Further Foolishness by Stephen Leacock (howl and other poems .TXT) 📕

another lot right after them—there's Madeline —she's stopped outside the window—she's looking in—it's starting to snow! Hullo! here's a man coming along! Why, it's the Roo; he's stopping to talk to her, and pointing in at the restaurant—Flick, flick! "LET ME TAKE YOU IN HERE TO DINNER."

Oh, I see! The Roo says that! My! I'm getting on to the scheme of these things—the Roo is going to buy her some dinner! That's decent of him. He must have heard about her being hungry up in her room—say, I'm glad he came along. Look, there's a waiter come out to the door to show them in—what! she won't go! Say! I don't understand! Didn't it say he offered to take her in? Flick, flick!

"I WOULD RATHER DIE THAN EAT IT."

Gee! Why's that? What are all the audience applauding for? I must have missed something! Flick, flick!

Oh, blazes! I'm getting lost! Where is she now? Back in her room—flick, flick—praying—flick, flick! She's out on the street!—flick, flick!—in the employment bureau —flick, flick!—out of it—flick—darn the thing! It changes too much—where is it all? What is it all—? Flick, flick!

Now it's back at the old farm—I understand that all right, anyway! Same kitchen—same old man—same old woman—she's crying—who's this?—man in a sort of uniform—oh, I see, rural postal delivery—oh, yes, he brings them their letters—I see—

"NO, MR. MEADOWLARK, I AM SORRY, I HAVE STILL NO LETTER FOR YOU..."

Flick! It's gone! Flick, flick—it's Madeline's room again—what's she doing?—writing a letter?—no, she's quit writing—she's tearing it up—

"I CANNOT WRITE. IT WOULD BREAK THEIR ..."

Flick—missed it again! Break their something or other —Flick, flick!

Now it's the farm again—oh, yes, that's the young man John Holdfast—he's got a valise in his hand—he must be going away—they're shaking hands with him—he's saying something—

"I WILL FIND HER FOR YOU IF I HAVE TO SEARCH ALL NEW YORK."

He's off—there he goes through the gate—they're waving good-bye—flick—it's a railway depot—flick—it's New York—say! That's the Grand Central Depot! See the people buying tickets! My! isn't it lifelike?—and there's John—he's got here all right—I hope he finds her room—

The picture changed—where is it now? Oh, yes, I see —Madeline and the Roo—outside a street entrance to some place—he's trying to get her to come in—what's that on the door? Oh, yes, DANCE HALL—Flick, flick!

Well, say, that must be the inside of the dance hall —they're dancing—see, look, look, there's one of the girls going to get up and dance on the table.

Flick! Darn it!—they've cut it off—it's outside again —it's Madeline and the Roo—she's saying something to him—my! doesn't she look proud—?

"I WILL DIE RATHER THAN DANCE."

Isn't she splendid! Hear the audience applaud! Flick—it's changed—it's Madeline's room again—that's the landlady —doesn't she look hard, eh? What's this—Flick!

"IF YOU CANNOT PAY, YOU MUST LEAVE TO-NIGHT."

Flick, flick—it's Madeline—she's out in the street—it's snowing—she's sat down on a doorstep—say, see her face, isn't it pathetic? There! They've put her face all by itself on the screen. See her eyes move! Flick, flick!

Who's this? Where is it? Oh, yes, I get it—it's John—at a police station—he's questioning them—how grave they look, eh? Flick, flick!

"HAVE YOU SEEN A GIRL IN NEW YORK?"

I guess that's what he asks them, eh? Flick, flick—

"NO, WE HAVE NOT."

Too bad—flick—it's changed again—it's Madeline on the doorstep—she's fallen asleep—oh, say, look at that man coming near to her on tiptoes, and peeking at her—why, it's Edward, it's the Roo—but he doesn't waken her—what does it mean? What's he after? Flick, flick—

Hullo—what's this?—it's night—what's this huge dark thing all steel, with great ropes against the sky—it's Brooklyn Bridge—at midnight—there's a woman on it! It's Madeline—see! see! She's going to jump—stop her! Stop her! Flick, flick—

Hullo! she didn't jump after all—there she is again on the doorstep—asleep—how could she jump over Brooklyn Bridge and still be asleep? I don't catch on—or, oh, yes, I do—she dreamed it—I see now, that's a great scheme, eh?—shows her dream—

The picture's changed—what's this place—a saloon, I guess—yes, there's the bartender, mixing drinks—men talking at little tables—aren't they a tough-looking lot?—see, that one's got a revolver—why, it's Edward the Roo—talking with two men—he's giving them money—what's this?—

"GIVE US A HUNDRED APIECE AND WE'LL DO IT."

It's in the street again—Edward and one of the two toughs —they've got little black masks on—they're sneaking up to Madeline where she sleeps—they've got a big motor drawn up beside them—look, they've grabbed hold of Madeline—they're lifting her into the motor—help! Stop! Aren't there any police?—yes, yes, there's a man who sees it—by Gee! It's John, John Holdfast—grab them, John—pshaw! they've jumped into the motor, they're off!

Where is it now?—oh, yes—it's the police station again —that's John, he's telling them about it—he's all out of breath—look, that head man, the big fellow, he's giving orders—

"INSPECTOR FORDYCE, TAKE YOUR BIGGEST CAR AND TEN MEN. IF YOU OVERTAKE THEM, SHOOT AND SHOOT TO KILL."

Hoorah! Isn't it great—hurry! don't lose a minute—see them all buckling on revolvers—get at it, boys, get at it! Don't lose a second—

Look, look—it's a motor—full speed down the street—look at the houses fly past—it's the motor with the thugs—there it goes round the corner—it's getting smaller, it's getting smaller, but look, here comes another—my! it's just flying—it's full of police—there's John in front—Flick!

Now it's the first motor—it's going over a bridge—it's heading for the country—say, isn't that car just flying —Flick, flick!

It's the second motor—it's crossing the bridge too—hurry, boys, make it go!—Flick, flick!

Out in the country—a country road—early daylight—see the wind in the trees! Notice the branches waving? Isn't it natural?—whiz! Biff! There goes the motor—biff! There goes the other one—right after it—hoorah!

The open road again—the first motor flying along! Hullo, what's wrong? It's slackened, it stops—hoorah! it's broken down—there's Madeline inside—there's Edward the Roo! Say! isn't he pale and desperate!

Hoorah! the police! the police! all ten of them in their big car—see them jumping out—see them pile into the thugs! Down with them! paste their heads off! Shoot them! Kill them! isn't it great—isn't it educative—that's the Roo—Edward—with John at his throat! Choke him, John! Throttle him! Hullo, it's changed—they're in the big motor—that's the Roo with the handcuffs on him.

That's Madeline—she's unbound and she's talking; say, isn't she just real pretty when she smiles?

"YES, JOHN, I HAVE LEARNED THAT I WAS WRONG TO PUT MY ART BEFORE YOUR LOVE. I WILL MARRY YOU AS SOON AS YOU LIKE."

Flick, flick!

What pretty music! Ding! Dong! Ding! Dong! Isn't it soft and sweet!—like wedding bells. Oh, I see, the man in