The Big-Town Round-Up

by Raine, William MacLeod

While he was counting out the bills Clay bragged up the suit. He praised its merits fluently and cheerfully. When he left he locked the door of the office behind him and handed the key to one of the clerks.

  "I've got a kinda notion Mr. Bernstein wants to get out of his office.

  He's actin' sort o' restless, seems like."

  Restless was hardly the word. He was banging on the door like a wild man. "Police! Murder! Help!" he shouted in a high falsetto.

  Clay wasted no time. He and the fifty-five dollars vanished into the street. In his haste he bumped into a Salvation Army lassie with a tambourine.

  She held it out to him for a donation, and was given the shock of her life. For into that tambourine the big brown man crammed a fistful of bills. He waited for no thanks, but cut round the corner toward Broadway in a hurry.

  When the girl reached headquarters and counted the contribution she found it amounted to just fifty-five dollars.

  CHAPTER VI

  CLAY TAKES A TRANSFER

  From the top of a bus Clay Lindsay looked down a cañon which angled across the great city like a river of light.

  He had come from one land of gorges to another. In the walls of this one, thousands and tens of thousands of cliff-dwellers hid themselves during the day like animals of some queer breed and poured out into the cañon at sunset.

  Now the river in its bed was alive with a throbbing tide. Cross-currents of humanity flowed into it from side streets and ebbed out of it into others. Streams of people were swept down, caught here and there in swirling eddies. Taxis, private motors, and trolley-cars struggled in the raceway.

  Electric sky-signs flashed and changed. From the foyer of theaters and moving-picture palaces thousands of bulbs flung their glow to the gorge. A mist of light hung like an atmosphere above the Great White Way.

  All this Clay saw in a flash while his bus crossed Broadway on its way to the Avenue. His eyes had become accustomed to this brilliance in the weeks that had passed since his descent upon New York, but familiarity had not yet dulled the wonder of it.

  The Avenue offered a more subdued picture. This facet showed a glimpse of the city lovelier and more leisurely, though not one so feverishly gay. It carried his mind to Beatrice Whitford. Some touch of the quality of Fifth Avenue was in her soul. It expressed itself in the simple elegance of her dress and in the fineness of the graceful, vital body. Her gayety was not at all the high spirits of Broadway, but there were times when her kinship to Fifth Avenue knifed the foolish hopes in his heart.

  He had become a fast friend of Miss Whitford. Together they had tramped through Central Park and motored up the Hudson in one of her father's cars. They had explored each other's minds along with the country and each had known the surprise and delight of discoveries, of finding in the other a quality of freshness and candor.

  Clay sensed in this young woman a spirit that had a way of sweeping up on gay young wings to sudden joys stirred by the simplest causes. Her outlook on life was as gallant as that of a fine-tempered schoolboy. A gallop in the Park could whip the flag of happiness into her cheeks. A wild flower nestling in a bed of moss could bring the quick light to her eyes. Her responsiveness was a continual delight to him just as her culture was his despair. Of books, pictures, and music she knew much more than he.

  The bus jerked down Fifth Avenue like a boat in heavy seas, pausing here and there at the curb to take on a passenger. While it was getting under way after one such stop, another downtown bus rolled past.

  Clay came to a sudden alert attention. His eyes focused on a girl sitting on a back seat. In the pretty, childish face he read a wistful helplessness, a pathetic hint of misery that called for sympathy.

  Arizona takes short cuts to its ends. Clay rose instantly, put his foot on the railing, and leaped across to the top of the bus rolling parallel with the one he was on. In another second he had dropped into the seat beside the girl.

  "Glad to meet you again, Miss Kitty," he said cheerfully. "How's the big town been using you?"

  The girl looked at him with a little gasp of surprise. "Mr. Lindsay!" Sudden tears filmed her eyes. She forgot that she had left him with the promise never again to speak to him. She was in a far country, and he was a friend from home.

  The conductor bustled down the aisle. "Say, where do you get this movie-stunt stuff? You can't jump from the top of one bus to another."

  Clay smiled genially. "I can't, but I did."

  "That ain't the system of transfers we use in this town. You might 'a' got killed."

