Waifs and Strays. Part 1. O. Henry

thought of Marthy as she had been when he first met her in Dogtown – smart, pretty, and saucy – before the sun had turned the roses in her cheeks brown and the silence of the chaparral had tamed her ambitions.

      "Ef I ever speaks another hard word to ther little gal," muttered Sam, "or fails in the love and affection that's coming to her in the deal, I hopes a wildcat'll t'ar me to pieces."

      He knew what he would do. He would write to Garcia & Jones, his San Antonio merchants where he bought his supplies and sold his wool, and have them send down a big box of novels and reading matter for Marthy. Things were going to be different. He wondered whether a little piano could be placed in one of the rooms of the ranch house without the family having to move out of doors.

      In nowise calculated to allay his self-reproach was the thought that Marthy and Randy would have to pass the night alone. In spite of their bickerings, when night came Marthy was wont to dismiss her fears of the country, and rest her head upon Sam's strong arm with a sigh of peaceful content and dependence. And were her fears so groundless? Sam thought of roving, marauding Mexicans, of stealthy cougars that sometimes invaded the ranches, of rattlesnakes, centipedes, and a dozen possible dangers. Marthy would be frantic with fear. Randy would cry, and call for dada to come.

      Still the interminable succession of stretches of brush, cactus, and mesquite. Hollow after hollow, slope after slope – all exactly alike – all familiar by constant repetition, and yet all strange and new. If he could only arrive somewhere.

      The straight line is Art. Nature moves in circles. A straightforward man is more an artificial product than a diplomatist is. Men lost in the snow travel in exact circles until they sink, exhausted, as their footprints have attested. Also, travellers in philosophy and other mental processes frequently wind up at their starting-point.

      It was when Sam Webber was fullest of contrition and good resolves that Mexico, with a heavy sigh, subsided from his regular, brisk trot into a slow complacent walk. They were winding up an easy slope covered with brush ten or twelve feet high.

      "I say now, Mex," demurred Sam, "this here won't do. I know you're plumb tired out, but we got ter git along. Oh, Lordy, ain't there no mo' houses in the world!" He gave Mexico a smart kick with his heels.

      Mexico gave a protesting grunt as if to say: "What's the use of that, now we're so near?" He quickened his gait into a languid trot. Rounding a great clump of black chaparral he stopped short. Sam dropped the bridle reins and sat, looking into the back door of his own house, not ten yards away.

      Marthy, serene and comfortable, sat in her rocking-chair before the door in the shade of the house, with her feet resting luxuriously upon the steps. Randy, who was playing with a pair of spurs on the ground, looked up for a moment at his father and went on spinning the rowels and singing a little song. Marthy turned her head lazily against the back of the chair and considered the arrivals with emotionless eyes. She held a book in her lap with her finger holding the place.

      Sam shook himself queerly, like a man coming out of a dream, and slowly dismounted. He moistened his dry lips.

      "I see you are still a-settin'," he said, "a-readin' of them billy-by-dam yaller-back novils."

      Sam had traveled round the circle and was himself again.

      THE RUBBER PLANT'S STORY

      We rubber plants form the connecting link between the vegetable kingdom and the decorations of a Waldorf-Astoria scene in a Third Avenue theatre. I haven't looked up our family tree, but I believe we were raised by grafting a gum overshoe on to a 30-cent table d'hote stalk of asparagus. You take a white bulldog with a Bourke Cockran air of independence about him and a rubber plant and there you have the fauna and flora of a flat. What the shamrock is to Ireland the rubber plant is to the dweller in flats and furnished rooms. We get moved from one place to another so quickly that the only way we can get our picture taken is with a kinetoscope. We are the vagrant vine and the flitting fig tree. You know the proverb: "Where the rubber plant sits in the window the moving van draws up to the door."

      We are the city equivalent to the woodbine and the honeysuckle. No other vegetable except the Pittsburg stogie can withstand as much handling as we can. When the family to which we belong moves into a flat they set us in the front window and we become lares and penates, fly-paper and the peripatetic emblem of "Home Sweet Home." We aren't as green as we look. I guess we are about what you would call the soubrettes of the conservatory. You try sitting in the front window of a $40 flat in Manhattan and looking out into the street all day, and back into the flat at night, and see whether you get wise or not – hey? Talk about the tree of knowledge of good and evil in the garden of Eden – say! suppose there had been a rubber plant there when Eve – but I was going to tell you a story.

      The first thing I can remember I had only three leaves and belonged to a member of the pony ballet. I was kept in a sunny window, and was generally watered with seltzer and lemon. I had plenty of fun in those days. I got cross-eyed trying to watch the numbers of the automobiles in the street and the dates on the labels inside at the same time.

      Well, then the angel that was molting for the musical comedy lost his last feather and the company broke up. The ponies trotted away and I was left in the window ownerless. The janitor gave me to a refined comedy team on the eighth floor, and in six weeks I had been set in the window of five different flats I took on experience and put out two more leaves.

      Miss Carruthers, of the refined comedy team – did you ever see her cross both feet back of her neck? – gave me to a friend of hers who had made an unfortunate marriage with a man in a store. Consequently I was placed in the window of a furnished room, rent in advance, water two flights up, gas extra after ten o'clock at night. Two of my leaves withered off here. Also, I was moved from one room to another so many times that I got to liking the odor of the pipes the expressmen smoked.

      I don't think I ever had so dull a time as I did with this lady. There was never anything amusing going on inside – she was devoted to her husband, and, besides leaning out the window and flirting with the iceman, she never did a thing toward breaking the monotony.

      When the couple broke up they left me with the rest of their goods at a second-hand store. I was put out in front for sale along with the jobbiest lot you ever heard of being lumped into one bargain. Think of this little cornucopia of wonders, all for $1.89: Henry James's works, six talking machine records, one pair of tennis shoes, two bottles of horse radish, and a rubber plant – that was me!

      One afternoon a girl came along and stopped to look at me. She had dark hair and eyes, and she looked slim, and sad around the mouth.

      "Oh, oh!" she says to herself. "I never thought to see one up here."

      She pulls out a little purse about as thick as one of my leaves and fingers over some small silver in it. Old Koen, always on the lockout, is ready, rubbing his hands. This girl proceeds to turn down Mr. James and the other commodities. Rubber plants or nothing is the burden of her song. And at last Koen and she come together at 39 cents, and away she goes with me in her arms.

      She was a nice girl, but not my style. Too quiet and sober looking. Thinks I to myself: "I'll just about land on the fire-escape of a tenement, six stories up. And I'll spend the next six months looking at clothes on the line."

      But she carried me to a nice little room only three flights up in quite a decent street. And she put me in the window, of course. And then she went to work and cooked dinner for herself. And what do you suppose she had? Bread and tea and a little dab of jam! Nothing else. Not a single lobster, nor so much as one bottle of champagne. The Carruthers comedy team had both every evening, except now and then when they took a notion for pig's knuckle and kraut.

      After she had finished her dinner my new owner came to the window and leaned down close to my leaves and cried softly to herself for a while. It made me feel funny. I never knew anybody to cry that way over a rubber plant before. Of course, I've seen a few of 'em turn on the tears for what they could get out of it, but she seemed to be crying just for the pure enjoyment of it. She touched my leaves like she loved 'em, and she bent down her head and kissed each one of 'em. I guess I'm about the toughest specimen of a peripatetic orchid on earth, but I tell you it made me feel sort of