’s face was scarlet. “Nothing, nothing,” she exclaimed hastily, looking away. “Come, we must be going. It’s about over.” The end of the show and the breaking up of the audience tided over the embarrassment of the moment.
The party filed out at the tail end of the audience. Already the lights were being extinguished and the ushers spreading druggeting over the upholstered seats.
McTeague and the Sieppes took an uptown car that would bring them near Polk Street. The car was crowded; McTeague and Owgooste were obliged to stand. The little boy fretted to be taken in his mother’s lap, but Mrs. Sieppe emphatically refused.
On their way home they discussed the performance.
“I — I like best der yodlers.”
“Ah, the soloist was the best — the lady who sang those sad songs.”
“Wasn’t — wasn’t that magic lantern wonderful, where the figures moved? Wonderful — ah, wonderful! And wasn’t that first act funny, where the fellow fell down all the time? And that musical act, and the fellow with the bur
nt-cork face who played ‘Nearer, My God, to Thee’ on the beer bottles.”
They got off at Polk Street and walked up a block to the flat. The street was dark and empty; opposite the flat, in the back of the deserted market, the ducks and geese were calling persistently.
As they were buying their tamales from the half-breed Mexican at the street corner, McTeague observed:
“Marcus ain’t gone to bed yet. See, there’s a light in his window. There!” he exclaimed at once, “I forgot the doorkey. Well, Marcus can let us in.”
Hardly had he rung the bell at the street door of the flat when the bolt was shot back. In the hall at the top of the long, narrow staircase there was the sound of a great scurrying. Maria Macapa stood there, her hand upon the rope that drew the bolt; Marcus was at her side; Old Grannis was in the background, looking over their shoulders; while little Miss Baker leant over the banisters, a strange man in a drab overcoat at her side. As McTeague’s party stepped into the doorway a half-dozen voices cried:
“Yes, it’s them.”
“Is that you, Mac?”
“Is that you, Miss Sieppe?”
“Is your name Trina Sieppe?”
Then, shriller than all the rest, Maria Macapa screamed:
“Oh, Miss Sieppe, come up here quick. Your lottery ticket has won five thousand dollars!”
CHAPTER 7
“What nonsense!” answered Trina.
“Ach Gott! What is ut?” cried Mrs. Sieppe, misunderstanding, supposing a calamity.
“What — what — what,” stammered the dentist, confused by the lights, the crowded stairway, the medley of voices. The party reached the landing. The others surrounded them. Marcus alone seemed to rise to the occasion.
“Le’ me be the first to congratulate you,” he cried, catching Trina’s hand. Every one was talking at once.
“Miss Sieppe, Miss Sieppe, your ticket has won five thousand dollars,” cried Maria. “Don’t you remember the lottery ticket I sold you in Doctor McTeague’s office?”
“Trina!” almost screamed her mother. “Five tausend thalers! five tausend thalers! If popper were only here!”