Short Fiction by O. Henry (librera reader txt) 📕

it, for he said it would be taking the pumpernickel out of his children’s mouths to hold any conversation that did not lead up to a price of $35. I finally got it for $25.

“ ‘Jeff,’ goes on Andy, ‘this is the exact counterpart of Scudder’s carving. It’s absolutely a dead ringer for it. He’ll pay $2,000 for it as quick as he’d tuck a napkin under his chin. And why shouldn’t it be the genuine other one, anyhow, that the old gypsy whittled out?’

“ ‘Why not, indeed?’ says I. ‘And how shall we go about compelling him to make a voluntary purchase of it?’

“Andy had his plan all ready, and I’ll tell you how we carried it out.

“I got a pair of blue spectacles, put on my black frock coat, rumpled my hair up and became Prof. Pickleman. I went to another hotel, registered, and sent a telegram to Scudder to come to see me at once on important art business. The elevator dumped him on me in less than an hour. He was a foggy man with a clarion voice, smelling of Connecticut wrappers and naphtha.

“ ‘Hello, Profess!’ he shouts. ‘How’s your conduct?’

“I rumpled my hair some more and gave him a blue glass stare.

“ ‘Sir,’ says I, ‘are you Cornelius T. Scudder? Of Pittsburg, Pennsylvania?’

“ ‘I am,’ says he. ‘Come out and have a drink.’

“ ‘I’ve neither the time nor the desire,’ says I, ‘for such harmful and deleterious amusements. I have come from New York,’ says I, ‘on a matter of busi⁠—on a matter of art.

“ ‘I learned there that you are the owner of an Egyptian ivory carving of the time of Rameses II, representing the head of Queen Isis in a lotus flower. There were only two of such carvings made. One has been lost for many years. I recently discovered and purchased the other in a pawn⁠—in an obscure museum in Vienna. I wish to purchase yours. Name your price.’

“ ‘Well, the great ice jams, Profess!’ says Scudder. ‘Have you found the other one? Me sell? No. I don’t guess Cornelius Scudder needs to sell anything that he wants to keep. Have you got the carving with you, Profess?’

“I shows it to Scudder. He examines it careful all over.

“ ‘It’s the article,’ says he. ‘It’s a duplicate of mine, every line and curve of it. Tell you what I’ll do,’ he says. ‘I won’t sell, but I’ll buy. Give you $2,500 for yours.’

“ ‘Since you won’t sell, I will,’ says I. ‘Large bills, please. I’m a man of few words. I must return to New York tonight. I lecture tomorrow at the aquarium.’

“Scudder sends a check down and the hotel cashes it. He goes off with his piece of antiquity and I hurry back to Andy’s hotel, according to arrangement.

“Andy is walking up and down the room looking at his watch.

“ ‘Well?’ he says.

“ ‘Twenty-five hundred,’ says I. ‘Cash.’

“ ‘We’ve got just eleven minutes,’ says Andy, ‘to catch the B. & O. westbound. Grab your baggage.’

“ ‘What’s the hurry,’ says I. ‘It was a square deal. And even if it was only an imitation of the original carving it’ll take him some time to find it out. He seemed to be sure it was the genuine article.’

“ ‘It was,’ says Andy. ‘It was his own. When I was looking at his curios yesterday he stepped out of the room for a moment and I pocketed it. Now, will you pick up your suitcase and hurry?’

“ ‘Then,’ says I, ‘why was that story about finding another one in the pawn⁠—’

“ ‘Oh,’ says Andy, ‘out of respect for that conscience of yours. Come on.’ ”

The Memento

Miss Lynnette D’Armande turned her back on Broadway. This was but tit for tat, because Broadway had often done the same thing to Miss D’Armande. Still, the “tats” seemed to have it, for the ex-leading lady of the “Reaping the Whirlwind” company had everything to ask of Broadway, while there was no vice-versa.

So Miss Lynnette D’Armande turned the back of her chair to her window that overlooked Broadway, and sat down to stitch in time the lisle-thread heel of a black silk stocking. The tumult and glitter of the roaring Broadway beneath her window had no charm for her; what she greatly desired was the stifling air of a dressing-room on that fairyland street and the roar of an audience gathered in that capricious quarter. In the meantime, those stockings must not be neglected. Silk does wear out so, but⁠—after all, isn’t it just the only goods there is?

The Hotel Thalia looks on Broadway as Marathon looks on the sea. It stands like a gloomy cliff above the whirlpool where the tides of two great thoroughfares clash. Here the player-bands gather at the end of their wanderings, to loosen the buskin and dust the sock. Thick in the streets around it are booking-offices, theatres, agents, schools, and the lobster-palaces to which those thorny paths lead.

Wandering through the eccentric halls of the dim and fusty Thalia, you seem to have found yourself in some great ark or caravan about to sail, or fly, or roll away on wheels. About the house lingers a sense of unrest, of expectation, of transientness, even of anxiety and apprehension. The halls are a labyrinth. Without a guide, you wander like a lost soul in a Sam Loyd puzzle.

Turning any corner, a dressing-sack or a cul-de-sac may bring you up short. You meet alarming tragedians stalking in bathrobes in search of rumored bathrooms. From hundreds of rooms come the buzz of talk, scraps of new and old songs, and the ready laughter of the convened players.

Summer has come; their companies have disbanded, and they take their rest in their favorite caravansary, while they besiege the managers for engagements for the coming season.

At this hour of the afternoon the day’s work of tramping the rounds of the agents’ offices is over. Past you, as you ramble distractedly through the mossy halls, flit audible visions of houris, with veiled, starry eyes, flying tag-ends of things and a swish of silk, bequeathing