A Thousand and One Afternoons in Chicago Part 17

"Like all great ideas, it was simple. Broun figures that what we need to do is to convince Schneider we have wonderful prospects and so Schneider will give us back our credit. So Broun sits down that day and all day and most of the night he paints. I think it was the last canvas he had in the studio, too. And a big one. You know all of Broun's landscapes are big.

"Well, he paints and paints, and when he is finished we take the picture to Schneider, the two of us carrying it. I tell Schneider that it is one of the old masters which we just received from Berlin from my father's studio. Then Broun says that Schneider must keep it in his place. It is too valuable to hang in our attic. Schneider looks at the picture and, it being so big, he half believes it.

"Then Broun and I go to the bank and draw out our $10 which we have saved up for a rainy day. And we go down town and get the picture insured for $2,000. You can imagine Schneider. We bring the insurance gink out there and when he gives us the policy and we show it to Schneider--well, our credit is re-established. Herring, rye bread, roast beef, pickles and cheese once more. We eat.

"Schneider is more proud of that picture than a peac.o.c.k. And every day we drop in to see if it is all right and Broun always goes behind the bar and dusts it off a little and draws himself another drink. There is never any question any more of our credit. Don't we own a picture insured for $2,000? The good Schneider is glad to have such affluent customers, you can believe me.

"Well, things go on like this for some months. Then I am coming home one night with Broun and the fire engines pa.s.s us. So Frank and I we go to the fire.

"It is Schneider's beer saloon. We see it a block off. Frank turns pale and he holds my arm and he whispers, 'Max, the picture! It is burning up!'

"I look at Broun and I suppose I tremble a little myself. Who wouldn't?

Two thousand dollars! 'Max,' says Broun, 'We go around the world together.

And I saw a suit today and a cane I must have.'

"But we couldn't talk. We walk slowly to the beer saloon. We walk already like plutocrats, arm in arm, and our faces with a faraway look. We are spending the two thousand, you can imagine.

"The saloon is burning fine. Everything is going up in smoke. Broun and I, we hold on to each other. We see Jo Davidson running to the fire and we nod at him politely. Money makes a big difference, you know.

"And then we hear a cry. I recognize Schneider and I see him break loose from the crowd. He runs back into the burning saloon, a fireman after him.

Broun and I, we stand and watch. He is probably gone after one of his kids. But I count the kids who are all in the street and they are all there.

"Then Schneider comes out and the fireman, too. And they are carrying something. Broun falls against the delicatessen store window and groans.

And I close my eyes. Yes, it is the picture.

"Schneider sees us and comes rushing. He is half burned up. But the picture is not touched. He and the fireman hand us the picture. As for me, I turn away and I lose command of the English language.

"'You boys trusted me,' says Schneider, 'and I remembered just in time. I remembered your picture. I may not be an artist, but I don't let a masterpiece burn up. Not in my saloon. So I save it. It is the only thing I save out of the whole saloon.' And he wrings Broun's hand, and I say, 'thanks.' That night, all night long, I played Beethoven. The Ninth Symphony is good for feelings such as mine and Broun's."

It is cooler in the Art Inst.i.tute and Max, smiling in memory of other days, looks at the Broun exhibition.

"I could finish the story by telling you excitedly that this landscape here is the picture Schneider saved," he went on, pointing to one of the large canvases. "But no. It wouldn't be the truth. I have the picture home. It is not yet worth $2,000, but in a few years more, who knows?

Maybe I have cause to thank Schneider yet."

SATRAPS AT PLAY

The elfin-faced danseuse puts it over. Her voice sounds like a run-down fifteen-cent harmonica. But that doesn't matter. Not at two a.m. in an all-night cabaret. You don't need a voice to knock us out of our seats.

You need something else--pep.

"I wanna be--in Tennuhsee," the elfin-faced one squeaks. And the ladies of the chorus grin vacuously and kick their pink tights. One, two, kick! One, two, kick! I wanna be--in Tennuhsee. One, two, kick! The third one on the other side looks all right. No, too fat. There's one. The one at the end.

Pretty, ain't she? Who? You mean the one with the long nose? No, whatsamatter with you? The one with the eyes. See. She's bending over now.

Some kid.

Two a.m. outside. Dark streets. Sleepy chauffeurs dreaming of $10 tips.

All-night Greek restaurants. Twenty-second Street has gone to bed. But we sit in the warm cabaret, devilishly proud of ourselves. We're a part of the gang that stays awake when the stars are out.

And the elfin-faced one cuts loose. Attaboy, girlie! Legs shooting through the tobacco smoke. Eyes like drunken birds. A banjo body playing jazz capers on the air. It ain't art. But who the devil wants art? What we want are conniption fits. This is the way the soul of Franz Liszt looked when he was writing music. Mumba Jumba had a dream that looked like this one night when the jungle moon arched its back and spat at his black linen face.

All right. Three a.m. Bring out the lions and the Christians now. The master of ceremonies is a fat man with little, ineffectual hands and a voice that bows and genuflects and throws itself politely worshipful at our feet.

