Wilbur Willard

Lillian

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What I always say is that Wilbur Willard is nothing but a very lucky guy, because what is it but luck that has been teetering along Forty-ninth Street one cold snowy morning when Lillian is merowing around the sidewalk looking for her mamma?

And what is it but luck that has Wilbur Willard all mulled up to a million, what with him having been sitting out a few seidels of Scotch with a friend by the name of Haggerty in an apartment over in Fifty-ninth Street? Because if Wilbur Willard is not mulled up he will see Lillian as nothing but a little black cat, and give her plenty of room, for everybody knows that black cats are terribly bad luck, even when they are only kittens.

But being mulled up like I tell you, things look very different to Wilbur Willard, and he does not see Lillian as a little black kitten scrabbling around in the snow. He sees a beautiful leopard, because a copper by the name of O'Hara, who is walking past about then, and who knows Wilbur Willard, hears him say:

'Oh, you beautiful leopard!'

The copper takes a quick peek himself, because he does not wish any leopards running around his beat, it being against the law, but all he sees, as he tells me afterwards, is this rumpot ham, Wilbur Willard, picking up a scrawny little black kitten and shoving it in his overcoat pocket, and he also hears Wilbur say:

'Your name is Lillian.'

Then Wilbur teeters on up to his room on the top floor of an old fleabag in Eighth Avenue that is called the Hotel de Brussels, where he lives quite a while, because the management does not mind actors, the management of the Hotel de Brussels being very broad-minded, indeed.

There is some complaint this same morning from one of Wilbur's neighbours, an old burlesque doll by the name of Minnie Madigan, who is not working since Abraham Lincoln is assassinated, because she hears Wilbur going on in his room about a beautiful leopard, and calls up the clerk to say that an hotel which allows wild animals is not respectable. But the clerk looks in on Wilbur and finds him playing with nothing but a harmless-looking little black kitten, and nothing comes of the old doll's beef, especially as nobody ever claims the Hotel de Brussels is respectable anyway, or at least not much.

Of course when Wilbur comes out from under the ether next afternoon he can see Lillian is not a leopard, and in fact Wilbur is quite astonished to find himself in bed with a little black kitten, because it seems Lillian is sleeping on Wilbur's chest to keep warm. At first Wilbur does not believe what he sees, and puts it down to Haggerty's Scotch, but finally he is convinced, and so he puts Lillian in his pocket, and takes her over to the Hot Box night club and gives her some milk, of which it seems Lillian is very fond.

Now where Lillian comes from in the first place of course nobody knows. The chances are somebody chucks her out of a window into the snow, because people are always chucking kittens, and one thing and another, out of windows in New York. In fact, if there is one thing this town has plenty of, it is kittens, which finally grow up to be cats, and go snooping around ash cans, and merowing on roofs, and keeping people from sleeping good.

Personally, I have no use for cats, including kittens, because I never see one that has any too much sense, although I know a guy by the name of Pussy McGuire who makes a first-rate living doing nothing but stealing cats, and sometimes dogs, and selling them to old dolls who like such things for company. But Pussy only steals Persian and Angora cats, which are very fine cats, and of course Lillian is no such cat as this. Lillian is nothing but a black cat, and nobody will give you a dime a dozen for black cats in this town, as they are generally regarded as very bad jinxes.

Furthermore, it comes out in a few weeks that Wilbur Willard can just as well name her Herman, or Sidney, as not, but Wilbur sticks to Lillian, because this is the name of his partner when he is in vaudeville years ago. He often tells me about Lillian Withington when he is mulled up, which is more often than somewhat, for Wilbur is a great hand for drinking Scotch, or rye, or bourbon, or gin, or whatever else there is around for drinking, except water. In fact, Wilbur Willard is a high-class drinking man, and it does no good to tell him it is against the law to drink in this country, because it only makes him mad, and he says to the dickens with the law, only Wilbur Willard uses a much rougher word than dickens.

'She is like a beautiful leopard,' Wilbur says to me about Lillian Withington. 'Black-haired, and black-eyed, and all ripply, like a leopard I see in an animal act on the same bill at the Palace with us once. We are headliners then,' he says, 'Willard and Withington, the best singing and dancing act in the country.

