The Complete Works of Stephen Crane - Stephen Crane

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about carelessly.

      "Billie Hawker."

      "What! Did he?" she said in surprise.

      "Never mind, Splutter. I'll win sometime," said Pennoyer. "Me too," cried Grief. "Good night, old girl!" said Wrinkles. They crowded in the doorway. "Hold on to Billie. Remember the two steps going up," Pennoyer called intelligently into the Stygian blackness. "Can you see all right?"

      Florinda lived in a flat with fire-escapes written all over the front of it. The street in front was being repaired. It had been said by imbecile residents of the vicinity that the paving was never allowed to remain down for a sufficient time to be invalided by the tramping millions, but that it was kept perpetually stacked in little mountains through the unceasing vigilance of a virtuous and heroic city government, which insisted that everything should be repaired. The alderman for the district had sometimes asked indignantly of his fellow-members why this street had not been repaired, and they, aroused, had at once ordered it to be repaired. Moreover, shopkeepers, whose stables were adjacent, placed trucks and other vehicles strategically in the darkness. Into this tangled midnight Hawker conducted Florinda. The great avenue behind them was no more than a level stream of yellow light, and the distant merry bells might have been boats floating down it. Grim loneliness hung over the uncouth shapes in the street which was being repaired.

      "Billie," said the girl suddenly, "what makes you so mean to me?"

      A peaceful citizen emerged from behind a pile of débris, but he might not have been a peaceful citizen, so the girl clung to Hawker.

      "Why, I'm not mean to you, am I?"

      "Yes," she answered. As they stood on the steps of the flat of innumerable fire-escapes she slowly turned and looked up at him. Her face was of a strange pallour in this darkness, and her eyes were as when the moon shines in a lake of the hills.

      He returned her glance. "Florinda!" he cried, as if enlightened, and gulping suddenly at something in his throat. The girl studied the steps and moved from side to side, as do the guilty ones in country schoolhouses. Then she went slowly into the flat.

      There was a little red lamp hanging on a pile of stones to warn people that the street was being repaired.

      CHAPTER XXV.

       Table of Contents

      "I'll get my check from the Gamin on Saturday," said Grief. "They bought that string of comics."

      "Well, then, we'll arrange the present funds to last until Saturday noon," said Wrinkles. "That gives us quite a lot. We can have a table d'hôte on Friday night."

      However, the cashier of the Gamin office looked under his respectable brass wiring and said: "Very sorry, Mr.—er—Warwickson, but our pay-day is Monday. Come around any time after ten."

      "Oh, it doesn't matter," said Grief.

      When he plunged into the den his visage flamed with rage. "Don't get my check until Monday morning, any time after ten!" he yelled, and flung a portfolio of mottled green into the danger zone of the casts.

      "Thunder!" said Pennoyer, sinking at once into a profound despair

      "Monday morning, any time after ten," murmured Wrinkles, in astonishment and sorrow.

      While Grief marched to and fro threatening the furniture, Pennoyer and Wrinkles allowed their under jaws to fall, and remained as men smitten between the eyes by the god of calamity.

      "Singular thing!" muttered Pennoyer at last. "You get so frightfully hungry as soon as you learn that there are no more meals coming."

      "Oh, well——" said Wrinkles. He took up his guitar.

      Oh, some folks say dat a niggah won' steal,

       'Way down yondeh in d' cohn'-fiel';

       But Ah caught two in my cohn'-fiel',

       Way down yondeh in d' cohn'-fiel'.

      "Oh, let up!" said Grief, as if unwilling to be moved from his despair.

      "Oh, let up!" said Pennoyer, as if he disliked the voice and the ballad.

      In his studio, Hawker sat braced nervously forward on a little stool before his tall Dutch easel. Three sketches lay on the floor near him, and he glared at them constantly while painting at the large canvas on the easel.

      He seemed engaged in some kind of a duel. His hair dishevelled, his eyes gleaming, he was in a deadly scuffle. In the sketches was the landscape of heavy blue, as if seen through powder-smoke, and all the skies burned red. There was in these notes a sinister quality of hopelessness, eloquent of a defeat, as if the scene represented the last hour on a field of disastrous battle. Hawker seemed attacking with this picture something fair and beautiful of his own life, a possession of his mind, and he did it fiercely, mercilessly, formidably. His arm moved with the energy of a strange wrath. He might have been thrusting with a sword.

      There was a knock at the door. "Come in." Pennoyer entered sheepishly. "Well?" cried Hawker, with an echo of savagery in his voice. He turned from the canvas precisely as one might emerge from a fight. "Oh!" he said, perceiving Pennoyer. The glow in his eyes slowly changed. "What is it, Penny?"

      "Billie," said Pennoyer, "Grief was to get his check to-day, but they put him off until Monday, and so, you know—er—well——"

      "Oh!" said Hawker again.

      When Pennoyer had gone Hawker sat motionless before his work. He stared at the canvas in a meditation so profound that it was probably unconscious of itself.

      The light from above his head slanted more and more toward the east.

      Once he arose and lighted a pipe. He returned to the easel and stood staring with his hands in his pockets. He moved like one in a sleep. Suddenly the gleam shot into his eyes again. He dropped to the stool and grabbed a brush. At the end of a certain long, tumultuous period he clinched his pipe more firmly in his teeth and puffed strongly. The thought might have occurred to him that it was not alight, for he looked at it with a vague, questioning glance. There came another knock at the door. "Go to the devil!" he shouted, without turning his head.

      Hollanden crossed the corridor then to the den.

      "Hi, there, Hollie! Hello, boy! Just the fellow we want to see. Come in—sit down—hit a pipe. Say, who was the girl Billie Hawker went mad over this summer?"

      "Blazes!" said Hollanden, recovering slowly from this onslaught. "Who—what—how did you Indians find it out?"

      "Oh, we tumbled!" they cried in delight, "we tumbled."

      "There!" said Hollanden, reproaching himself. "And I thought you were such a lot of blockheads."

      "Oh, we tumbled!" they cried again in their ecstasy. "But who is she? That's the point."

      "Well, she was a girl."

      "Yes, go on."

      "A New York girl."

      "Yes."

      "A perfectly stunning New York girl."

      "Yes. Go ahead."

      "A perfectly stunning New York girl of a very wealthy and rather old-fashioned family."

      "Well, I'll be shot! You don't mean it! She is practically seated on top of the Matterhorn. Poor old Billie!"

      "Not at all," said Hollanden composedly.

      It was a common habit of Purple Sanderson to call attention at night to the resemblance of the den to some little ward in a hospital. Upon this night, when Sanderson and Grief were buried in slumber, Pennoyer moved restlessly. "Wrink!" he called softly into the darkness in the direction of the divan which was secretly a coal-box.

      "What?" said Wrinkles in a surly voice. His mind had evidently been caught at the threshold of sleep.

      "Do

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