Sixes and Sevens Page 2

  "Aunt Caroline Reeves," said the old man, "was my half-sister."

  "She was my aunt," said King James. "I run away from home when I was sixteen. Now, let's re-talk over some things that we discussed a few days ago. They call me a bad man; and they're only half right. There's plenty of room in my pasture for your bunch of sheep and their increase for a long time to come. Aunt Caroline used to cut out sheep in cake dough and bake 'em for me. You keep your sheep where they are, and use all the range you want. How's your finances?"

  The old man related his woes in detail, dignifiedly, with restraint and candour.

  "She used to smuggle extra grub into my school basket - I'm speaking of Aunt Caroline," said King James. "I'm going over to Frio City to-day, and I'll ride back by your ranch to-morrow. I'll draw $2,000 out of the bank there and bring it over to you; and I'll tell Bradshaw to let you have everything you want on credit. You are bound to have heard the old saying at home, that the Jackson County Reeveses and Kings would stick closer by each other than chestnut burrs. Well, I'm a King yet whenever I run across a Reeves. So you look out for me along about sundown to-morrow, and don't worry about nothing. Shouldn't wonder if the dry spell don't kill out the young grass."

  Old man Ellison drove happily ranchward. Once more the smiles filled out his wrinkles. Very suddenly, by the magic of kinship and the good that lies somewhere in all hearts, his troubles had been removed.

  On reaching the ranch he found that Sam Galloway was not there. His guitar hung by its buckskin string to a hackberry limb, moaning as the gulf breeze blew across its masterless strings.

  The Kiowa endeavoured to explain.

  "Sam, he catch pony," said he, "and say he ride to Frio City. What for no can damn sabe. Say he come back to-night. Maybe so. That all."

  As the first stars came out the troubadour rode back to his haven. He pastured his pony and went into the house, his spurs jingling martially.

  Old man Ellison sat at the kitchen table, having a tin cup of before-supper coffee. He looked contented and pleased.

  "Hello, Sam," said he. "I'm darned glad to see ye back. I don't know how I managed to get along on this ranch, anyhow, before ye dropped in to cheer things up. I'll bet ye've been skylarking around with some of them Frio City gals, now, that's kept ye so late."

  And then old man Ellison took another look at Sam's face and saw that the minstrel had changed to the man of action.

  And while Sam is unbuckling from his waist old man Ellison's six-shooter, that the latter had left behind when he drove to town, we may well pause to remark that anywhere and whenever a troubadour lays down the guitar and takes up the sword trouble is sure to follow. It is not the expert thrust of Athos nor the cold skill of Aramis nor the iron wrist of Porthos that we have to fear - it is the Gascon's fury - the wild and unacademic attack of the troubadour - the sword of D'Artagnan.

  "I done it," said Sam. "I went over to Frio City to do it. I couldn't let him put the skibunk on you, Uncle Ben. I met him in Summers's saloon. I knowed what to do. I said a few things to him that nobody else heard. He reached for his gun first - half a dozen fellows saw him do it - but I got mine unlimbered first. Three doses I gave him - right around the lungs, and a saucer could have covered up all of 'em. He won't bother you no more."

  "This - is - King - James - you speak - of?" asked old man Ellison, while he sipped his coffee.

  "You bet it was. And they took me before the county judge; and the witnesses what saw him draw his gun first was all there. Well, of course, they put me under $300 bond to appear before the court, but there was four or five boys on the spot ready to sign the bail. He won't bother you no more, Uncle Ben. You ought to have seen how close them bullet holes was together. I reckon playing a guitar as much as I do must kind of limber a fellow's trigger finger up a little, don't you think, Uncle Ben?"

  Then there was a little silence in the castle except for the spluttering of a venison steak that the Kiowa was cooking.

  "Sam," said old man Ellison, stroking his white whiskers with a tremulous hand, "would you mind getting the guitar and playing that 'Huile, huile, palomita' piece once or twice? It always seems to be kind of soothing and comforting when a man's tired and fagged out."

