To the left I had a view of the gambling-room, a glimpse of green tables, of spinning balls, of cool men, with shades over their eyes, impassively dealing. There were huge wheels of fortune, keno tables, crap outfits, faro layouts, and, above all, the dainty, fascinating roulette. Everything was in full swing. Miners with flushed faces and a wild excitement in their eyes were plunging recklessly; others, calm, alert, anxious, were playing cautiously. Here and there were the fevered faces of women. Gold coin was stacked on the tables, while a man with a pair of scales was weighing dust from the tendered pokes.
In front of me was a double swing-door painted in white and gold, and, pushing through this, for the first time I found myself in a Dawson dance-hall.
I remember being struck by the gorgeousness of it, its glitter and its glow. Who would have expected, up in this bleak-visaged North, to find such a fairyland of a place? It was painted in white and gold, and set off by clusters of bunched lights. There was much elaborate scroll-work and ornate decoration. Down each side, raised about ten feet from the floor, and supported on gilt pillars, were little private boxes hung with curtains of heliotrope silk. At the further end of the hall was a stage, and here a vaudeville performance was going on.
I sat down on a seat at the very back of the audience. Before me were row after row of heads, mostly rough, rugged and unwashed. Their faces were eager, rapt as those of children. They were enjoying, with the deep satisfaction of men who for many a weary month had been breathing the free, unbranded air of the Wild. The sensuous odour of patchouli was strangely pleasant to them; the sight of a woman was thrillingly sweet; the sound of a song was ravishing. Looking at many of those toil-grooved faces one could see that there was no harm in their hearts. They were honest, uncouth, simple; they were just like children, the children of the Wild.
A woman of generous physique was singing in a shrill, nasal voice a pathetic ballad. She sang without expression, bringing her hands with monotonous gestures alternately to her breast. Her squat, matronly figure, beef from the heels up, looked singularly absurd in her short skirt. Her face was excessively over-painted, her mouth good-naturedly large, and her eyes out of their slit-like lids leered at the audience.
"Ain't she great?" said a tall bean-pole of a man on my right, as she finished off with a round of applause. "There's some class to her work."
He looked at me in a confidential way, and his pale-blue eyes were full of rapturous appreciation. Then he did something that surprised me. He tugged open his poke and, dipping into it, he produced a big nugget. Twisting this in a scrap of paper, he rose up, long, lean and awkward, and with careful aim he threw it on the stage.
"Here ye are, Lulu," he piped in his shrill voice. The woman, turning in her exit, picked up the offering, gave her admirer a wide, gold-toothed smile, and threw him an emphatic kiss. As the man sat down I could see his mouth twisting with excitement, and his watery blue eyes snapped with pleasure.
"By heck," he said, "she's great, ain't she? Many's the bottle of wine I've opened for that there girl. Guess she'll be glad when she hears old Henry's in town again. Henry's my name, Hard-pan Henry they call me, an' I've got a claim on Hunker. Many's the wallopin' poke have I toted into town an' blowed in on that there girl. An' I just guess this one'll go the same gait. Well, says I, what's the odds? I'm havin' a good time for my money. When it's gone there's lots more in the ground. It ain't got no legs. It can't run away."
He chuckled and hefted his poke in a horny hand. There was a flutter of the heliotrope curtains, and the face of Lulu, peeping over the plush edge of a box, smiled bewitchingly upon him. With another delighted chuckle the old man went to join her.