Short Fiction O. Henry (comprehension books TXT) 📖

apron-strings, she reappeared in considerably less than a “trice” as a fluffy “Parisienne”⁠—so near does Art bring the old red mill to the Moulin Rouge. And then⁠—

But you know the rest. And so did Bob Hart; but he saw somebody else. He thought he saw that Cherry was the only professional on the short order stage that he had seen who seemed exactly to fit the part of “Helen Grimes” in the sketch he had written and kept tucked away in the tray of his trunk. Of course Bob Hart, as well as every other normal actor, grocer, newspaper man, professor, curb broker, and farmer, has a play tucked away somewhere. They tuck ’em in trays of trunks, trunks of trees, desks, haymows, pigeonholes, inside pockets, safe-deposit vaults, handboxes, and coal cellars, waiting for Mr. Frohman to call. They belong among the fifty-seven different kinds.

But Bob Hart’s sketch was not destined to end in a pickle jar. He called it Mice Will Play. He had kept it quiet and hidden away ever since he wrote it, waiting to find a partner who fitted his conception of “Helen Grimes.” And here was “Helen” herself, with all the innocent abandon, the youth, the sprightliness, and the flawless stage art that his critical taste demanded.

After the act was over Hart found the manager in the box office, and got Cherry’s address. At five the next afternoon he called at the musty old house in the West Forties and sent up his professional card.

By daylight, in a secular shirtwaist and plain voile skirt, with her hair curbed and her Sister of Charity eyes, Winona Cherry might have been playing the part of Prudence Wise, the deacon’s daughter, in the great (unwritten) New England drama not yet entitled anything.

“I know your act, Mr. Hart,” she said after she had looked over his card carefully. “What did you wish to see me about?”

“I saw you work last night,” said Hart. “I’ve written a sketch that I’ve been saving up. It’s for two; and I think you can do the other part. I thought I’d see you about it.”

“Come in the parlor,” said Miss Cherry. “I’ve been wishing for something of the sort. I think I’d like to act instead of doing turns.”

Bob Hart drew his cherished Mice Will Play from his pocket, and read it to her.

“Read it again, please,” said Miss Cherry.

And then she pointed out to him clearly how it could be improved by introducing a messenger instead of a telephone call, and cutting the dialogue just before the climax while they were struggling with the pistol, and by completely changing the lines and business of Helen Grimes at the point where her jealousy overcomes her. Hart yielded to all her strictures without argument. She had at once put her finger on the sketch’s weaker points. That was her woman’s intuition that he had lacked. At the end of their talk Hart was willing to stake the judgment, experience, and savings of his four years of vaudeville that Mice Will Play would blossom into a perennial flower in the garden of the circuits. Miss Cherry was slower to decide. After many puckerings of her smooth young brow and tappings on her small, white teeth with the end of a lead pencil she gave out her dictum.

“Mr. Hart,” said she, “I believe your sketch is going to win out. That Grimes part fits me like a shrinkable flannel after its first trip to a handless hand laundry. I can make it stand out like the colonel of the Forty-fourth Regiment at a Little Mothers’ Bazaar. And I’ve seen you work. I know what you can do with the other part. But business is business. How much do you get a week for the stunt you do now?”

“Two hundred,” answered Hart.

“I get one hundred for mine,” said Cherry. “That’s about the natural discount for a woman. But I live on it and put a few simoleons every week under the loose brick in the old kitchen hearth. The stage is all right. I love it; but there’s something else I love better⁠—that’s a little country home, some day, with Plymouth Rock chickens and six ducks wandering around the yard.

“Now, let me tell you, Mr. Hart, I am strictly business. If you want me to play the opposite part in your sketch, I’ll do it. And I believe we can make it go. And there’s something else I want to say: There’s no nonsense in my makeup; I’m on the level, and I’m on the stage for what it pays me, just as other girls work in stores and offices. I’m going to save my money to keep me when I’m past doing my stunts. No Old Ladies’ Home or Retreat for Imprudent Actresses for me.

“If you want to make this a business partnership, Mr. Hart, with all nonsense cut out of it, I’m in on it. I know something about vaudeville teams in general; but this would have to be one in particular. I want you to know that I’m on the stage for what I can cart away from it every payday in a little manila envelope with nicotine stains on it, where the cashier has licked the flap. It’s kind of a hobby of mine to want to cravenette myself for plenty of rainy days in the future. I want you to know just how I am. I don’t know what an all-night restaurant looks like; I drink only weak tea; I never spoke to a man at a stage entrance in my life, and I’ve got money in five savings banks.”

“Miss Cherry,” said Bob Hart in his smooth, serious tones, “you’re in on your own terms. I’ve got ‘strictly business’ pasted in my hat and stenciled on my makeup box. When I dream of nights I always see a five-room bungalow on the north shore of Long Island, with a Jap cooking clam broth and duckling in the kitchen, and me with the title deeds