The Under Dog Part 15

"I described it closely, its inscription, the portrait of my mother in the case, and showed him a copy of her photograph--like the one here.

Then I gave him as close a description of the man as I could.

"When I had described the scar on his face he looked at me in surprise.

When I added that he had a slight limp, he said, quickly:

"'Short man--with close-cropped hair--and a swipe across his chin. Lost a toe, and stumbles when he walks. I'll see what I can do. He ain't one of our men. He comes from Chicago. He never stays more'n a day or two in any town. Don't none of 'em know him round here. Leave it to me; may take some time--see you in a day or two'--and he went out.

"I didn't see him for a month--not until two nights ago. He didn't ring the bell this time. He came in through the window. I thought the catch was down, but it wasn't. Funny how quick these fellows can see a thing.

As soon as he shut the gla.s.s sash behind him he drew the curtains close; then he turned down the gas. All this, mind you, before he had opened his mouth. Then he said:

"'Anybody here but you?'

"'No.'

"'Sure?'

"'Yee, very sure.'

"He spoke in a husky, rasping voice, like a man who had caught his breath again after a long run.

"He turned his back to the window, slipped his hand in his hip-pocket and pulled out my mother's watch.

"'Is that it, "Doc"?'

"The light was pretty low, but I'd have known it in the dark.

"'Yes, of course it is--' and I opened the lid in search of the old lady's photo. 'Where did you get it?'

"'Look again. There ain't no likeness.'

"'No, but here are the marks where they sc.r.a.ped it off'--and I held it close to his eyes. 'Where did you get it?'

"'Don't ask no questions, "Doc." I had some trouble gittin' next the goods, and maybe it ain't over yet. I'll know in the morning. If anybody asks you anything about it, you ain't lost no watch--see? Last time you seen me I was goin' West, see--don't forget that. That's all, "Doc." If you're pleased, I'm satisfied.'

"He held out his hand to say good-by, but I wouldn't take it. His appearance, the tone of his voice, and his hunted look made me a little nervous.

"'Sit down. You'll let me pay you for it, won't you? Wait until I go back in my bedroom for some money.'

"'No, "Doc," you can't pay me a cent. I'm sorry they got the mother's picture, but I couldn't catch up with the goods before. That would have been the best part of it for me. Mothers is scarce now--kind you and me had--dead or alive. You won't mind if I turn out the gas while I slip out, do you, and you won't mind either if I ask you to sit still here.

Somebody might see you--' and he shook my hand and started for the window. As his hand neared the latch I could see in the dim light that his movements were unsteady. Once he stumbled and clutched at the bookcase for support----

"'Hold on,' I said--and I walked rapidly toward him--'don't go yet--you are not well.'

"He leaned against the bookcase and put his hand to his side.

"I was alongside of him now, my arm under his, guiding him into a chair.

"'Are you faint?'

"'Yes--got a drop of anything, "Doc"? That's all I want. It ain't nothing.'

"I opened my closet, took out a bottle of brandy and poured some into a measuring-gla.s.s. He drank it, leaned his head for an instant against my arm and, with the help of my hand slipped under his armpit, again struggled to his feet.

"When I withdrew my hand it was covered with blood. It was too dark to see the color, but I knew from the sticky feeling of it just what it was.

"'My G.o.d! man,' I cried; 'you are hurt, your s.h.i.+rt's all b.l.o.o.d.y. Come back here until I can see what's the matter.'

"'No, "Doc"--_no!_ I tell you. It's stopped bleeding now. It would be tough for you if they pinched me here. Keep away, I tell you--I ain't got a minute to lose. I didn't want to hurt him even after he gave me this one in my back, but his girl was wearing it and there warn't no other way. Git behind them curtains, "Doc." So! Good-by.'

"And he was gone."

PLAIN FIN--PAPER-HANGER

I

The man was a little sawed-off, red-headed Irishman, with twinkling, gimlet eyes, two up-curved lips always in a broad smile, and a pair of thin, caliper-shaped legs.

His name was as brief as his stature.

"Fin, your honor, by the grace of G.o.d. F-i-n, Fin. There was a 'Mac' in front of it once, and an 'n' to the tail of it in the old times, so me mother says, but some of me ancisters--bad cess to 'em!--wiped 'em out.

Plain Fin, if you plase, sor."

