"Great!" says I. "Couldn't be better if you'd used fish glue."

Maybe you never noticed how Swifty's top piece is finished off? He has a mud coloured growth that's as soft as a shoe brush. It behaves well enough when it's dry; but after he's got it good and wet it breaks up into ridges that overlap, same as shingles on a roof.

But then, you wouldn't be lookin' for any camel's hair finish on a nut like Swifty's--not with that face. Course, he ain't to blame for the undershot jaw, nor the way his ears lop, nor the width of his smile.

We don't all have gifts like that, thanks be! And it wa'n't on purpose Swifty had his nose bent in. That come from not duckin' quick enough when Gans swung with his right.

So long as he kept in his cla.s.s, though, and wa'n't called on to understudy Kyrle Bellew, Swifty met all the specifications. If I was wantin' a parlour ornament, I might shy some at Swifty's style of beauty; but showin' bilious brokers how to handle the medicine ball is a job that don't call for an exchange of photographs. He may have an outline that looks like a map of a stone quarry, and perhaps his ways are a little on the fritz, but Swifty's got good points that I couldn't find bunched again if I was to hunt through a crowd. So, when I find him worryin' over the set of his back hair, I gets interested.

"What's the coiffure for, anyway?" says I. "Goin' to see the girl, eh?"

Course, that was a josh. You can't look at Swifty and try to think of him doin' the Romeo act without grinnin'.

"Ahr, chee!" says he.

Now, I've sprung that same jolly on him a good many times; but I never see him work up a colour over it before. Still, the idea of him gettin' kittenish was too much of a strain on the mind for me to follow up.

It was the same about his breakin' into song. He'd never done that, either, until one mornin' I hears a noise comin' from the back room that sounds like some one blowin' on a bottle. I steps over to the door easy, and hanged if I didn't make out that it was Swifty takin' a crack at something that might be, "Oh, how I love my Lulu!"

"You must," says I, "if it makes you feel as bad as all that. Does Lulu know it?"

"Ahr, chee!" says he.

Ever hear Swifty shoot that over his shoulder without turnin' his head?

Talk about your schools of expression! None of 'em could teach anyone to put as much into two words as Swifty does into them. They're a whole vocabulary, the way he uses 'em.

"Was you tryin' to sing," says I, "or just givin' an imitation of a steamboat siren on a foggy night?"

But all I could get out of Swifty was another "Ahr, chee!" He was too happy and satisfied to join in any debate, and inside of ten minutes he's at it again; so I lets him spiel away.

"Well," thinks I, "I'm glad my joy don't have any such effect on me as that. I s'pose I can stand it, if he can."

It wa'n't more'n two nights later that I gets another shock. I was feelin' a little nervous, to begin with, for I'd billed myself to do a stunt I don't often tackle. It was nothin' else than pilotin' a fluff delegation to some art studio doin's. Sounds like a Percy job, don't it? But it was somethin' put up to me in a way I couldn't dodge.

Maybe you remember me tellin' you awhile back about Cornelia Ann Belter? She was the Minnekeegan girl that had a room on the top floor over the Physical Culture Studio, and was makin' a stab at the sculpture game--the one that we got out to Rockywold as a ringer in the snow carvin' contest. Got her placed now?

Well, you know how that little trick of makin' a snow angel brought her in orders from Mrs. Purdy Pell, and Sadie, and the rest? And she didn't do a thing but make good, either. I hadn't seen her since she quit the building; but I'd heard how she was doin' fine, and here the other day I gets a card sayin' she'd be pleased to have my company on a Wednesday night at half after eight, givin' an address on Fifth avenue.

"Corny must be carvin' the cantaloup," thinks I, and then forgets all about it until Sadie holds me up and wants to know if I'm goin'.

"Nix," says I. "Them art studio stunts is over my head."

"Oh, pshaw!" says Sadie. "How long since you have been afraid of Miss Belter? Didn't you and I help her to get her start? She'll feel real badly if you don't come."

"She'll get over that," says I.

"But Mrs. Pell and I will have to go alone if you don't come with us,"

says she. "Mr. Pell is out of town, and Pinckney is too busy with those twins and that Western girl of his. You've got to come, Shorty."

"That settles it," says I. "Why didn't you say so first off?"

So that was what I was doin' at quarter of eight that night, in my open face vest and d.i.n.ky little tuxedo, hustlin' along 42d-st., wonderin' if the folks took me for a head waiter late to his job. You see, after I gets all ragged out I finds I've left my patent leathers at the Studio.

Swifty has said he was goin' to take the night off too, so I'm some surprised to see the front office all lit up like there was a ball goin' on up there. I takes the steps three at a time, expectin' to find a couple of yeggs movin' out the safe; but when I throws the door open what should I see, planted in front of the mirror, but Swifty Joe.

Not that I was sure it was him till I'd had a second look. It was Swifty's face, and Swifty's hair, but the costume was a philopena. It would have tickled a song and dance artist to death. Anywhere off'n the variety stage, unless it was at a Fourth Ward chowder party, it would have drawn a crowd. Perhaps you can throw up a view of a pin-head check in brown and white, blocked off into four-inch squares with red and green lines; a double breasted coat with scalloped cuffs on the sleeves, and silk faced lapels; a pink and white shirt striped like an awnin'; a spotted b.u.t.terfly tie; yellow shoes in the latest oleomargarin tint; and a caffy-o-lay bean pot derby with a half-inch brim to finish off the picture. It was a sizzler, all right.

For a minute I stands there with my mouth open and my eyes bugged, takin' in the details. If I could, I would have skipped without sayin'

a word, for I see I'd b.u.t.ted in on somethin' that was sacred and secret. But Swifty's heard me come in, and he's turned around waitin'

for me to give a verdict. Not wantin' to hurt his feelin's, I has to go careful.

"Swifty," says I, "is that you?"

He only grins kind of foolish, sticks his chin out, and saws his neck against his high collar, like a cow usin' a scratchin' post.

"Blamed if I didn't take you for Henry Dixey, first shot," says I, walkin' around and gettin' a new angle. "Gee! but that's a swell outfit!"

"Think so?" says he. "Will it make 'em sit up?"

"Will it!" says I. "Why, you'll have 'em on their toes."

I didn't know how far I could go on that line without givin' him a grouch; but he seems to like it, so I tears off some more of the same.

"Swifty," says I, "you've got a bunch of tiger lilies lookin' like a faded tea rose. You've got a get-up there that would win out at a Cakewalk, and if you'll take it over to Third-ave. Sunday afternoon you'll be the best bet on the board."

"Honest?" says he, grinnin' way back to his ears. "I was after somethin' a little fancy, I'll own up."

"Well, you got it," says I. "Where'd you have it built?"

"Over the bridge," says he.

Say, it's a wonder some of them South Brooklyn cloth carpenters don't get the blind staggers, turnin' out clothes like that; ain't it?

"Must be some special occasion?" says I.

"D'jer think I'd be blowin' myself like this if it wa'n't?" says he.

"You bet, it's extra special."

"With a skirt in the background?" says I.

"Uh-huh," says he, springin' another grin.

"Naughty, naughty!" says I.

"Ahr, say," says he, tryin' to look peevish, "you oughter know better'n that! You never heard of me chasin' the Lizzies yet, did you? This is a real lady,--nice and cla.s.sy, see?"

"Some one on Fifth-ave.?" says I, unwindin' a little string. But he whirls round like I'd jabbed him with a pin.

"Who tipped you off to that?" says he.