'I pick her up in San Antonia, which is a spot in Texas,' Wilbur says. 'She is not long out of a convent, and I just lose my old partner, Mary McGee, who ups and dies on me of pneumonia down there. Lillian wishes to go on the stage, and joins out with me. A natural-born actress with a great voice. But like a leopard,' Wilbur says. 'Like a leopard. There is cat in her, no doubt of this, and cats and women are both ungrateful. I love Lillian Withington. I wish to marry her. But she is cold to me. She says she is not going to follow the stage all her life. She says she wishes money, and luxury, and a fine home and of course a guy like me cannot give a doll such things.

'I wait on her hand and foot,' Wilbur says. 'I am her slave. There is nothing I will not do for her. Then one day she walks in on me in Boston very cool and says she is quitting me. She says she is marrying a rich guy there. Well, naturally it busts up the act and I never have the heart to look for another partner, and then I get to belting that old black bottle around, and now what am I but a cabaret performer?'

Then sometimes he will bust out crying, and sometimes I will cry with him, although the way I look at it, Wilbur gets a pretty fair break, at that, in getting rid of a doll who wishes things he cannot give her. Many a guy in this town is tangled up with a doll who wishes things he cannot give her, but who keeps him tangled up just the same and busting himself trying to keep her quiet.

Wilbur makes pretty fair money as an entertainer in the Hot Box, though he spends most of it for Scotch, and he is not a bad entertainer, either. I often go to the Hot Box when I am feeling blue to hear him sing Melancholy Baby, and Moonshine Valley and other sad songs which break my heart. Personally, I do not see why any doll cannot love Wilbur, especially if they listen to him sing such songs as Melancholy Baby when he is mulled up good, because he is a tall, nice-looking guy with long eyelashes, and sleepy brown eyes, and his voice has a low moaning sound that usually goes very big with the dolls. In fact, many a doll does do some pitching to Wilbur when he is singing in the Hot Box, but somehow Wilbur never gives them a tumble, which I suppose is because he is thinking only of Lillian Withington.

Well, after he gets Lillian, the black kitten, Wilbur seems to find a new interest in life, and Lillian turns out to be right cute, and not bad-looking after Wilbur gets her fed up good. She is blacker than a yard up a chimney, with not a white spot on her, and she grows so fast that by and by Wilbur cannot carry her in his pocket any more, so he puts a collar on her and leads her round. So Lillian becomes very well known on Broadway, what with Wilbur taking her many places, and finally she does not even have to be led around by Wilbur, but follows him like a pooch. And in all the Roaring Forties there is no pooch that cares to have any truck with Lillian, for she will leap aboard them quicker than you can say scat, and scratch and bite them until they are very glad indeed to get away from her.

But of course the pooches in the Forties are mainly nothing but Chows, and Pekes, and Poms, or little woolly white poodles, which are led around by blonde dolls, and are not fit to take their own part against a smart cat. In fact, Wilbur Willard is finally not on speaking terms with any doll that owns a pooch between Times Square and Columbus Circle, and they are all hoping that both Wilbur and Lillian will go lay down and die somewhere. Furthermore, Wilbur has a couple of battles with guys who also belong to the dolls, but Wilbur is no sucker in a battle if he is not mulled up too much and leg-weary.

After he is through entertaining people in the Hot Box, Wilbur generally goes around to any speakeasies which may still be open, and does a little off-hand drinking on top of what he already drinks down in the Hot Box, which is plenty, and although it is considered very risky in this town to mix Hot Box liquor with any other, it never seems to bother Wilbur. Along towards daylight he takes a couple of bottles of Scotch over to his room in the Hotel de Brussels and uses them for a nightcap, so by the time Wilbur Willard is ready to slide off to sleep he has plenty of liquor of one kind and another inside him, and he sleeps pretty.