  There is no more to be said, except that the title of the story is wrong. It should have been called "The Last of the Barons." There never will be an end to the troubadours; and now and then it does seem that the jingle of their guitars will drown the sound of the muffled blows of the pickaxes and trip hammers of all the Workers in the world.

  In The Big City a man will disappear with the suddenness and completeness of the flame of a candle that is blown out. All the agencies of inquisition - the hounds of the trail, the sleuths of the city's labyrinths, the closet detectives of theory and induction - will be invoked to the search. Most often the man's face will be seen no more. Sometimes he will reappear in Sheboygan or in the wilds of Terre Haute, calling himself one of the synonyms of "Smith," and without memory of events up to a certain time, including his grocer's bill. Sometimes it will be found, after dragging the rivers, and polling the restaurants to see if he may be waiting for a well-done sirloin, that he has moved next door.

  This snuffing out of a human being like the erasure of a chalk man from a blackboard is one of the most impressive themes in dramaturgy.

  The case of Mary Snyder, in point, should not be without interest.

  A man of middle age, of the name of Meeks, came from the West to New York to find his sister, Mrs. Mary Snyder, a widow, aged fifty-two, who had been living for a year in a tenement house in a crowded neighbourhood.

  At her address he was told that Mary Snyder had moved away longer than a month before. No one could tell him her new address.

  On coming out Mr. Meeks addressed a policeman who was standing on the corner, and explained his dilemma.

  "My sister is very poor," he said, "and I am anxious to find her. I have recently made quite a lot of money in a lead mine, and I want her to share my prosperity. There is no use in advertising her, because she cannot read."

  The policeman pulled his moustache and looked so thoughtful and mighty that Meeks could almost feel the joyful tears of his sister Mary dropping upon his bright blue tie.

  "You go down in the Canal Street neighbourhood," said the policeman, "and get a job drivin' the biggest dray you can find. There's old women always gettin' knocked over by drays down there. You might see 'er among 'em. If you don't want to do that you better go 'round to headquarters and get 'em to put a fly cop onto the dame."

  At police headquarters, Meeks received ready assistance. A general alarm was sent out, and copies of a photograph of Mary Snyder that her brother had were distributed among the stations. In Mulberry Street the chief assigned Detective Mullins to the case.

  The detective took Meeks aside and said:

  "This is not a very difficult case to unravel. Shave off your whiskers, fill your pockets with good cigars, and meet me in the café of the Waldorf at three o'clock this afternoon."

  Meeks obeyed. He found Mullins there. They had a bottle of wine, while the detective asked questions concerning the missing woman.

  "Now," said Mullins, "New York is a big city, but we've got the detective business systematized. There are two ways we can go about finding your sister. We will try one of 'em first. You say she's fifty-two?"

  "A little past," said Meeks.

  The detective conducted the Westerner to a branch advertising office of one of the largest dailies. There he wrote the following "ad" and submitted it to Meeks:

  "Wanted, at once - one hundred attractive chorus girls for a new musical comedy. Apply all day at No. - Broadway."

  Meeks was indignant.

  "My sister," said he, "is a poor, hard-working, elderly woman. I do not see what aid an advertisement of this kind would be toward finding her."

  "All right," said the detective. "I guess you don't know New York. But if you've got a grouch against this scheme we'll try the other
one. It's a sure thing. But it'll cost you more."

  "Never mind the expense," said Meeks; "we'll try it."

  The sleuth led him back to the Waldorf. "Engage a couple of bedrooms and a parlour," he advised, "and let's go up."

  This was done, and the two were shown to a superb suite on the fourth floor. Meeks looked puzzled. The detective sank into a velvet armchair, and pulled out his cigar case.

  "I forgot to suggest, old man," he said, "that you should have taken the rooms by the month. They wouldn't have stuck you so much for 'em.

  "By the month!" exclaimed Meeks. "What do you mean?"

  "Oh, it'll take time to work the game this way. I told you it would cost you more. We'll have to wait till spring. There'll be a new city directory out then. Very likely your sister's name and address will be in it."

  Meeks rid himself of the city detective at once. On the next day some one advised him to consult Shamrock Jolnes, New York's famous private detective, who demanded fabulous fees, but performed miracles in the way of solving mysteries and crimes.

