When Swifty Was Going Some

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Title:     When Swifty Was Going Some
Author: Sewell Ford [More Titles by Ford]

Say, I don't play myself for any human cheese tester, but I did think I had Swifty Joe Gallagher all framed up long ago. Not that I ever made any special study of Swifty; but knowin' him for as long as I have, and havin' him helpin' me in the Studio, I got the notion that I was wise to most of his curves. I've got both hands in the air now, though.

Goin' back over the last few months too, I can see where I might have got a line on him before. But, oh no! Nothin' could jar me out of believin' he wouldn't ever run against the form sheet I'd made out. The first glimmer I gets was when I finds Joe in the front office one day, planted before the big lookin' glass, havin' a catch as catch can with his hair.

"Hully chee!" says he, dippin' one of my military brushes in the wash basin. "That's fierce, ain't it, Shorty?"

"If it's your nerve in helpin' yourself to my bureau knickknacks," says I, "I agree with you."

"Ah, can the croak!" says he. "I ain't eatin' the bristles off, am I!"

"Oh, I'm not fussin'," says I; "but what you need to use on that thatch is a currycomb and a lawn rake."

"Ah, say!" says he, "I don't see as it's so much worse than others I know of. It's all right when I can get it to lay down in the back. How's that, now?"

"Great!" says I. "Couldn't be better if you'd used fish glue."

Maybe you never noticed how Swifty's top piece is finished off? He has a mud coloured growth that's as soft as a shoe brush. It behaves well enough when it's dry; but after he's got it good and wet it breaks up into ridges that overlap, same as shingles on a roof.

But then, you wouldn't be lookin' for any camel's hair finish on a nut like Swifty's--not with that face. Course, he ain't to blame for the undershot jaw, nor the way his ears lop, nor the width of his smile. We don't all have gifts like that, thanks be! And it wa'n't on purpose Swifty had his nose bent in. That come from not duckin' quick enough when Gans swung with his right.

So long as he kept in his class, though, and wa'n't called on to understudy Kyrle Bellew, Swifty met all the specifications. If I was wantin' a parlour ornament, I might shy some at Swifty's style of beauty; but showin' bilious brokers how to handle the medicine ball is a job that don't call for an exchange of photographs. He may have an outline that looks like a map of a stone quarry, and perhaps his ways are a little on the fritz, but Swifty's got good points that I couldn't find bunched again if I was to hunt through a crowd. So, when I find him worryin' over the set of his back hair, I gets interested.

"What's the coiffure for, anyway?" says I. "Goin' to see the girl, eh?"

Course, that was a josh. You can't look at Swifty and try to think of him doin' the Romeo act without grinnin'.

"Ahr, chee!" says he.

Now, I've sprung that same jolly on him a good many times; but I never see him work up a colour over it before. Still, the idea of him gettin' kittenish was too much of a strain on the mind for me to follow up.

It was the same about his breakin' into song. He'd never done that, either, until one mornin' I hears a noise comin' from the back room that sounds like some one blowin' on a bottle. I steps over to the door easy, and hanged if I didn't make out that it was Swifty takin' a crack at something that might be, "Oh, how I love my Lulu!"

"You must," says I, "if it makes you feel as bad as all that. Does Lulu know it?"

"Ahr, chee!" says he.

Ever hear Swifty shoot that over his shoulder without turnin' his head? Talk about your schools of expression! None of 'em could teach anyone to put as much into two words as Swifty does into them. They're a whole vocabulary, the way he uses 'em.

"Was you tryin' to sing," says I, "or just givin' an imitation of a steamboat siren on a foggy night?"

But all I could get out of Swifty was another "Ahr, chee!" He was too happy and satisfied to join in any debate, and inside of ten minutes he's at it again; so I lets him spiel away.

"Well," thinks I, "I'm glad my joy don't have any such effect on me as that. I s'pose I can stand it, if he can."

It wa'n't more'n two nights later that I gets another shock. I was feelin' a little nervous, to begin with, for I'd billed myself to do a stunt I don't often tackle. It was nothin' else than pilotin' a fluff delegation to some art studio doin's. Sounds like a Percy job, don't it? But it was somethin' put up to me in a way I couldn't dodge.

Maybe you remember me tellin' you awhile back about Cornelia Ann Belter? She was the Minnekeegan girl that had a room on the top floor over the Physical Culture Studio, and was makin' a stab at the sculpture game--the one that we got out to Rockywold as a ringer in the snow carvin' contest. Got her placed now?