  "Oh, well, let's not worry about that now."

  "I'd ought to have you pulled. Three years I've been on this run and—"

  "Nice run. Wages good?"

  "Don't get gay, young fellow. I can tell you one thing. You've got to pay another fare."

  Clay paid it.

  The conductor retired to his post. He grinned in spite of his official dignity. There was something about this young fellow he liked. After he had been in New York awhile he would be properly tamed.

  "What about that movie job? Is it pannin' out pay gold?" Lindsay asked

  Kitty.

  Bit by bit her story came out. It was a common enough one. She had been flim-flammed out of her money by the alleged school of moving-picture actors, and the sharpers had decamped with it.

  As she looked at her recovered friend, Kitty gradually realized an outward transformation in his appearance. He was dressed quietly in clothes of perfect fit made for him by Colin Whitford's tailor. From shoes to hat he was a New Yorker got up regardless of expense. But the warm smile, the strong, tanned face, the grip of the big brown hand that buried her small one—all these were from her own West. So too had been the nonchalance with which he had stepped from the rail of one moving bus to that of the other, just as though this were his usual method of transfer.

  "I've got a job at last," she explained to him. "I couldn't hardly find one. They say I'm not trained to do anything."

  "What sort of a job have you?"

  "I'm working downtown in Greenwich Village, selling cigarettes. I'm Sylvia the Cigarette Girl. At least that's what they call me. I carry a tray of them evenings into the cafés."

  "Greenwich Village?" asked Clay.

  Kitty was not able to explain that the Village is a state of mind which is the habitat of long-haired men and short-haired women, the brains of whom functioned in a way totally alien to all her methods of thought. The meaning of Bohemianism was quite lost on her simple soul.

  "They're jist queer," she told him. "The women bob their hair and wear smocks and sandals. The men are long-haired softies. They all talk kinda foolish." Kitty despaired of making the situation clear to him and resorted to the personal. "Can't you come down to-night to The Purple Pup or The Sea Siren and see for yourself?" she proposed, and gave him directions for finding the classic resorts.

  "I reckon they must be medicine fakirs," decided Clay. "I've met up with these long-haired guys before. Sure I'll come."

  "To-night?"

  "You betcha, little pardner, I'll be there."

  "I'm dressed silly—in bare feet and sandals and what they call a smock. You won't mind that, will you?"

  "You'll look good to me, no matter what you wear, little Miss

  Colorado," he told her with his warm, big brother's smile.

  "You're good," the girl said simply. "I knew that on the train even when I—when I was mean to you." There came into her voice a small tremor of apprehension. "I'm afraid of this town. It's so—so kinda cruel. I've got no friends here."

  He offered instant reassurance with a strong grip of his brown hand. "You've got one, little pardner. I'll promise that one big husky will be on the job when you need him. Don't you worry."

  She gave him her shy eyes gratefully. There was a mist of tears in them.

  "You're good," she said again naïvely.

  CHAPTER VII

  ARIZONA FOLLOWS ITS LAWLESS IMPULSE

  When Clay two hours later took the Sixth
Avenue L for a plunge into Bohemianism he knew no more about Greenwich Village than a six-months-old pup does about Virgil. But it was characteristic of him that on his way downtown he proceeded to find out from his chance seat-mate something about this unknown terrain he was about to visit.

  The man he sat beside was a patrolman off duty, and to this engaging

  Westerner he was quite ready to impart any information he might have.

  "Fakirs," he pronounced promptly. "They're a bunch of long-haired nuts, most of 'em—queer guys who can't sell their junk and kid themselves into thinking they're artists and writers. They pull a lot of stuff about socialism and anarchy and high art."

  "Just harmless cranks—gone loco, mebbe?"

  "Some of 'em. Others are there for the mazuma. Uptown the Village is supposed to be one hell of a place. The people who own the dumps down there have worked up that rep to draw the night trade. They make a living outa the wickedness of Greenwich. Nothin' to it—all fake stuff. They advertise September Morn balls with posters something fierce, and when you go they are just like any other dances. Bum drawings of naked women on the walls done by artist yaps, decorations of purple cows, pirates' dens—that's the kind of dope they have."