Amateur night, says the voice, and some ladies and gentlemen will seek to entertain us with a few specialties for our amus.e.m.e.nt. And will the ladies and gentlemen of the audience applaud according to the merit of each performer? For the one who gets the most applause, he or she will win the grand first prize of fifty bones.

Attaboy! Will we applaud? Say, bring 'em out I Bring 'em out! Ah, here she is. A pale, trembling little morsel with frightened eyes and a worn blue serge skirt. The floor is slippery. "Miss Waghwoughblngsz," says the voice, "will sing for your entertainment."

A terrified little squeak. A Mae Marsh grimace of courage. Good! Say, she's great! Look at her try to swing her body. And her arms have lost their joints. And she's forgotten the words. Poor little tyke. Throw her something. Pennies. While she's singing. See who can hit her.

So we throw her pennies and nickels and dimes. They land on her head and one takes her on the nose. And her voice dies away like a baby bird falling out of a nest. And she stands still--jerking her mouth and the pennies falling all around her. And a cynical-looking youth bounces out and picks them up. Bravo! She tried to bow and slipped. Another round of applause for that. All right, take her away. What did she sing? What was the song that mumbled itself through the laughter and the rain of pennies?

Ladies and gentlemen, Mr. Sghsgbrszsg will endeavor to entertain you with a ballad for your amus.e.m.e.nt. That's fine. After three a.m. outside. Cold and dark. But nothing cold or dark about us. We're just getting started.

Bring 'em out. Bring out the ballad singer.

Ah, there's a lad for you. His shoes all shined and a clean collar on and his face carefully shaved at home. But his hands wouldn't wash clean. The shop grime lingers on his hands and in his broken nails. But his eyes are blue and he's going to sing. The boys at the shop know his songs. The noon hour knows them.

But his voice sounds different here under the beating tungstens. It quavers. Something about Ireland. A little bit of heaven. He can't sing.

If he was in his shirt sleeves and the collar was off and his face didn't hurt from the dull safety razor blade--it would sound better. But--pennies for him. Hit the singing boy in the eye and win the hand-painted cazaza.

"A little bit of heaven called Ireland," is what he's singing. And the noises start. The pennies and nickels rain. Finis! Not so good. He sang it all the way through and his voice grew better and better. Take him away.

We didn't like the way his eyes blazed back at us when the pennies fell.

Not so good. Not so good.

Here she is. Little Bertha, the Sewing Machine Girl. In the flesh. And walking across the slippery dance floor with her French heeled patent leathers wiggling under her. Bertha's the doodles. This is the way she stood at the piano at Sadie's party. This is the way she smiled at the errand boys and counter jumpers at Sadie's party. This is the way she bowed and this is the song she sang to them that they applauded so much.

And this is too good to be true. Bravo six times. Dimes and quarters and a majestic half dollar that takes Bertha on the ear. Bravo eleven times.

Bertha stands smirking and moving her shoulders and singing in a piping little shop-girl voice. Encore, _cherie!_ Encore! And it goes to Bertha's head. The applause and laughter, the lights and the pounding of the pennies falling out of heaven around her feet--these are too much for Bertha. She ends. Her arms make a gesture, a weak little gesture as if she were embracing one of the errand boys in a vestibule, saying good-night. A vague radiance comes over Bertha's face. Bravo twenty-nine times. The grand prize of fifty bones is hers. Wait and see if it ain't.

More lions and more Christians. Bring 'em out. The sad-looking boy with the harmonica. He forgets the tune all the time and we laugh and hit him with pennies. The clerk with the shock of black hair who does an Apache dance, and does it well. Too well. And the female impersonator who does a can-can female dance very well. Much too well.

n.o.body wants them. We want Bertha, the Sewing Machine Girl. There was a thrill to her. The way she looked when the applause grew loud. The way her girl arms reached out toward something. As if we at the tables rolling around in our seats and laughing our heads off and all dressed up and guzzling sandwiches and ginger ale, as if we were something at a rainbow end.

Bring her on again. Line 'em up. Now we'll applaud the one we liked the best. For his n.o.bs who gargled the Irish ballad, two bravos. If he hadn't got mad at us. Or if he'd got madder and spat a little more behind the music that came from him. But he didn't. The first gal who died on the floor. Whose heart collapsed. Whose eyes went blank with terror. Nine bravos for her. There was a thrill to her. Bravos for the rest of them, too. But Bertha wins the hand-painted cazaza. Fifty bucks for Bertha. Here you are, Bertha. You win.

Look, she's crying. That's all right, li'l girl. That's all right. Don't cry. We just gave you the prize because you gave us a thrill. That's fair enough. Because of all the geniuses who performed for our amus.e.m.e.nt and whom we bombarded with pennies you were the only one who threw out your arms and your eyes to us as if we were rainbow's end.

MRS. SARDOTOPOLIS' EVENING OFF

Mrs. Sardotopolis hurried along without looking into the store window. She was carrying her baby home from the doctor's office. The doctor said, "Hurry on. Get him home and don't buy him any ice cream on the way." Mrs.

Sardotopolis lived in a place above a candy, book and notion store at 608 South Halsted street.