Well, you know how that little trick of makin' a snow angel brought her in orders from Mrs. Purdy Pell, and Sadie, and the rest? And she didn't do a thing but make good, either. I hadn't seen her since she quit the building; but I'd heard how she was doin' fine, and here the other day I gets a card sayin' she'd be pleased to have my company on a Wednesday night at half after eight, givin' an address on Fifth avenue.

"Corny must be carvin' the cantaloup," thinks I, and then forgets all about it until Sadie holds me up and wants to know if I'm goin'.

"Nix," says I. "Them art studio stunts is over my head."

"Oh, pshaw!" says Sadie. "How long since you have been afraid of Miss Belter? Didn't you and I help her to get her start? She'll feel real badly if you don't come."

"She'll get over that," says I.

"But Mrs. Pell and I will have to go alone if you don't come with us," says she. "Mr. Pell is out of town, and Pinckney is too busy with those twins and that Western girl of his. You've got to come, Shorty."

"That settles it," says I. "Why didn't you say so first off?"

So that was what I was doin' at quarter of eight that night, in my open face vest and dinky little tuxedo, hustlin' along 42d-st., wonderin' if the folks took me for a head waiter late to his job. You see, after I gets all ragged out I finds I've left my patent leathers at the Studio. Swifty has said he was goin' to take the night off too, so I'm some surprised to see the front office all lit up like there was a ball goin' on up there. I takes the steps three at a time, expectin' to find a couple of yeggs movin' out the safe; but when I throws the door open what should I see, planted in front of the mirror, but Swifty Joe.

Not that I was sure it was him till I'd had a second look. It was Swifty's face, and Swifty's hair, but the costume was a philopena. It would have tickled a song and dance artist to death. Anywhere off'n the variety stage, unless it was at a Fourth Ward chowder party, it would have drawn a crowd. Perhaps you can throw up a view of a pin-head check in brown and white, blocked off into four-inch squares with red and green lines; a double breasted coat with scalloped cuffs on the sleeves, and silk faced lapels; a pink and white shirt striped like an awnin'; a spotted butterfly tie; yellow shoes in the latest oleomargarin tint; and a caffy-o-lay bean pot derby with a half-inch brim to finish off the picture. It was a sizzler, all right.

For a minute I stands there with my mouth open and my eyes bugged, takin' in the details. If I could, I would have skipped without sayin' a word, for I see I'd butted in on somethin' that was sacred and secret. But Swifty's heard me come in, and he's turned around waitin' for me to give a verdict. Not wantin' to hurt his feelin's, I has to go careful.

"Swifty," says I, "is that you?"

He only grins kind of foolish, sticks his chin out, and saws his neck against his high collar, like a cow usin' a scratchin' post.

"Blamed if I didn't take you for Henry Dixey, first shot," says I, walkin' around and gettin' a new angle. "Gee! but that's a swell outfit!"

"Think so?" says he. "Will it make 'em sit up?"

"Will it!" says I. "Why, you'll have 'em on their toes."

I didn't know how far I could go on that line without givin' him a grouch; but he seems to like it, so I tears off some more of the same.

"Swifty," says I, "you've got a bunch of tiger lilies lookin' like a faded tea rose. You've got a get-up there that would win out at a Cakewalk, and if you'll take it over to Third-ave. Sunday afternoon you'll be the best bet on the board."

"Honest?" says he, grinnin' way back to his ears. "I was after somethin' a little fancy, I'll own up."

"Well, you got it," says I. "Where'd you have it built?"

"Over the bridge," says he.

Say, it's a wonder some of them South Brooklyn cloth carpenters don't get the blind staggers, turnin' out clothes like that; ain't it?

"Must be some special occasion?" says I.

"D'jer think I'd be blowin' myself like this if it wa'n't?" says he. "You bet, it's extra special."

"With a skirt in the background?" says I.

"Uh-huh," says he, springin' another grin.

"Naughty, naughty!" says I.

"Ahr, say," says he, tryin' to look peevish, "you oughter know better'n that! You never heard of me chasin' the Lizzies yet, did you? This is a real lady,--nice and classy, see?"

"Some one on Fifth-ave.?" says I, unwindin' a little string. But he whirls round like I'd jabbed him with a pin.

"Who tipped you off to that?" says he.

"Guessed it by the clothes," says I.

