The shoemaker : $b A powerful picture of nature, adapted from Hal Reid's famous drama of the same nameHarper, Olive
General
The shoemaker : $b A powerful picture of nature, adapted from Hal Reid's famous drama of the same name
Harper, Olive
Abduction -- Fiction; Fathers and daughters -- Fiction; Shoemakers -- Fiction; West (U.S.) -- Fiction
Dopey seemed to reflect. He had grown stronger, more active, and his
youth was making a brave fight against the enslavement of the deadly
drug, in this healthier life and away from the poisoned air of the
city, but nothing could ever make him look other than the vicious
output of low life on the Bowery. His brow was low, his eyes small and
shifty, his teeth yellow and irregular, and his mouth ugly and coarse.
Much of the face was now hidden in a thick beard.
It seemed a curious thing that a man like Pierson, so neat and careful
of his personal appearance, and so much above Dopey in intelligence,
should choose a creature like Dopey for a companion, but he looked upon
the degenerate as a tool in the commission of his crimes and, besides,
even criminals appear to have a need of some confidential agent to
whom to confide their plans. Dopey looked upon Pierson as a wonderful
being, since he was capable of any crime, and always seemed to look the
gentleman--even now, with the bushy beard that half hid his face. Dopey
would follow Pierson’s lead to any length, but he was not capable of
originating the plans that made Pierson seem so great to him.
Pierson stood restlessly awaiting the arrival of Muriel and Dora, with
his eyes fairly blazing with hatred of the woman who had given up
everything, that women hold dear, for him. She was an impediment now,
and a constant menace. He must get rid of her somehow.
Muriel looked pale and tired, and her costume showed the effects of
the long, dusty ride. But her every sense was alert to watch over and
protect Dora, whom she was leading tenderly. Dora had lost some of her
fresh young beauty, but there was something inexpressibly touching in
her vacant stare and timid manner.
As they neared the hotel, Dora began to sing as she fondled a delicate
wildflower in her hand.
“Tell me that you love me,
For that’s the sweetest story ever told”
sang the girl, and then she reverted to the song, after glancing
curiously about her:
“Tell me that you love me,
Tell me softly, sweetly, as of old,
Tell me that you love me,
For that’s the sweetest story ever told.”
As the two women approached the place where Dopey and John stood, Dora
handed the flower to Dopey, who looked at it curiously and then, with a
sneering scowl, drew back, while the poor girl said:
“Don’t you want the flower? I found it growing all alone out of a
crevice in the rocks. See how good is the dear God. He sends us flowers
even here.” Then she began to sing again the same refrain, then stopped
suddenly, saying, with a strident laugh:
“Here, here! There comes Bennie!” Then she began to call for Bennie
until even her poor, dazed mind comprehended that there was no answer.
Then, turning to Muriel, she said:
“What’s wrong, lady? I call and call, and no answer comes from Bennie.
He never comes.” Then she wept.
Muriel turned to John, who stood there with hatred gleaming in his
half-shut eyes, and whispered:
Public-domain text, read in full here on John Shaqi.
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