“Probably the same,” replied Larcher, remembering that his man had something to do with theatres. “He's a gentleman of many professions, let's see the address.”
It was a number and street in the same part of the town with Larcher's abode, but east of Madison Avenue, while his own was west of Fifth. But now his way was to the residence of Barry Tompkins, which proved to be a shabby room on the fifth floor of an old building on Broadway; a room serving as Mr. Tompkins's sleeping-chamber by night, and his law office by day. For Mr. Tompkins, though he sought pleasure and forage under the banners of literature and journalism, owned to no regular service but that of the law. How it paid him might be inferred from the oldness of his clothes and the ricketiness of his office. There was a card saying “Back in ten minutes” on the door which he opened to admit Larcher and himself. And his friends were wont to assert that he kept the card “working overtime,” himself, preferring to lay down the law to companionable persons in neighboring cafés rather than to possible clients in his office. When Tompkins had lighted the gas, Larcher saw a cracked low ceiling, a threadbare carpet of no discoverable hue, an old desk crowded with documents and volumes, some shelves of books at one side, and the other three sides simply walled with books and magazines in irregular piles, except where stood a bed-couch beneath a lot of prints which served to conceal much of the faded wall-paper.
Tompkins bravely went for the magazines, saying, “You begin with that pile, and I'll take this. The names of the illustrators are always in the table of contents; it's simply a matter of glancing down that.”
After half an hour's silent work, Tompkins exclaimed, “Here we are!” and took a magazine to the desk, at which both young men sat down. “'A Heart in Peril,'” he quoted; “'A Story by James Willis Archway. Illustrated by Murray Davenport. Page 38.'” He turned over the leaves, and disclosed some rather striking pictures in half-tone, signed “M.D.” Two men and two women figured in the different illustrations.
“This isn't bad work,” said Tompkins. “I can recommend 'M.D.' with a clear conscience. His women are beautiful in a really high way,—but they've got a heartless look. There's an odd sort of distinction in his men's faces, too.”
“A kind of scornful discontent,” ventured Larcher. “Perhaps the story requires it.”
“Perhaps; but the thing I mean seems to be under the expressions intended. I should say it was unconscious, a part of the artist's conception of the masculine face in general before it's individualized. I'll bet the chap that drew these illustrations isn't precisely the man in the street, even among artists. He must have a queer outlook on life. I congratulate you on your coming friend!” At which Mr. Tompkins, chuckling, lighted a pipe for himself.
Mr. Larcher sat looking dubious. If Murray Davenport was an unusual sort of man, the more wonder that a girl like Edna Hill should so strangely busy herself about him.