That simmers him down, and I could see he wanted to be confidential the worst way. He wouldn't let go of her name; but I gathers it's some one he's known for quite a spell, and that she's sent him a special invite for this evenin'.

"Asks me to call around, see?" says he. "Now, I put it up to you, Shorty, don't that look like I got some standin' with her?"

"She must think pretty well of you, that's a fact," says I, "and I judge that you're willin' to be her honey boy. Ain't got the ring in your vest pocket, have you?"

"Maybe that ain't so much of a joke as you think," says he, settin' the bean pod lid a little more on one side.

"Z-z-z-ipp!" says I. "That's goin' some! Well, well, but you are a cute one, Swifty. Why, I never suspicioned such a thing. Luck to you, my lad, luck to you!" and I pats him on the back. "I don't know what chances you had before; but in that rig you can't lose."

"I guess it helps," says he, twistin' his neck to get a back view.

He was puttin' on the last touches when I left. Course, I was some stunned, specially by the Fifth-ave. part of it. But then, it's a long street, and it's gettin' so now that all kinds lives on it.

I was a little behind sched. when I gets to Sherry's, where I was to pick up Sadie and Mrs. Purdy Pell; but at that it was ten or fifteen minutes before they gets the tourin' car called up and we're all tucked away inside. It don't take us long to cover the distance, though, and at twenty to nine we hauls up at Miss Belter's number. I was just goin' to pile out when I gets a glimpse of a pair of bright yellow shoes carryin' a human checker board.

"S-s-s-sh!" says I to the ladies. "Wait up a second till we see where he goes."

"Why, who is it?" says Sadie.

"Swifty Joe," says I. "You might not think it from the rainbow uniform, but it's him. That's the way he dresses the part when he starts out to kneel to his lady love."

"Really!" says Mrs. Pell. "Is he going to do that?"

"Got it straight from him," says I. "There! he's worked his courage up. Now he takes the plunge."

"Why!" says Sadie, "that is Miss Belter's number he's going into."

"She don't live on all five floors, does she?" says I.

"No; but it's odd, just the same," says she.

I thought so myself; so I gives 'em the whole story of how I come to know about what he was up to. By that time he was climbing the stairs, and as soon as we finds the right door I forgets all about Swifty in sizin' up Cornelia Ann.

Say, what a difference a little of the right kind of dry goods will make in a girl, won't it? The last I saw of Cornie she was wearin' a skirt that sagged in the back, a punky lid that might have come off the top of an ash can, and shoes that had run over at the heel.

But prosperity had sure blown her way, and she'd bought a wardrobe to suit the times. Not that she'd gone and loaded herself down like she was a window display. It was just a cucumber green sort of cheese cloth that floated around her, and there wa'n't a frill on it except some silvery braid where the square hole had been chopped out to let her head and part of her shoulders through. But at that it didn't need any Paris tag.

And say, I'd always had an idea that Cornelia Ann was rated about third row back. Seein' the way she showed up there, though, with all that cinnamon coloured hair of hers piled on top of her head, and her big eyes glistenin', I had to revise the frame up. It didn't take me long to find out she'd shook the shrinkin' violet game, too. She steps up and gives us the glad hand and the gurgly jolly just as if she'd been doin' it all her life.

It wa'n't any cheap hang-out that Cornie has tacked her name plate on, either. There was expensive rugs on the floor, and brass lamps hangin' from the ceilin', and pieces of tin armor hung around on the walls, with nary a sign of an oil stove or a foldin' bed.

A lot of folks was already on the ground. They was swells too, and they was floatin' around so thick that it was two or three minutes before I gets a view of what was sittin' under the big yellow sik lamp shade in the corner. Say, who do you guess? Swifty Joe! Honest, for a minute I thought I must be havin' a nerve spasm and seein' things that wa'n't so. But it was him, all right; big as life, and lookin' as prominent as a soap ad. on the back cover of a magazine.

There was plenty of shady places in the room that he might have picked, but he has hunted out the bright spot. He's sittin' on one of these funny cross legged Roman stools, with his toes turned in, and them grid-iron pants pulled up to show about five inches of MacGregor plaid socks. And he has a satisfied look on his face that I couldn't account for no way.

Course, I thinks right off that he's broke into the wrong ranch and is waitin' for some one to come and show him the way out. And then, all of a sudden, I begins to remember things. You know, it was Swifty that Cornelia Ann used to get to pose for her when she had the top floor back in our building. She made an embossed clay picture of him that Joe used to gaze at by the hour. And once he showed me her photo that she'd given him. Then there was the special invite he'd been tellin' me about. Not bein' used to gettin' such things, he'd mistook that card to her studio openin' as a sort of private billy ducks, and he'd built up a dream about him and her havin' a hand-holdin' session all to themselves.

