第56章 CHAPTER XIX. CREATIVE ART(1)

He went forth, seeking.

The Schofield household was catless this winter but there was a nice white cat at the Williams'. Penrod strolled thoughtfully over to the Williams's yard.

He was entirely successful, not even having been seen by the sensitive coloured woman, aged fifty-three years and four months.

But still Penrod was thoughtful. The artist within him was unsatisfied with his materials: and upon his return to the stable he placed the cat beneath an overturned box, and once more sat down in the inspiring wheelbarrow, pondering. His expression, concentrated and yet a little anxious, was like that of a painter at work upon a portrait that may or may not turn out to be a masterpiece. The cat did not disturb him by her purring, though she was, indeed, already purring. She was one of those cozy, youngish cats--plump, even a little full-bodied, perhaps, and rather conscious of the figure--that are entirely conventional and domestic by nature, and will set up a ladylike housekeeping anywhere without making a fuss about it. If there be a fault in these cats, overcomplacency might be the name for it; they err a shade too sure of themselves, and their assumption that the world means to treat them respectfully has just a little taint of the grande dame. Consequently, they are liable to great outbreaks of nervous energy from within, engendered by the extreme surprises that life sometimes holds in store for them. They lack the pessimistic imagination.

Mrs. Williams's cat was content upon a strange floor and in the confining enclosure of a strange box. She purred for a time, then trustfully fell asleep. 'Twas well she slumbered; she would need all her powers presently.

She slumbered, and dreamed not that she would wake to mingle with events that were to alter her serene disposition radically and cause her to become hasty-tempered and abnormally suspicious for the rest of her life.

Meanwhile, Penrod appeared to reach a doubtful solution of his problem. His expression was still somewhat clouded as he brought from the storeroom of the stable a small fragment of a broken mirror, two paint brushes and two old cans, one containing black paint and the other white. He regarded himself earnestly in the mirror; then, with some reluctance, he dipped a brush into one of the cans, and slowly painted his nose a midnight black. He was on the point of spreading this decoration to cover the lower part of his face, when he paused, brush halfway between can and chin.

What arrested him was a sound from the alley--a sound of drumming upon tin. The eyes of Penrod became significant of rushing thoughts; his expression cleared and brightened. He ran to the alley doors and flung them open.

"Oh, Verman!" he shouted.

Marching up and down before the cottage across the alley, Verman plainly considered himself to be an army. Hanging from his shoulders by a string was an old tin wash-basin, whereon he beat cheerily with two dry bones, once the chief support of a chicken.

Thus he assuaged his ennui.

"Verman, come on in here," Penrod called. "I got sumpthing for you to do you'll like awful well."

Verman halted, ceased to drum, and stared. His gaze was not fixed particularly upon Penrod's nose, however, and neither now nor later did he make any remark or gesture referring to this casual eccentricity. He expected things like that upon Penrod or Sam Williams. And as for Penrod himself, he had already forgotten that his nose was painted.

"Come on, Verman!"

Verman continued to stare, not moving. He had received such invitations before, and they had not always resulted to his advantage. Within that stable things had happened to him the like of which he was anxious to avoid in the future.

"Oh, come ahead, Verman!" Penrod urged, and, divining logic in the reluctance confronting him, he added, "This ain't goin' to be anything like last time, Verman. I got sumpthing just SPLENDUD for you to do!"

Verman's expression hardened; he shook his head decisively.

"Mo," he said.

"Oh, COME on, Verman?" Penrod pleaded. "It isn't anything goin' to HURT you, is it? I tell you it's sumpthing you'd give a good deal to GET to do, if you knew what it is."

"Mo!" said Verman firmly. "I mome maw woo!"

Penrod offered arguments.

"Look, Verman!" he said. "Listen here a minute, can't you? How d'you know you don't want to until you know what it is? A person CAN'T know they don't want to do a thing even before the other person tells 'em what they're goin' to get 'em to do, can they?

For all you know, this thing I'm goin' to get you to do might be sumpthing you wouldn't miss doin' for anything there is! For all you know, Verman, it might be sumpthing like this: well, f'rinstance, s'pose I was standin' here, and you were over there, sort of like the way you are now, and I says, 'Hello, Verman!' and then I'd go on and tell you there was sumpthing I was goin' to get you to do; and you'd say you wouldn't do it, even before you heard what it was, why where'd be any sense to THAT? For all you know, I might of been goin' to get you to eat a five-cent bag o' peanuts."

Verman had listened obdurately until he heard the last few words; but as they fell upon his ear, he relaxed, and advanced to the stable doors, smiling and extending his open right hand.

"Aw wi," he said. "Gi'm here."

"Well," Penrod returned, a trifle embarrassed, "I didn't say it WAS peanuts, did I? Honest, Verman, it's sumpthing you'll like better'n a few old peanuts that most of 'em'd prob'ly have worms in 'em, anyway. All I want you to do is--"

But Verman was not favourably impressed; his face hardened again.

"Mo!" he said, and prepared to depart.

"Look here, Verman," Penrod urged. "It isn't goin' to hurt you just to come in here and see what I got for you, is it? You can do that much, can't you?"

Surely such an appeal must have appeared reasonable, even to Verman, especially since its effect was aided by the promising words, "See what I got for you." Certainly Verman yielded to it, though perhaps a little suspiciously. He advanced a few cautious steps into the stable.