  The Sea Siren was already beginning to fill up when Clay descended three steps to a cellar and was warily admitted. A near-Hawaiian orchestra was strumming out a dance tune and a few couples were on the floor. Waitresses, got up as Loreleis, were moving about among the guests delivering orders for refreshments.

  The Westerner sat down in a corner and looked about him. The walls were decorated with crude purple crayons of underfed sirens. A statue of a nude woman distressed Clay. He did not mind the missing clothes, but she was so dreadfully emaciated that he thought it wise for her to cling to the yellow-and-red draped barber pole that rose from the pedestal. On the base was the legend, "The Weeping Lady." After he had tasted the Sea Siren fare the man from Arizona suspected that both her grief and her anaemia arose from the fact that she had been fed on it.

  A man in artist's velveteens, minus a haircut, with a large, fat, pasty face, sat at an adjoining table and discoursed to his friends. Presently, during an intermission of the music, he rose and took the rest of those present into his confidence. With rapt eyes on the faraway space of distant planets he chanted his apologia.

  "I believe in the Cosmic Urge, in the Sublimity of my Ego. I follow my Lawless Impulse where the Gods of Desire shall drive. I am what I Am, Son of the Stars, Lord of my Life. With Unleashed Love I answer the psychic beat of Pulse to Pulse, Laughter, Tears and Woe, the keen edge of Passion, the Languor of Satiety: all these are life. Open-armed, I embrace them. I drink and assuage my thirst. For Youth is here to-day. To-morrow, alas, it has gone. Now I am. In the Then I shall not be. Kismet!"

  The poet's fine frenzy faded. He sank back into his chair, apparently worn out by his vast mental effort.

  Clay gave a deep chuckle of delight. This was good.

  "Heap much oration," he murmured. "Go to it, old-timer. Steam off again. Git down in yore collar to it."

  To miss none of the fun he hitched a little closer on the bench. But the man without the haircut was through effervescing. He began to talk in a lower voice on world politics to admiring friends who were basking in his reflected glory.

  "Bourgeois to the core," he announced with finality, speaking of the United States, in answer to a question. "What are the idols we worship? Law, the chain which binds an enslaved people; thrift, born of childish fear; love of country, which is another name for crass provincialism. I—I am a Cosmopolite, not an American. Bohemia is my land, and all free souls are my brothers. Why should I get wrinkles because Germany sunk the Lusitania a month or two ago? That's her business, not mine."

  Clay leaned forward on a search for information. "Excuse me for buttin' in, and me a stranger. But isn't it yore business when she murders American women and children?"

  The pasty-faced man looked at him with thinly disguised contempt. "You wouldn't understand if I explained."

  "Mebbeso I wouldn't, but you take a whirl at it and I'll listen high, wide, and handsome."

  The man in velveteens unexpectedly found himself doing as he was told. There was a suggestion of compulsion about the gray-blue eyes fastened on his, something in the clamp of the strong jaw that brought him up for a moment against stark reality.

  "The intelligentsia of a country knows that there can be no freedom until there is no law. Every man's duty is to disregard duty. So, by faring far on the wings of desire, he helps break down the slavery that binds us. Obey the Cosmic Urge of your soul regardless of where it leads you, young man."

  It was unfortunate for the poet of Bohemia that at this precise moment Kitty Mason, dressed in sandals and a lilac-patterned smock, stood before him with a tray of cigarettes asking for his trade. The naïve appeal in her soft eyes had its weight with the poet. What is the use of living in Bohemia if one cannot be free to follow impulse? He slipped an arm about the girl and kissed the crimson lips upturned to him.

  Kitty started back with a little cry of distress.

  The freedom taken by the near-poet was instantly avenged.

  A Cosmic Urge beat in the veins of the savage from Arizona. He took the poet's advice and followed his Lawless Impulse where it led. Across the table a long arm reached. Sinewy fingers closed upon the flowing neckwear of the fat-faced orator and dragged him forward, leaving overturned glasses in the wake of his course.

  The man in velveteens met the eyes of the energetic manhandler and quailed. This brown-faced barbarian looked very much like business.