"Great cats!" thinks I. "Can it be Cornelia Ann he's gone on?"

Well, all you had to do to get the answer was to watch Swifty follow her around with his eyes. You'd thought, findin' himself in a bunch of top-notchers like that, and rigged out the way he was, he'd been feelin' like a green strawb'ry in the bottom of the basket. But nothin' of that kind had leaked through his thick skull. Cornie was there, and he was there, dressed accordin' to his own designs, and he was contented and happy as a turtle on a log, believin' the rest of us had only butted in.

I was feelin' all cut up over his break, and tryin' to guess how Cornelia was standin' it, when she floats up to me and says:

"Wasn't it sweet of Mr. Gallagher to come? Have you seen him?"

"Seen him!" says I. "You don't notice any bandage over my eyes, do you? Notice the get up. Why, he looks like a section of a billboard."

"Oh, I don't mind his clothes a bit," says she. "I think he's real picturesque. Besides, I haven't forgotten that he used to pose for me when hiring models meant going without meals. I wish you would see that he doesn't get lonesome before I have a chance to speak to him again."

"He don't look like he needed any chirkin' up," says I; "but I'll go give him the howdy."

So I trots over to the yellow shade and ranges myself up in front of him. "You might's well own up, Swifty," says I. "Is Cornie the one?"

"Uh-huh," says he.

"Told her about it yet?" says I.

"Ahr, chee!" says he. "Give a guy a chance."

"Sure," says I. "But go slow, Joey, go slow."

I don't know how it happened, for all I told about it was Sadie and Mrs. Purdy Pell; but it wa'n't long before everyone in the joint was next to Swifty, and was pipin' him off. They all has to be introduced and make a try at gettin' him to talk. For awhile he has the time of his life. Mostly he just grins; but now and then he throws in an "Ahr, chee!" that knocks 'em silly.

The only one that don't fall for what's up is Cornelia Ann. She gets him to help her pass out the teacups and the cake, and tells everyone about how Swifty helped her out on the model business when she was livin' on pickled pigs' feet and crackers. Fin'lly folks begins to dig out their wraps and come up to tell her how they'd had a bully time. But Joe never makes a move.

Sadie and Mrs. Pell wa'n't in any hurry either, and the first thing I knows there's only the five of us left. I see Sadie lookin' from Joe to Cornie, and then passin' Mrs. Pell the smile. Cornelia Ann sees it too, and she has a synopsis of the precedin' chapters all in a minute. But she don't get flustered a bit. She sails over to the coat room, gets Swifty's lid, and comes luggin' it out.

"I'm awfully glad you came, Mr. Gallagher," says she, handin' out the bean pot, "and I hope to see you again when I have another reception--next year."

"Eh?" says Swifty, like he was wakin' up from a dream. "Next year! Why, I thought that--"

"Yes, but you shouldn't," says she. "Good night."

Then he sees the hat, and a light breaks. He grabs the lid and makes a dash for the door.

"Isn't he odd?" says Cornelia.

Well say, I didn't know whether I'd get word that night that Swifty had jumped off the bridge, or had gone back to the fusel oil. He didn't do either one, though; but when he shows up at the Studio next mornin' he was wearin' his old clothes, and his face looks like he was foreman of a lemon grove.

"Ah, brace up, Swifty," says I. "There's others."

He just shakes his head and sighs, and goes off into a corner as if he wanted to die slow and lingerin'.

Then Saturday afternoon, when it turns off so warm and we begins the noon shut down, I thinks I'll take a little run down to Coney and hear the frankfurters bark. I was watchin' 'em load the boys and girls into a roller coaster, when along comes a car that has something familiar in it. Here's Swifty, wearin' his brass band suit, a cigar stickin' out of one corner of his mouth, and an arm around a fluffy haired Flossie girl that was chewin' gum and wearin' a fruit basket hat. They was lookin' happy.

"Say, Swifty," I sings out, "don't forget about Cornie."

"Ahr, chee!" says he, and off they goes down the chute for another ten-cent ride.

But say, I'm glad all them South Brooklyn art clothes ain't goin' to be wasted.

[The end]
Sewell Ford's short story: When Swifty Was Going Some

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