Somewhere in Red Gap. Harry Leon WilsonЧитать онлайн книгу.
interested me was the folks that come in. Folks always do interest me something amazing. Strange ones like that, I mean, where you set and try to figure out all about 'em, what kind of homes they got, and how they act when they ain't in a swell restaurant, and everything. Pretty soon comes a couple to the table next us and, say, they was just plain Mr. and Mrs. Mad. Both of 'em stall-fed. He was a large, shiny lad, with pink jowls barbered to death and wicked looking, like a well-known clubman or villain. The lady was spectacular and cynical, with a cold, thin nose and eyes like a couple of glass marbles. Her hair was several shades off a legal yellow and she was dressed! She would have made handsome loot, believe me—aigrette, bracelets, rings, dog collar, gold-mesh bag, vanity case—Oh, you could see at a glance that she was one of them Broadway social favourites you read about. And both grouchy, like I said. He scowled till you knew he'd just love to beat a crippled step-child to death, and she—well, her work wasn't so coarse; she kept her mad down better. She set there as nice and sweet as a pet scorpion.
"'A scrap,' I says to myself, 'and they've only half finished. She's threatened to quit and he, the cowardly dog, has dared her to.' Plain enough. The waiter knew it soon as I did when he come to take their order. Wouldn't speak to each other. Talked through him; fought it out to something different for each one. Couldn't even agree on the same kind of cocktail. Both slamming the waiter—before they fought the order to a finish each had wanted to call the head waiter, only the other one stopped it.
"So I rubbered awhile, trying to figure out why such folks want to finish up their fights in a restaurant, and then I forgot 'em, looking at some other persons that come in. Then the orchestra started this song and I seen a lady was getting up in front to sing it. I admit the piece got me. It got me good. Really, ain't it the gooey mess of heart-throbs when you come right down to it? This lady singer was a good-looking sad-faced contralto in a low-cut black dress—and how she did get the tears out of them low notes! Oh, I quit looking at people while her chest was oozing out that music. And it got others, too. I noticed lots of 'em had stopped eating when I looked round, and there was so much clapping she had to get up and do it all over again. And what you think? In the middle of the second time I look over to these fighters, and darned if they ain't holding hands across the table; and more, she's got a kind of pitiful, crying smile on and he's crying right out—crying into his cold asparagus, plain as day.
"What more would you want to know about the powers of this here piece of music? They both spoke like human beings to the scared waiter when he come back, and the lad left a five-spot on the tray when he paid his check. Some song, yes?
"And all this flashed back on me when Nettie and I stood there watching this cute little banjo. So I says to myself, 'Here, my morbid vestal, is where I put you sane; here's where I hurl an asphyxiating bomb into the trenches of the New Dawn.' Out loud I only says, 'Let's go in and see if Wilbur has got some new records.'
"'Wilbur?' says she, and we went in. Nettie had not met Wilbur.
"I may as well tell you here and now that C. Wilbur Todd is a shrimp. Shrimp I have said and shrimp I always will say. He talks real brightly in his way—he will speak words like an actor or something—but for brains! Say, he always reminds me of the dumb friend of the great detective in the magazine stories, the one that goes along to the scene of the crime to ask silly questions and make fool guesses about the guilty one, and never even suspects who done the murder, till the detective tells on the last page when they're all together in the library.
"Sure, that's Wilbur. It would be an ideal position for him. Instead of which he runs this here music store, sells these jitney pianos and phonographs and truck like that. And serious! Honestly, if you seen him coming down the street you'd say, 'There comes one of these here musicians.' Wears long hair and a low collar and a flowing necktie and talks about his technique. Yes, sir, about the technique of working a machinery piano. Gives free recitals in the store every second Saturday afternoon, and to see him set down and pump with his feet, and push levers and pull handles, weaving himself back and forth, tossing his long, silken locks back and looking dreamily off into the distance, you'd think he was a Paderewski. As a matter of fact, I've seen Paderewski play and he don't make a tenth of the fuss Wilbur does. And after this recital I was at one Saturday he comes up to some of us ladies, mopping his pale brow, and he says, 'It does take it out of one! I'm always a nervous wreck after these little affairs of mine.' Would that get you, or would it not?
"So we go in the store and Wilbur looks up from a table he's setting at in the back end.
"'You find me studying some new manuscripts,' he says, pushing back the raven locks from his brow. Say, it was a weary gesture he done it with—sort of languid and world-weary. And what you reckon he meant by studying manuscripts? Why, he had one of these rolls of paper with the music punched into it in holes, and he was studying that line that tells you when to play hard or soft and all like that. Honest, that was it!
"'I always study these manuscripts of the masters conscientiously before I play them,' says he.
"Such is Wilbur. Such he will ever be. So I introduced him to Nettie and asked if he had this here song on a phonograph record. He had. He had it on two records. 'One by a barytone gentleman, and one by a mezzo-soprano,' says Wilbur. I set myself back for both. He also had it with variations on one of these punched rolls. He played that for us. It took him three minutes to get set right at the piano and to dust his fingers with a white silk handkerchief which he wore up his sleeve. And he played with great expression and agony and bending exercises, ever and anon tossing back his rebellious locks and fixing us with a look of pained ecstasy. Of course it sounded better than the banjo, but you got to have the voice with that song if you're meaning to do any crooked work. Nettie was much taken with it even so, and Wilbur played it another way. What he said was that it was another school of interpretation. It seemed to have its points with him, though he favoured the first school, he said, because of a certain almost rugged fidelity. He said the other school was marked by a tendency to idealism, and he pulled some of the handles to show how it was done. I'm merely telling you how Wilbur talked.
"Nettie listened very serious. There was a new look in her eyes. 'That song has got to her even on a machinery piano,' I says, 'but wait till we get the voice, with she and Chester out in the mischievous moonlight.' Wasn't I the wily old hound! Nettie sort of lingered to hear Wilbur, who was going good by this time. 'One must be the soul behind the wood and wire,' he says; 'one rather feels just that, or one remains merely a brutal mechanic.'
"'I understand,' says Nettie. 'How you must have studied!'
"'Oh, studied!' says Wilbur, and tossed his mane back and laughed in a lofty and suffering manner. Studied! He'd gone one year to a business college in Seattle after he got out of high school!
"'I understand,' says Nettie, looking all reverent and buffaloed.
"'It is the price one must pay for technique,' says Wilbur. 'And to-day you found me in the mood. I am not always in the mood.'
"'I understand,' says Nettie.
"I'm just giving you an idea, understand. Then Wilbur says, 'I will bring these records up this evening if I may. The mezzo-soprano requires a radically different adjustment from the barytone.' 'My God!' thinks I, 'has he got technique on the phonograph, too!' But I says he must come by all means, thinking he could tend the machine while Nettie and Chester is out on the porch getting wise to each other.
"'There's another teep for you,' I says to Nettie when we got out of the place. 'He certainly is marked by tendencies,' I says. I meant it for a nasty slam at Wilbur's painful deficiencies as a human being, but she took it as serious as Wilbur took himself—which is some!
"'Ah, yes, the artist teep,' says she,'the most complex, the most baffling of all.'
"That was a kind of a sickish jolt to me—the idea that something as low in the animal kingdom as Wilbur could baffle anyone—but I thinks, 'Shucks! Wait till he lines up alongside of a regular human man like Chet Timmins!'
"I had Chet up to supper again. He still choked on words of one syllable if Nettie so much as glanced at him, and turned all sorts of painful colours like a cheap rug. But I keep thinking the piece will fix that all right.
"At eight o'clock Wilbur