  After waiting for two hours in the anteroom of the great detective's apartment, Meeks was shown into his presence. Jolnes sat in a purple dressing-gown at an inlaid ivory chess table, with a magazine before him, trying to solve the mystery of "They." The famous sleuth's thin, intellectual face, piercing eyes, and rate per word are too well known to need description.

  Meeks set forth his errand. "My fee, if successful, will be $500," said Shamrock Jolnes.

  Meeks bowed his agreement to the price.

  "I will undertake your case, Mr. Meeks," said Jolnes, finally. "The disappearance of people in this city has always been an interesting problem to me. I remember a case that I brought to a successful outcome a year ago. A family bearing the name of Clark disappeared suddenly from a small flat in which they were living. I watched the flat building for two months for a clue. One day it struck me that a certain milkman and a grocer's boy always walked backward when they carried their wares upstairs. Following out by induction the idea that this observation gave me, I at once located the missing family. They had moved into the flat across the hall and changed their name to Kralc."

  Shamrock Jolnes and his client went to the tenement house where Mary Snyder had lived, and the detective demanded to be shown the room in which she had lived. It had been occupied by no tenant since her disappearance.

  The room was small, dingy, and poorly furnished. Meeks seated himself dejectedly on a broken chair, while the great detective searched the walls and floor and the few sticks of old, rickety furniture for a clue.

  At the end of half an hour Jolnes had collected a few seemingly unintelligible articles - a cheap black hat pin, a piece torn off a theatre programme, and the end of a small torn card on which was the word "left" and the characters "C 12."

  Shamrock Jolnes leaned against the mantel for ten minutes, with his head resting upon his hand, and an absorbed look upon his intellectual face. At the end of that time he exclaimed, with animation:

  "Come, Mr. Meeks; the problem is solved. I can take you directly to the house where your sister is living. And you may have no fears concerning her welfare, for she is amply provided with funds - for the present at least."

  Meeks felt joy and wonder in equal proportions.

  "How did you manage it?" he asked, with admiration in his tones.

  Perhaps Jolnes's only weakness was a professional pride in his wonderful achievements in induction. He was ever ready to astound and charm his listeners by describing his methods.

  "By elimination," said Jolnes, spreading his clues upon a little table, "I got rid of certain parts of the city to which Mrs. Snyder might have removed. You see this hatpin? That eliminates Brooklyn. No woman attempts to board a car at the Brooklyn Bridge without being sure that she carries a hatpin with which to fight her way into a seat. And now I will demonstrate to you that she could not have gone to Harlem. Behind this door are two hooks in the wall. Upon one of these Mrs. Snyder has hung her bonnet, and upon the other her shawl. You will observe that the bottom of the hanging shawl has gradually made a soiled streak against the plastered wall. The mark is clean-cut, proving that there is no fringe on the shawl. Now, was there ever a case where a middle-aged woman, wearing a shawl, boarded a Harlem train without there being a fringe on the shawl to catch in the gate and delay the passengers behind her? So we eliminate Harlem.

  "Therefore I conclude that Mrs. Snyder has not moved very far away. On this torn piece of card you see the word 'Left,' the letter 'C,' and the number '12.' Now, I happen to know that No. 12 Avenue C is a first-class boarding house, far beyond your sister's means - as we suppose. But then I find this piece of a theatre programme, crumpled into an odd shape. What meaning does it convey. None to you, very likely, Mr. Meeks; but it is eloquent to one whose habits and training take cognizance of the smallest things.

  "You have told me that your sister was a scrub woman. She scrubbed the floors of offices and hallways. Let us assume that she procured such work to perform in a theatre. Where is valuable jewellery lost the oftenest, Mr. Meeks? In the theatres, of course. Look at that piece of programme, Mr. Meeks. Observe the round impression in it. It has been wrapped around a ring - perhaps a ring of great value. Mrs. Snyder found the ring while at work in the theatre. She hastily tore off a piece of a programme, wrapped the ring carefully, and thrust it into her bosom. The next day she disposed of it, and, with her increased means, looked about her for a more comfortable place in which to live. When I reach thus far in the chain I see nothing impossible about No. 12 Avenue C. It is there we will find your sister, Mr. Meeks."