Of course nobody on Broadway blames Wilbur so very much for being such a rumpot, because they know about him loving Lillian Withington, and losing her, and it is considered a reasonable excuse in this town for a guy to do some drinking when he loses a doll, which is why there is so much drinking here, but it is a mystery to one and all how Wilbur stands off all this liquor without croaking. The cemeteries are full of guys who do a lot less drinking than Wilbur, but he never even seems to feel extra tough, or if he does he keeps it to himself and does not go around saying it is the kind of liquor you get nowadays.

He costs some of the boys around Mindy's plenty of dough one winter, because he starts in doing most of his drinking after hours in Good Time Charley's speakeasy, and the boys lay a price of four to one against him lasting until spring, never figuring a guy can drink very much of Good Time Charley's liquor and keep on living. But Wilbur Willard does it just the same, so everybody says the guy is naturally superhuman, and lets it go at that.

Sometimes Wilbur drops into Mindy's with Lillian following him on the look-out for pooches, or riding on his shoulder if the weather is bad, and the two of them will sit with us for hours chewing the rag about one thing and another. At such times Wilbur generally has a bottle on his hip and takes a shot now and then, but of course this does not come under the head of serious drinking with him. When Lillian is with Wilbur she always lays as close to him as she can get and anybody can see that she seems to be very fond of Wilbur, and that he is very fond of her, although he sometimes forgets himself and speaks of her as a beautiful leopard. But of course this is only a slip of the tongue, and anyway if Wilbur gets any pleasure out of thinking Lillian is a leopard, it is nobody's business but his own.

'I suppose she will run away from me some day,' Wilbur says, running his hand over Lillian's back until her fur crackles. 'Yes, although I give her plenty of liver and catnip, and one thing and another, and all my affection, she will probably give me the shake. Cats are like women, and women are like cats. They are both very ungrateful.'

'They are both generally bad luck,' Big Nig, the crap shooter, says. 'Especially cats, and most especially black cats.'

Many other guys tell Wilbur about black cats being bad luck, and advise him to slip Lillian into the North River some night with a sinker on her, but Wilbur claims he already has all the bad luck in the world when he loses Lillian Withington, and that Lillian, the cat, cannot make it any worse, so he goes on taking extra good care of her, and Lillian goes on getting bigger and bigger, until I commence thinking maybe there is some St. Bernard in her.

Finally I commence to notice something funny about Lillian. Sometimes she will be acting very loving towards Wilbur, and then again she will be very unfriendly to him, and will spit at him, and snatch at him with her claws, very hostile. It seems to me that she is all right when Willard is mulled up, but is as sad and fretful as he is himself when he is only a little bit mulled. And when Lillian is sad and fretful she makes it very tough indeed on the pooches in the neighbourhood of the Brussels.

In fact, Lillian takes to pooch-hunting, sneaking off when Wilbur is getting his rest, and running pooches bow-legged, especially when she finds one that is not on a leash. A loose pooch is just naturally cherry pie for Lillian.

Well, of course, this causes great indignation among the dolls who own the pooches, particularly when Lillian comes home one day carrying a Peke as big as she is herself by the scruff of the neck, and with a very excited blonde doll following her and yelling bloody murder outside Wilbur Willard's door when Lillian pops into Wilbur's room through a hole he cuts in the door for her, still lugging the Peke. But it seems that instead of being mad at Lillian and giving her a pasting for such goings on, Wilbur is somewhat pleased, because he happens to be still in a fog when Lillian arrives with the Peke, and is thinking of Lillian as a beautiful leopard.

'Why,' Wilbur says, 'this is devotion, indeed. My beautiful leopard goes off into the jungle and fetches me an antelope for dinner.'

Now of course there is no sense whatever to this, because a Peke is certainly not anything like an antelope, but the blonde doll outside Wilbur's door hears Wilbur mumble, and gets the idea that he is going to eat her Peke for dinner and the squawk she puts up is very terrible. There is plenty of trouble around the Brussels in chilling the blonde doll's beef over Lillian snagging her Peke, and what is more the blonde doll's ever-loving guy, who turns out to be a tough Ginney bootlegger by the name of Gregorio, shows up at the Hot Box the next night and wishes to put the slug on Wilbur Willard.

