O'Henry - Rolling Stones

Hurd of Toledo, here pulls out his watch, and says: "I'm a son of a gun! Got an engagement for a hack ride out to San Pedro Springs at eleven. Forgot it. A fellow from Noo York, and me, and the Castillo sisters at Rhinegelder's Garden. That Noo York chap's a lucky dog--got one whole lung--good for a year yet. Plenty of money, too. He pays for everything. I can't afford--to miss the jamboree. Sorry you ain't going along. Good-by, Goodall of Memphis."

He rounds the corner and shuffles away, casting off thus easily the ties of acquaintanceship as the moribund do, the season of dissolution being man's supreme hour of egoism and selfishness. But he turns and calls back through the fog to the other: "I say, Goodall of Memphis! If you get there before I do, tell 'em Hurd's a-comin' too. Hurd, of T'leder, Ah-hia."

Thus Goodall's tempter deserts him. That youth, un-complaining and uncaring, takes a spell at coughing, and, recovered, wanders desultorily on down the street, the name of which he neither knows nor recks. At a certain point he perceives swinging doors, and hears, filtering between them a noise of wind and string instruments. Two men enter from the street as he arrives, and he follows them in. There is a kind of ante-chamber, plentifully set with palms and cactuses and oleanders. At little marble-topped tables some people sit, while soft-shod attendants bring the beer. All is orderly, clean, melancholy, gay, of the German method of pleasure. At his right is the foot of a stairway. A man there holds out his hand. Goodall extends his, full of silver, the man selects therefrom a coin. Goodall goes upstairs and sees there two galleries extending along the sides of a concert hall which he now perceives to lie below and beyond the anteroom he first entered. These galleries are divided into boxes or stalls, which bestow with the aid of hanging lace curtains, a certain privacy upon their occupants.

Passing with aimless feet down the aisle contiguous to these saucy and discreet compartments, he is half checked by the sight in one of them of a young woman, alone and seated in an attitude of reflection. This young woman becomes aware of his approach. A smile from her brings him to a standstill, and her subsequent invitation draws him, though hesitating, to the other chair in the box, a little table between them.

Goodall is only nineteen. There are some whom, when the terrible god Phthisis wishes to destroy be first makes beautiful; and the boy is one of these. His face is wax, and an awful pulchritude is born of the menacing flame in his cheeks. His eyes reflect an unearthly vista engendered by the certainty of his doom. As it is forbidden man to guess accurately concerning his fate, it is inevitable that he shall tremble at the slightest lifting of the veil.

The young woman is well-dressed, and exhibits a beauty of distinctly feminine and tender sort; an Eve-like comeliness that scarcely seems predestined to fade.

It is immaterial, the steps by which the two mount to a certain plane of good understanding; they are short and few, as befits the occasion.

A button against the wall of the partition is frequently disturbed and a waiter comes and goes at signal.

Pensive beauty would nothing of wine; two thick plaits of her blond hair hang almost to the floor; she is a lineal descendant of the Lorelei. So the waiter brings the brew; effervescent, icy, greenish golden. The orchestra on the stage is playing "Oh, Rachel." The youngsters have exchanged a good bit of information. She calls him, "Walter" and he calls her "Miss Rosa."

Goodall's tongue is loosened and he has told her everything about himself, about his home in Tennessee, the old pillared mansion under the oaks, the stables, the hunting; the friends he has; down to the chickens, and the box bushes bordering the walks. About his coming South for the climate, hoping to escape the hereditary foe of his family. All about his three months on a ranch; the deer hunts, the rattlers, and the rollicking in the cow camps. Then of his advent to Santone, where he had indirectly learned, from a great specialist that his life's calendar probably contains but two more leaves. And then of this death-white, choking night which has come and strangled his fortitude and sent him out to seek a port amid its depressing billows.

"My weekly letter from home failed to come," he told her, "and I was pretty blue. I knew I had to go before long and I was tired of waiting. I went out and bought morphine at every drug store where they would sell me a few tablets. I got thirty-six quarter grains, and was going back to my room and take them, but I met a queer fellow on a bridge, who had a new idea."

Goodall fillips a little pasteboard box upon the table. "I put 'em all together in there."

Miss Rosa, being a woman, must raise the lid, and gave a slight shiver at the innocent looking triturates. "Horrid things! but those little, white bits--they could never kill one!"

Indeed they could. Walter knew better. Nine grains of morphia! Why, half the amount might.

Miss Rosa demands to know about Mr. Hurd, of Toledo, and is told. She laughs like a delighted child. "What a funny fellow! But tell me more about your home and your sisters, Walter. I know enough about Texas and tarantulas and cowboys."

The theme is dear, just now, to his mood, and he lays before her the simple details of a true home; the little ties and endearments that so fill the exile's heart. Of his sisters, one, Alice, furnishes him a theme he loves to dwell upon.

"She is like you, Miss Rosa," he says. "Maybe not quite so pretty, but, just as nice, and good, and----"

"There! Walter," says Miss Rosa sharply, "now talk about something else."

But a shadow falls upon the wall outside, preceding a big, softly treading man, finely dressed, who pauses a second before the curtains and then passes on. Presently comes the waiter with a message: "Mr. Rolfe says--"

"Tell Rolfe I'm engaged."

"I don't know why it is," says Goodall, of Memphis, "but I don't feel as bad as I did. An hour ago I wanted to die, but since I've met you, Miss Rosa, I'd like so much to live."

The young woman whirls around the table, lays an arm behind his neck and kisses him on the cheek.

"You must, dear boy," she says. "I know what was the matter. It was the miserable foggy weather that has lowered your spirit and mine too--a little. But look, now."

With a little spring she has drawn back the curtains. A window is in the wall opposite, and lo! the mist is cleared away. The indulgent moon is out again, revoyaging the plumbless sky. Roof and parapet and spire are softly pearl enamelled. Twice, thrice the retrieved river flashes back, between the houses, the light of the firmament. A tonic day will dawn, sweet and prosperous.

"Talk of death when the world is so beautiful!" says Miss Rosa, laying her hand on his shoulder. "Do something to please me, Walter. Go home to your rest and say: 'I mean to get better,' and do it."

"If you ask it," says the boy, with a smile, "I will."

The waiter brings full glasses. Did they ring? No; but it is well. He may leave them. A farewell glass. Miss Rosa says: "To your better health, Walter." He says: "To our next meeting."

His eyes look no longer into the void, but gaze upon the antithesis of death. His foot is set in an undiscovered country to-night. He is obedient, ready to go.

"Good night," she says.

"I never kissed a girl before," he confesses, "except my sisters."

"You didn't this time," she laughs, "I kissed you--good night."

"When shall I see you again," he persists.

"You promised me to go home," she frowns, "and get well. Perhaps we shall meet again soon. Good night."

He hesitates, his hat in hand. She smiles broadly and kisses him once more upon the forehead. She watches him far down the aisle, then sits again at the table.