Tod’s hope that he could end his trouble by paying a small fee didn’t last long. When he got Claude to ask Mrs. Jenning about Faye, that lady said she had never heard of the girl. Claude then asked her to inquire through Mary Dove. A few days later she phoned him to say there was nothing doing. The girl wasn’t available.
Tod wasn’t really disappointed. He didn’t want Faye that way, not at least while he still had a chance some other way. Lately, he had begun to think he had a good one. Harry, her father, was sick and that gave him an excuse for hanging around their apartment. He ran errands and kept the old man company. To repay his kindness, she permitted him the intimacies of a family friend. He hoped to deepen her gratitude and make it serious.
Apart from this purpose, he was interested in Harry and enjoyed visiting him. The old man was a clown and Tod had all the painter’s usual love of clowns. But what was more important, he felt that his clownship was a clue to the people who stared (a painter’s clue, that is — a clue in the form of a symbol), just as Faye’s dreams were another.
He sat near Harry’s bed and listened to his stories by the hour. Forty years in vaudeville and burlesque had provided him with an infinite number of them. As he put it, his life had consisted of a lightning series of “nip-ups,” “high-gruesomes,” “flying-Ws” and “hundred-and-eights” done to escape a barrage of “exploding stoves.” An “exploding stove” was any catastrophe, natural or human, from a flood in Medicine Hat, Wyoming, to an angry policeman in Moose Factory, Ontario.
When Harry had first begun his stage career, he had probably restricted his clowning to the boards, but now he clowned continuously. It was his sole method of defense. Most people, he had discovered, won’t go out of their way to punish a clown.
He used a set of elegant gestures to accent the comedy of his bent, hopeless figure and wore a special costume, dressing like a banker, a cheap, unconvincing, imitation banker. The costume consisted of a greasy derby with an unusually high crown, a wing collar and polka dot four-in-hand, a shiny double-breasted jacket and gray-striped trousers. His outfit fooled no one, but then he didn’t intend it to fool anyone. His slyness was of a different sort.
On the stage he was a complete failure and knew it. Yet he claimed to have once come very close to success. To prove how close, he made Tod read an old clipping from the theatrical section of the Sunday Times.
“BEDRAGGLED HARLEQUIN,” it was headed.
“The commedia del arte is not dead, but lives on in Brooklyn, or was living there last week on the stage of the Oglethorpe Theatre in the person of one Harry Greener. Mr. Greener is of a troupe called ‘The Flying Lings,’ who, by the time this reaches you, have probably moved on to Mystic, Connecticut, or some other place more fitting than the borough of large families. If you have the time and really love the theatre, by all means seek out the Lings wherever they may be.
“Mr. Greener, the bedraggled Harlequin of our caption, is not bedraggled but clean, neat and sweet when he first comes on. By the time the Lings, four muscular Orientals, finish with him, however, he is plenty bedraggled. He is tattered and bloody, but still sweet.
“When Mr. Greener enters the trumpets are properly silent. Mama Ling is spinning a plate on the end of a stick held in her mouth, Papa Ling is doing cartwheels, Sister Ling is juggling fans and Sonny Ling is hanging from the proscenium arch by his pigtail. As he inspects his strenuous colleagues, Mr. Greener tries to hide his confusion under some much too obvious worldliness. He ventures to tickle Sister and receives a powerful kick in the belly in return for this innocent attention. Having been kicked, he is on familiar ground and begins to tell a dull joke. Father Ling sneaks up behind him and tosses him to Brother, who looks the other way. Mr. Greener lands on the back of his neck. He shows his mettle by finishing his dull story from a recumbent position. When he stands up, the audience, which failed to laugh at his joke, laughs at his limp, so he continues lame for the rest of the act.
“Mr. Greener begins another story, even longer and duller than his first. Just before he arrives at the gag line, the orchestra blares loudly and drowns him out. He is very patient and very brave. He begins again, but the orchestra will not let him finish. The pain that almost, not quite, thank God, crumples his stiff little figure would be unbearable if it were not obviously make-believe. It is gloriously funny.
“The finale is superb. While the Ling Family flies through the air, Mr. Greener, held to the ground by his sense of reality and his knowledge of gravitation, tries hard to make the audience think that he is neither surprised nor worried by the rocketing Orientals. It’s familiar stuff, his hands signal, but his face denies this. As time goes on and no one is hurt, he regains his assurance. The acrobats ignore him, so he ignores the acrobats. His is the final victory; the applause is for him.
“My first thought was that some producer should put Mr. Greener into a big revue against a background of beautiful girls and glittering curtains. But my second was that this would be a mistake. I am afraid that Mr. Greener, like certain humble field plants which die when transferred to richer soil, had better be left to bloom in vaudeville against a background of ventriloquists and lady bicycle riders.”
Harry had more than a dozen copies of this article, several on rag paper. After trying to get a job by inserting a small advertisement in Variety (” . . . ‘some producer should put Mr. Greener into a big revue . . . ’ The Times”), he had come to Hollywood, thinking to earn a living playing comedy bits in films. There proved to be little demand for his talents, however. As he himself put it, he “stank from hunger.” To supplement his meager income from the studios, he peddled silver polish which he made in the bathroom of the apartment out of chalk, soap and yellow axle grease. When Faye wasn’t at Central Casting, she took him around on his peddling trips in her Model T Ford. It was on their last expedition together that he had fallen sick.
It was on this trip that Faye acquired a new suitor by the name of Homer Simpson. About a week after Harry had taken to his bed, Tod met Homer for the first time. He was keeping the old man company when their conversation was interrupted by a light knock on the apartment door. Tod answered it and found a man standing in the hall with flowers for Faye and a bottle of port wine for her father.
Tod examined him eagerly. He didn’t mean to be rude but at first glance this man seemed an exact model for the kind of person who comes to California to die, perfect in every detail down to fever eyes and unruly hands.
“My name is Homer Simpson,” the man gasped, then shifted uneasily and patted his perfectly dry forehead with a folded handkerchief.
“Won’t you come in?” Tod asked.
He shook his head heavily and thrust the wine and flowers at Tod. Before Tod could say anything, he had lumbered off.
Tod saw that he was mistaken. Homer Simpson was only physically the type. The men he meant were not shy.
He took the gifts in to Harry, who didn’t seem at all surprised. He said Homer was one of his grateful customers.
“That Miracle Polish of mine sure does fetch ’em.”
Later, when Faye came home and heard the story, she was very much amused. They both told Tod how they had happened to meet Homer, interrupting themselves and each other every few seconds to laugh.
The next thing Tod saw Homer staring at the apartment house from the shadow of a date palm on the opposite side of the street. He watched him for a few minutes, then called out a friendly greeting. Without replying, Homer ran away. On the next day and the one after, Tod again saw him lurking near the palm tree. He finally caught him by approaching the tree silently from the rear.
“Hello, Mr. Simpson,” Tod said softly. “The Creeners were very grateful for your gift.”
This time Simpson didn’t move, perhaps because Tod had him backed against the tree.
“That’s fine,” he blurted out. “I was passing . . . I live up the street.”
Tod managed to keep their conversation going for several minutes before he escaped again.
The next time Tod was able to approach him without the stalk. From then on, he responded very quickly to his advances. Sympathy, even of the most obvious sort, made him articulate, almost garrulous.
Last updated Tuesday, August 25, 2015 at 14:15