But Wilbur rounds him up with a few drinks and by singing Melancholy Baby to him, and before he leaves the Ginney gets very sentimental towards Wilbur, and Lillian, too, and wishes to give Wilbur five bucks to let Lillian grab the Peke again, if Lillian will promise not to bring it back. It seems Gregorio does not really care for the Peke, and is only acting quarrelsome to please the blonde doll and make her think he loves her dearly.

But I can see Lillian is having different moods, and finally I ask Wilbur if he notices it.

'Yes,' he says, very sad, 'I do not seem to be holding her love. She is getting very fickle. A guy moves on to my floor at the Brussels the other day with a little boy, and Lillian becomes very fond of this kid at once. In fact, they are great friends. Ah, well,' Wilbur says, 'cats are like women. Their affection does not last.'

I happen to go over to the Brussels a few days later to explain to a guy by the name of Crutchy, who lives on the same floor as Wilbur Willard, that some of our citizens do not like his face and that it may be a good idea for him to leave town, especially if he insists on bringing ale into their territory, and I see Lillian out in the hall with a youngster which I judge is the kid Wilbur is talking about. This kid is maybe three years old, and very cute, what with black hair, and black eyes, and he is woolling Lillian around the hall in a way that is most surprising, for Lillian is not such a cat as will stand for much woolling around, not even from Wilbur Willard.

I am wondering how anybody comes to take such a kid to a joint like the Brussels, but I figure it is some actor's kid, and that maybe there is no mamma for it. Later I am talking to Wilbur about this, and he says:

'Well, if the kid's old man is an actor, he is not working at it. He sticks close to his room all the time, and he does not allow the kid to go anywhere but in the hall, and I feel sorry for the little guy, which is why I allow Lillian to play with him.'

Now it comes on a very cold spell, and a bunch of us are sitting in Mindy's along towards five o'clock in the morning when we hear Lillian fire engines going past. By and by in comes a guy by the name of Kansas, who is named Kansas because he comes from Kansas, and who is a crap shooter by trade.

'The old Brussels is on fire,' this guy Kansas says.

'She is always on fire,' Big Nig says, meaning there is always plenty of hot stuff going on around the Brussels.

About this time who walks in but Wilbur Willard, and anybody can see he is just naturally floating. The chances are he comes from Good Time Charley's, and he is certainly carrying plenty of pressure. I never see Wilbur Willard mulled up more. He does not have Lillian with him, but then he never takes Lillian to Good Time Charley's, because Charley hates cats.

'Hey, Wilbur,' Big Nig says, 'your joint, the Brussels, is on fire.'

'Well,' Wilbur says, 'I am a little firefly, and I need a light. Let us go where there is fire.'

The Brussels is only a few blocks from Mindy's, and there is nothing else to do just then, so some of us walk over to Eighth Avenue with Wilbur teetering along ahead of us. The old shack is certainly roaring good when we get in sight of it, and the firemen are tossing water into it, and the coppers have the fire lines out to keep the crowd back, although there is not much of a crowd at such an hour in the morning.

'Is it not beautiful?' Wilbur Willard says, looking up at the flames. 'Is it not like a fairy palace all lighted up this way?'

You see, Wilbur does not realize the joint is on fire, although guys and dolls are running out of it every which way, most of them half dressed, or not dressed at all, and the firemen are getting out the life nets in case anybody wishes to hop out of the windows.

'It is certainly beautiful,' Wilbur says. 'I must get Lillian so she can see this.'

And before anybody has time to think, there is Wilbur Willard walking into the front door of the Brussels as if nothing happens. The firemen and the coppers are so astonished all they can do is holler at Wilbur, but he pays no attention whatever. Well, naturally everybody figures Wilbur is a gone gosling, but in about ten minutes he comes walking out of this same door through the fire and smoke as cool as you please, and he has Lillian in his arms.

'You know,' Wilbur says, coming over to where we are standing with our eyes popping out, 'I have to walk all the way up to my floor because the elevators seem to be out of commission. The service is getting terrible in this hotel. I will certainly make a strong beef to the management about it as soon as I pay something on my account.'