The punt was the ordinary Thames boat: a long, narrow, flat-bottomed, shallow craft with tapering ends decked over to serve as seats, the whole propelled by a pole the size of a tight-rope dancer's and about as difficult to handle.

Chartering the punt had been easy. All I had had to do was to stroll down the path bordering the river, run my eye over a group of boats lying side by side like a school of trout with their noses up-stream, pick out the widest, flattest, and least upsettable craft in the fleet, decorate it with a pair of Turkey-red cus.h.i.+ons from a pile in the boathouse, and a short mattress, also Turkey-red--a good thing at luncheon-hour for a tired back is a mattress--slip the key of the padlock of the mooring-chain in my pocket and stroll back again.

The hiring of the man for days after my arrival at Sonning-on-Thames, was more difficult, well-nigh impossible, except at a price per diem which no staid old painter--they are all an impecunious lot--could afford. There were boys, of course, for the asking; sunburnt, freckle-faced, tousle-headed, barefooted little devils who, when my back was turned, would do handsprings over my cus.h.i.+ons, landing on the mattress, or break the pole the first day out, leaving me high and dry on some island out of calling distance; but full-grown, sober-minded, steady men, who could pole all day or sit beside me patiently while I worked, hand me the right brush or tube of color, or palette, or open a bottle of soda without spilling half of it--that kind of man was scarce.

Landlord Hull, of the White Hart Inn--what an ideal Boniface is this same Hull, and what an ideal inn--promised a boatman to pole the punt and look after my traps when the Henley regatta was over; and the owner of my own craft, and of fifty other punts besides, went so far as to say that he expected a man as soon as Lord Somebody-or-Other left for the Continent, when His Lords.h.i.+p's waterman would be free, adding, meaningly:

"Just at present, zur, when we do be 'avin' sich a mob lot from Lunnon, 'specially at week's-end, zur, we ain't got men enough to do our own polin'. It's the war, zur, as has took 'em off. Maybe for a few day, zur, ye might take a 'and yerself if ye didn't mind."

I waved the hand referred to--the forefinger part of it--in a deprecating manner. I couldn't pole the lightest and most tractable punt ten yards in a straight line to save my own or anybody else's life. Then again, if I should impair the precision of my five fingers by any such violent exercise, my brush would wabble as nervously over my canvas as a recording needle across a steam-gauge. Poling a rudderless, keelless skiff up a crooked stream by means of a fifteen-foot balancing pole is an art only to be cla.s.sed with that of rowing a gondola. Gondoliers and punters, like poets, are born, not made. My own Luigi comes of a race of gondoliers dating back two hundred years, and punters must spring from just such ancestors. No, if I had to do the poling myself, I should rather get out and walk.

Fin solved the problem--not from any special training (rowing in regattas and the like), but rather from that universal adaptability of the Irishman which fits him for filling any situation in life, from a seat on a dirt-cart to a chair in an aldermanic chamber.

"I am a paper-hanger by trade, sor," he began, "but I was brought up on the river and can put a punt wid the best. Try me, sor, at four bob a day; I'm out of a job."

I looked him over, from his illuminated head down to his parenthetical legs, caught the merry twinkle in his eyes, and a sigh of relief escaped me. Here was not only a seafaring man, accustomed to battling with the elements, skilled in the handling of poles, and acquainted with swift and ofttimes dangerous currents, but a brother brush, a man conversant with design and pigments; an artist, keenly sensitive to straight lines, harmony of tints, and delicate manipulation of surfaces.

I handed him the key at once. Thenceforward I was simply a pa.s.senger depending on his strong right arm for guidance, and at luncheon-hour upon his alert and nimble, though slightly incurved, legs for sustenance, the inn being often a mile away from my subject.

And the inns!--or rather my own particular inn--the White Hart at Sonning.

There are others, of course--the Red Lion at Henley; the old Warboys hostelry at Cookham; the Angler at Marlowe; the French Horn across the black water and within rifle-shot of the White Hart--a most pretentious place, designed for millionnaires and spendthrifts, where even chops and tomato-sauce, English pickles, chowchow and the like, ales in the wood and other like commodities and comforts, are dispensed at prices that compel all impecunious, staid painters like myself to content themselves with a sandwich and a pint of bitter--and a hundred other inns along the river, good, bad, and indifferent. But yet with all their charms I am still loyal to my own White Hart.