Children of the Whirlwind. Scott Leroy
beneath that drab and spent appearance there smouldered a great fire, which might blaze forth upon some occasion. But no one knew. As she was now, so she had always been even in the memory of people considered old in the neighborhood.
Beside the fact that she ran a pawnshop, which was reputed to be also a fence, there were only two or three other facts that were known to her neighbors. One was that in the far past there had been a daughter, and that while still a very young girl this daughter had disappeared. It was rumored that the Duchess had placed the daughter in a convent and that later tire girl had married; but the daughter had never appeared again in the quarter. Another fact was that there was a grandson, a handsome young devil, who had come down occasionally to visit his grandmother, until he began his involuntary sojourn at Sing Sing. Another fact—this one the best known of all—was that two or three years before an impudent, willful young girl named Maggie Carlisle had come to live with her.
It was rather a meager history. People wondered and talked of mystery. But perhaps the only mystery arose from the fact that the Duchess was the kind of woman who never volunteered information about her affairs, and the kind even the boldly curious hesitate to question...
And down here it was, in this unlovely street, in the Duchess's unlovely house, that the drama of Maggie Carlisle and Larry Brainard began its unpromising and stormy career: for, though they had thought of it little, their forebears had been sowers of the wind, they themselves had sown some of that careless seed and were to sow yet more—and there was to be the reaping of that seed's wild crop.
CHAPTER II
When Maggie entered the studio on the Duchess's third floor, the big, red-haired, unkempt painter roared his rebukes at her. She stiffened, and in the resentment of her proud youth did not even offer an explanation. Nodding to her father and Barney Palmer, she silently crossed to the window and stood sullenly gazing over the single mongrel tree before the house and down the narrow street and across the little Square, at the swirling black tide which raced through East River. That painter was a beast! Yes, and a fool!
But quickly the painter was forgotten, and once more her mind reverted to Larry—at last Larry was coming back!—only to have the painter, after a minute, interrupt her excited imagination with:
“What's the matter with your tongue, Maggie? Generally you stab back with it quick enough.”
She turned, still sulky and silent, and gazed with cynical superiority at the easel. “Nuts”—it was Barney Palmer who had thus lightly rechristened the painter when he had set up his studio in the attic above the pawnshop six months before—Nuts was transferring the seamy, cunning face of her father, “Old Jimmie” Carlisle, to the canvas with swift, unhesitating strokes.
“For the lova Christ and the twelve apostles, including that piker Judas,” woefully intoned Old Jimmie from the model's chair, “lemme get down off this platform!”
“Move and I'll wipe my palette off on that Mardi Gras vest of yours!” grunted the big painter autocratically through his mouthful of brushes.
“O God—and I got a cramp in my back, and my neck's gone to sleep!” groaned Old Jimmie, leaning forward on his cane. “Daughter, dear”—plaintively to Maggie—“what is the crazy gentleman doing to me?”
“It's an awful smear, father.” Maggie spoke slightingly, but with a tone of doubt. It was not the sort of picture that eighteen has been taught to like—yet the picture did possess an intangible something that provoked doubt as to its quality. “You sure do look one old burglar!”
“Not a cheap burglar?”—hopefully.
“Naw!” exploded the man at the easel in his big voice, first taking the brushes from his mouth. “You're a swell-looking old pirate!—ready to loot the sub-treasury and then scuttle the old craft with all hands on board! A breathing, speaking, robbing likeness!”
“Maggie's right, and Nuts's right,” put in Barney Palmer. “It's sure a rotten picture, and then again it sure looks like you, Jimmie.”
The smartly dressed Barney—Barney could not keep away from Broadway tailors and haberdashers with their extravagant designs and color schemes—dismissed the insignificant matter of the portrait, and resumed the really important matter which had brought him to her.
“Are you certain, Maggie, that the Duchess hasn't heard from Larry?”
“If she has, she hasn't mentioned it. But why don't you ask her yourself?”
“I did, but she wouldn't say a thing. You can't get a word out of the Duchess with a jimmy, unless she wants to talk—and she never wants to talk.” He turned his sharp, narrowly set eyes upon the lean old man. “It's got me guessing, Jimmie. Larry was due out of Sing Sing yesterday, and we haven't had a peep from him, and though she won't talk I'm sure he hasn't been here to see his grandmother.”
“Sure is funny,” agreed Old Jimmie. “But mebbe Larry has broke straight into a fresh game and is playing a lone hand. He's a quick worker, Larry is—and he's got nerve.”
“Well, whatever's keeping him we're tied up till Larry comes.” Barney turned back to Maggie. “I say, sister, how about robing yourself in your raiment of joy and coming with yours truly to a palace of jazz, there to dine and show the populace what real dancing is?”
“Can't, Barney. Mr. Hunt”—the name given the painter at his original christening—“asked the Duchess and me to have dinner up here. He's to cook it himself.”
“For your sake I hope he cooks better than he paints.” And sliding down in his chair until he rested upon a more comfortable vertebra, the elegant Barney lit a monogrammed cigarette, and with idle patience swung his bamboo stick.
“You're half an hour late, Maggie,” Hunt began at her again in his rumbling voice. “Can't stand for such a waste of my time!”
“How about my time?” retorted Maggie, who indeed had a grievance. “I was supposed to have the day off, but instead I had to carry that tray of cigarettes around till the last person in the Ritzmore had finished lunch. Anyhow,” she added, “I don't see that your time's worth so much when you spend it on such painty messes as these.”
“It's not up to you to tell me what my time's worth!” retorted Hunt. “I pay you—that's enough for you!... Because you weren't on time, I stuck Old Jimmie out there to finish off this picture. I'll be through with the old cut-throat in ten minutes. Be ready to take his place.”
“All right,” said Maggie sulkily.
For all his roaring she was not much afraid of the painter. While his brushes flicked at, and streaked across, the canvas she stood idly watching him. He was in paint-smeared, baggy trousers and a soft shirt whose open collar gave a glimpse of a deep chest matted with hair and whose rolled-up sleeves revealed forearms that seemed absurdly large to be fiddling with those slender sticks. A crowbar would have seemed more in harmony. He was unromantically old—all of thirty-five Maggie guessed; and with his square, rough-hewn face and tousled, reddish hair he was decidedly ugly. But for the fact that he really did work—though of course his work was foolish—and the fact that he paid his way—he bought little, but no one could beat him by so much as a penny in a bargain, not even the Duchess—Maggie might have considered him as one of the many bums who floated purposelessly through that drab region.
Also, had there not been so many queer people coming and going in this neighborhood—Eads Howe, the hobo millionaire, settlement workers, people who had grown rich and old in their business and preferred to live near it—Maggie might have regarded Hunt with more curiosity, and even with suspicion; but down here one accepted queer people as a matter of course, the only fear being that secretly they might be police or government agents, which Maggie and the others knew very well Hunt was not. When