“What did I do? Why, you old seed cucumber, the whole play centered around me. Do you remember the scene in the Roman forum, where McCullough addressed the populace of Rome? I was the populace. Don't you remember a small feller standing in front of the Roman orator taking it in; with a night shirt on, with bare legs and arms? That was me, and everything depended on me. Suppose I had gone off the stage at the critical moment, or laughed when I should have looked fierce at the inspired words of the Roman senator, it would have been a dead give away on McCollough. As the populace of Rome I consider myself a glittering success, and Mc took me by the hand when they carried Cæsar's dead body out, and he said, 'us three did ourselves proud.' Such praise from McCollough is seldom accorded to a supe. But I don't consider the populace of the imperial city of Rome my master piece. Where I excel is in coming out before the curtain between the acts, and unhooking the carpet. Some supes go out and turn their backs to the audience, showing patches on their pants, and rip up the carpet with no style about them, and the dust flies, and the boys yell 'supe,' and the supe gets nervous and forgets his cue, and goes off tumbling over the carpet, and the orchestra leader is afraid the supe will fall on him. But I go out with a quiet dignity that is only gained by experience, and I take hold of the carpet the way Hamlet takes up the skull of Yorick, and the audience is paralized. I kneel down on the carpet, to unhook it, in a devotional sort of a way that makes the audience bow their heads as though they were in church, and before they realize that I am only a supe I have the carpet unhooked and march out the way a 'Piscopal minister does when he goes out between the acts at church to change his shirt. They never 'guy' me, cause I act well my part. But I kick on holding dogs for actresses. Some supes think they are made if they can hold a dog, but I have an ambition that a pug dog will not fill. I held Mary Anderson's cud of gum once, while she went on the stage, and when she came off and took her gum her fingers touched mine and I had to run my fingers in my hair to warm them, like a fellow does when he has been snow-balling. Gosh, but she would freeze ice cream without salt. I shall be glad when the theatrical season opens, 'cause we actors get tired laying off.
“Well, I'd like to go behind the scenes with you some night,” said the grocery man, offering the bad boy an orange to get solid with him, in view of future complimentary tickets. “No danger, is there?”
“No danger if you keep off the grass. But you'd a dide to see my Sunday School teacher one Saturday night last summer. He keeps books in a store, and is pretty soon week days, but he can tell you more about Daniel in the lion's den on Sunday than anybody. He knew I was solid at the theater, and wanted me to get him behind the scenes one night, and another supe wanted to go to the sparring match, and I thought it wouldn't be any harm to work my teacher in, so I got him a job that night to hold the dogs for the Uncle Tom's show. He was in one of the wings holding the chains, and the dogs were just anxious to go on, and it was all my teacher could do to hold them. I told him to wind the chains around his wrists, and he did so, and just then Eliza began to skip across the ice, and we sicked the blood hounds on before my teacher could unwind the chains from his wrists, and the dogs pulled him right out on the stage, on his stomach, and drawed him across, and he jerked one dog and kicked him in the stomach, and the dog turned on my teacher and took a mouthful of his coat tail and shook it, and I guess the dog got some meat, anyway the teacher climbed up a step ladder, and the dogs treed him, and the step ladder fell down, and we grabbed the dogs and put some court plaster on the teacher's nose, where the fire extinguisher peeled it, and he said he would go home, cause the theater was demoralizing in its tendencies.”
“I spose it was not right, but when the teacher stood up to hear our Sunday School lesson the next day, cause he was tired where the dog bit him, I said 'sick-em,' in a whisper, when his back was turned, and he jumped clear over to the Bible class, and put his hands around to his coat tail as though he thought the Uncle Tom's Cabin party were giving a matinee in the church. The Sunday school lesson was about the dog's licking the sores of Lazarus, and the teacher said we must not confound the good dogs of Bible time with the savage beasts of the present day, that would shake the daylights out of Lazarus and make him climb the cedars of Lebanon quicker than you could say Jack Robinson, and go off chewing the cud of bitter reflection on Lazarus' coat tail. I don't think a Sunday school teacher ought to bring up personal reminiscences before a class of children, do you? Well, some time next fall you put on a clean shirt and a pair of sheet iron pants, with stove legs on the inside, and I will take you behind the scenes to see some good moral show. In the meantime, if you have occasion to talk with Pa, tell him that Booth, and Barrett, and Keene commenced on the stage as supes, and Salvini roasted peanuts in the lobby of some theater. I want our folks to feel that I am taking the right course to become a star. I prythee au reservoir. I go hens! but to return. Avaunt!” And the bad boy walked out on his toes a la Booth.
CHAPTER XVI.
UNCLE EZRA PAYS A VISIT—UNCLE EZRA CAUSES THE BAD BOY TO
BACKSLIDE—UNCLE EZRA AND THE OLD MAN WERE BAD PILLS—THEIR
RECORD IS AWFUL—KEEPING UNCLE EZRA ON THE RAGGED EDGE—THE
BED SLATS FIXED—THE OLD MAN TANGLED UP—THIS WORLD IS NOT
RUN RIGHT—UNCLE EZRA MAKES HIM TIRED.
“I hear your Uncle Ezra is here on a visit,” said the grocery man to the bad boy. “I suppose you have been having a high old time. There is nothing that does a boy more good than to have a nice visit with a good uncle, and hear him tell about old times when he and the boy's father were boys together.”