  Shamrock Jolnes concluded his convincing speech with the smile of a successful artist. Meeks's admiration was too great for words. Together they went to No. 12 Avenue C. It was an old-fashioned brownstone house in a prosperous and respectable neighbourhood.

  They rang the bell, and on inquiring were told that no Mrs. Snyder was known there, and that not within six months had a new occupant come to the house.

  When they reached the sidewalk again, Meeks examined the clues which he had brought away from his sister's old room.

  "I am no detective," he remarked to Jolnes as he raised the piece of theatre programme to his nose, "but it seems to me that instead of a ring having been wrapped in this paper it was one of those round peppermint drops. And this piece with the address on it looks to me like the end of a seat coupon - No. 12, row C, left aisle."

  Shamrock Jolnes had a far-away look in his eyes.

  "I think you would do well to consult Juggins," said he.

  "Who is Juggins?" asked Meeks.

  "He is the leader," said Jolnes, "of a new modern school of detectives. Their methods are different from ours, but it is said that Juggins has solved some extremely puzzling cases. I will take you to him."

  They found the greater Juggins in his office. He was a small man with light hair, deeply absorbed in reading one of the bourgeois works of Nathaniel Hawthorne.

  The two great detectives of different schools shook hands with ceremony, and Meeks was introduced.

  "State the facts," said Juggins, going on with his reading.

  When Meeks ceased, the greater one closed his book and said:

  "Do I understand that your sister is fifty-two years of age, with a large mole on the side of her nose, and that she is a very poor widow, making a scanty living by scrubbing, and with a very homely face and figure?"

  "That describes her exactly," admitted Meeks. Juggins rose and put on his hat.

  "In fifteen minutes," he said, "I will return, bringing you her present address."

  Shamrock Jolnes turned pale, but forced a smile.

  Within the specified time Juggins returned and consulted a little slip of paper held in his hand.

  "Your sister, Mary Snyder," he announced calmly, "will be found at No. 162 Chilton street. She is living in the back hall bedroom, five flights up. The house is only four blocks from here," he continued, addressing Meeks. "Suppos
e you go and verify the statement and then return here. Mr. Jolnes will await you, I dare say."

  Meeks hurried away. In twenty minutes he was back again, with a beaming face.

  "She is there and well!" he cried. "Name your fee!"

  "Two dollars," said Juggins.

  When Meeks had settled his bill and departed, Shamrock Jolnes stood with his hat in his hand before Juggins.

  "If it would not be asking too much," he stammered - "if you would favour me so far - would you object to - "

  "Certainly not," said Juggins pleasantly. "I will tell you how I did it. You remember the description of Mrs. Snyder? Did you ever know a woman like that who wasn't paying weekly instalments on an enlarged crayon portrait of herself? The biggest factory of that kind in the country is just around the corner. I went there and got her address off the books. That's all."

  Miss Martha Meacham kept the little bakery on the corner (the one where you go up three steps, and the bell tinkles when you open the door).

  Miss Martha was forty, her bank-book showed a credit of two thousand dollars, and she possessed two false teeth and a sympathetic heart. Many people have married whose chances to do so were much inferior to Miss Martha's.

  Two or three times a week a customer came in in whom she began to take an interest. He was a middle-aged man, wearing spectacles and a brown beard trimmed to a careful point.

  He spoke English with a strong German accent. His clothes were worn and darned in places, and wrinkled and baggy in others. But he looked neat, and had very good manners.

  He always bought two loaves of stale bread. Fresh bread was five cents a loaf. Stale ones were two for five. Never did he call for anything but stale bread.

  Once Miss Martha saw a red and brown stain on his fingers. She was sure then that he was an artist and very poor. No doubt he lived in a garret, where he painted pictures and ate stale bread and thought of the good things to eat in Miss Martha's bakery.

  Often when Miss Martha sat down to her chops and light rolls and jam and tea she would sigh, and wish that the gentle-mannered artist might share her tasty meal instead of eating his dry crust in that draughty attic. Miss Martha's heart, as you have been told, was a sympathetic one.