In the hell “El Dorado,” as already said, there are five gambling tables, side by side, but with wide spaces between for the players. Presiding over the one which stands central is a man of about thirty years of age, of good figure, and well-formed features—the latter denoting Spanish descent—his cheeks clean shaven, the upper lip moustached, the under having a pointed imperial or “goatee,” which extends below the extremity of his chin. He has his hat on—so has everybody in the room—a white beaver, set upon a thick shock of black wavy hair, its brim shadowing a face that would be eminently handsome, but for the eyes, these showing sullen, if not sinister. Like his hair, they are coal-black, though he rarely raises their lids, his gaze being habitually fixed on the cards in his hands. Only once has he looked up and around, on hearing a name pronounced bearing an odd resemblance to that of the game he is engaged in, though merely a coincidence. It is “Montijo.” Two native Californians standing close behind him are engaged in a dialogue, in which they incidentally speak of Don Gregorio. It is a matter of no moment—only a slight allusion—and, as their conversation is almost instantly over, the Monté dealer again drops his long dark lashes, and goes on with the game, his features resuming their wonted impassibility.
Though to all appearance immobile as those of the Sphinx, one watching him closely could see that there is something in his mind besides Monté. For although the play is running high, and large bets are being laid, he seems regardless about the result of the game—for this night only, since it has never been so before. His air is at times abstracted—more than ever after hearing that name—while he deals out the cards carelessly, once or twice making mistakes. But as these have been trifling, and readily rectified, the players around the table have taken no particular notice of them, nor yet of his abstraction. It is not sufficiently manifest to attract attention; and with the wonderful command he has over himself, none of them suspect that he is at that moment a prey to reflections of the strongest and bitterest kind.
There is one, however, who is aware of it, knowing the cause; this, a man seated on the players’ side of the table, and directly opposite the dealer. He is a personage of somewhat squat frame, a little below medium height, of swarth complexion, and straight black hair; to all appearance a native Californian, though not wearing the national costume, but simply a suit of dark broadcloth. He lays his bet, staking large sums, apparently indifferent as to the result; while at the same time eyeing the deposits of the other players with eager, nervous anxiety, as though their losses and gains concerned him more than his own—the former, to all appearance, gladdening, the the latter making him sad!
His behaviour might be deemed strange, and doubtless would, were there any one to observe it. But there is not; each player is absorbed in his own play, and the calculation of chances.
In addition to watching his fellow-gamesters around the table, the seemingly eccentric individual ever and anon turns his eye upon the dealer—its expression at such times being that of intense earnestness, with something that resembles reproof—as if he were annoyed by the latter handling his cards so carelessly, and would sharply rebuke him, could he get the opportunity without being observed. The secret of the whole matter being, that he is a sleeping partner in the Monté bank—the moneyed one too; most of its capital having been supplied by him. Hence his indifference to the fate of his own stakes—for winning or losing is all the same to him—and his anxiety about those of the general circle of players.
His partnership is not suspected; or, if so, only by the initiated. Although sitting face to face with the dealer, no sign of recognition passes between them, nor is any speech exchanged. They seem to have no acquaintance with one another, beyond that begot out of the game.
And so the play proceeds, amidst the clinking of coin, and clattering of ivory pieces, these monotonous sounds diversified by the calls “Sota” this, and “Caballo” that, with now and then a “Carajo!” or it may be “Just my luck!” from the lips of some mortified loser. But, beyond such slight ebullition, ill-temper does not show itself, or, at all events, does not lead to any altercation with the dealer. That would be dangerous, as all are aware. On the table, close to his right elbow, rests a double-barrelled pistol, both barrels of which are loaded. And though no one takes particular notice of it, any more than it were a pair of snuffers on their tray, or one of the ordinary implements of the game, most know well enough that he who keeps this standing symbol of menace before their eyes is prepared to use it on slight provocation.
It is ten o’clock, and the bank is in full blast. Up to this hour the players in one thin row around the tables were staking only a few dollars at a time—as skirmishers in advance of the main army, firing stray shots from pieces of light calibre. Now the heavy artillery has come up, the ranks are filled, and the files become doubled around the different tables—two circles of players, in places three, engaging in the game. And instead of silver dollars, gold eagles and doubloons—the last being the great guns—are flung down upon the green baize, with a rattle continuous as the firing of musketry. The battle of the night has begun.
But Monté and Faro are not the only attractions of the “El Dorado.” The shrine of Bacchus—its drinking-bar—has its worshippers as well; a score of them standing in front of it, with others constantly coming and going.
Among the latest arrivals are two young men in the attire of navy officers. At a distance it is not easy to distinguish the naval uniforms of nations—almost universally dark blue, with gold bands and buttons. More especially is it difficult when these are of the two cognate branches of the great Anglo-Saxon race—English and American. While still upon the street, the officers in question might have been taken for either; but once within the saloon, and under the light of its numerous lamps, the special insignia on their caps proclaim them as belonging to a British man-of-war. And so do they—since they are Edward Crozier and Willie Cadwallader.