  "Don't you touch me! Don't you dare touch me!" the apostle of anarchy shrilled as the table crashed down. "I'll turn you over to the police!"

  Clay jerked him to his feet. Hard knuckles pressed cruelly into the soft throat of the Villager. "Git down on yore ham bones and beg the lady's pardon, Son of the Stars, or I'll sure make you see a whole colony of yore ancestors. Tell her you're a yellow pup, but you don't reckon you'll ever pull a bone like that again. Speak right out in meetin' pronto before you bump into the tears and woe you was makin' heap much oration about."

  The proprietor of the café seized the cowpuncher by the arm hurriedly. "Here, stop that! You get out of the place! I'll not stand for any rough-house." And he murmured something about getting in bad with the police. Clay tried to explain. "Me, I'm not rough-housing. I'm tellin' this here Lord of Life to apologize to the little lady and let her know that he's sorry he was fresh. If he don't I'll most ce'tainly muss up the Sublimity of his Ego."

  The companions of the poet rushed forward to protest at the manhandling of their leader. Those in the rear jammed the front ones close to Clay and his captive. The cowpuncher gently but strongly pushed them back.

  "Don't get on the prod," he advised in his genial drawl. "The poet he's got an important engagement right now."

  A kind of scuffle developed. The proprietor increased it by his hysterical efforts to prevent any trouble. Men joined themselves to the noisy group of which Clay was the smiling center. The excitement increased. Distant corners of the room became the refuge of the women. Some one struck at the cowpuncher over the heads of those about him. The mass of closely packed human beings showed a convulsive activity. It became suddenly the most popular indoor sport at the Sea Siren to slay this barbarian from the desert who had interfered with the amusements of Bohemia.

  But Clay took a lot of slaying. In the rough-and-tumble life of the outdoor West he had learned how to look out for his own hand. The copper hair of his strong lean head rose above the tangle of the mêlée like the bromidic Helmet of Navarre. A reckless light of mirth bubbled in his dare-devil eyes. The very number of the opponents who interfered with each other trying to get at him was a guarantee of safety. The blows showered at him lacked steam and were badly timed as to distance.

  The pack rolled across the room, tipped over a table, and deluged an artist and his affinity with hot chocolate before they could
escape from the avalanche. Chairs went over like ninepins. Stands collapsed. Men grunted and shouted advice. Girls screamed. The Sea Siren was being wrecked by a cyclone from the bad lands.

  Against the wall the struggling mob brought up with a crash. The velveteen poet caught at "The Weeping Lady" to save himself from going down. She descended from her pedestal into his arms and henceforth waltzed with him as a part of the subsequent proceedings.

  The writhing mass caromed from the wall and revolved toward the musicians. A colored gentleman jumped up in alarm and brandished his instrument as a weapon.

  "Keep away from this heah niggah!" he warned, and simultaneously he aimed the drum of the mandolin at the red head which was the core of the tangle. His aim was deflected and the wood crashed down upon the crown of "The Weeping Lady." For the rest of the two-step it hung like a large ruff around her neck.

  Arms threshed wildly to and fro. The focal point of their destination was the figure at the center of the disturbance. Most of the blows found other marks. Four or five men could have demolished Clay. Fifteen or twenty found it a tough job because they interfered with each other at every turn. They were packed too close for hard hitting. Clay was not fighting but wrestling. He used his arms to push with rather than to strike blows that counted.

  The Arizonan could not afterward remember at exactly what stage of the proceedings the face of Jerry Durand impinged itself on his consciousness. Once, when the swirl of the crowd flung him close to the door, he caught a glimpse of it, tight-lipped and wolf-eyed, turned to him with relentless malice. The gang leader was taking no part in the fight.

  The crowd parted. Out of the pack a pair of strong arms and lean broad shoulders ploughed a way for a somewhat damaged face that still carried a debonair smile. With pantherish litheness the Arizonan ducked a swinging blow. The rippling muscles of the plunging shoulders tossed aside a little man in evening dress clawing at him. Yet a moment, and he was outside taking the three steps that led to the street.