Then what happens but Lillian lets out a big mer-ow, and hops out of Wilbur's arms and skips past the coppers and the firemen with her, back all humped up, and the next thing anybody knows she is tearing through the front door of the old hotel and making plenty of speed.

'Well, well,' Wilbur says, looking much surprised, 'there goes Lillian.'

And what does this daffy Wilbur Willard do but turn and go marching back into the Brussels again, and by this time the smoke is pouring out of the front doors so thick he is out of sight in a second. Naturally he takes the coppers and firemen by surprise, because they are not used to guys walking in and out of fires on them.

This time anybody standing around will lay you plenty of odds, two and a half and maybe three to one that Wilbur never shows up again, because the old Brussels is now just popping with fire and smoke from the lower windows, although there does not seem to be quite so much fire in the upper story. Everybody seems to be out of the joint, and even the firemen are fighting the blaze from the outside because the Brussels is so old and ramshackly there is no sense in them risking the floors.

I mean everybody is out of the joint except Wilbur Willard and Lillian, and we figure they are getting a good frying somewhere inside, although Feet Samuels is around offering to take thirteen to five for a few small bets that Lillian comes out okay, because Feet claims that a cat has nine lives and that is a fair bet at the price.

Well, up comes a swell-looking doll all heated up about something and pushing and clawing her way through the crowd up to the ropes and screaming until you can hardly hear yourself think, and about this same minute everybody hears a voice going ai-lee-hihee-hoo, like a Swiss yodeller, which comes from the roof of the Brussels, and looking up what do we see but Wilbur Willard standing up there on the edge of the roof, high above the fire and smoke, and yodelling very loud.

Under one arm he has a big bundle of some kind, and under the other he has the little kid I see playing in the hall with Lillian. As he stands up there going ai-lee-hi-hee-hoo, the swell-dressed doll near us begins yipping louder than Wilbur is yodelling, and the firemen rush over under him with a life net.

Wilbur lets go another ai-lee-hi-hee-hoo, and down he comes all spraddled out, with the bundle and the kid, but he hits the net sitting down and bounces up and back again for a couple of minutes before he finally settles. In fact, Wilbur is enjoying the bouncing, and the chances are he will be bouncing yet if the firemen do not drop their hold on the net and let him fall to the ground.

Then Wilbur steps out of the net, and I can see the bundle is a rolled-up blanket with Lillian's eyes peeking out of one end. He still has the kid under the other arm with his head stuck out in front, and his legs stuck out behind, and it does not seem to me that Wilbur is handling the kid as careful as he is handling Lillian. He stands there looking at the firemen with a very sneering look, and finally he says:

'Do not think you can catch me in your net unless I wish to be caught. I am a butterfly, and very hard to overtake.'

Then all of a sudden the swell-dressed doll who is doing so much hollering, piles on top of Wilbur and grabs the kid from him and begins hugging and kissing it.

'Wilbur,' she says, 'God bless you, Wilbur, for saving my baby! Oh, thank you, Wilbur, thank you! My wretched husband kidnaps and runs away with him, and it is only a few hours ago that my detectives find out where he is.'

Wilbur gives the doll a funny look for about half a minute and starts to walk away, but Lillian comes wiggling out of the blanket, looking and smelling pretty much singed up, and the kid sees Lillian and begins hollering for her, so Wilbur finally hands Lillian over to the kid. And not wishing to leave Lillian, Wilbur stands around somewhat confused, and the doll gets talking to him, and finally they go away together, and as they go Wilbur is carrying the kid, and the kid is carrying Lillian, and Lillian is not feeling so good from her burns.

Furthermore, Wilbur is probably more sober than he ever is before in years at this hour in the morning, but before they go I get a chance to talk some to Wilbur when he is still rambling somewhat, and I make out from what he says that the first time he goes to get Lillian he finds her in his room and does not see hide or hair of the little kid and does not even think of him, because he does not know what room the kid is in, anyway, having never noticed such a thing.

But the second time he goes up, Lillian is sniffing at the crack under the door of a room down the hall from Wilbur's and Wilbur says he seems to remember seeing a trickle of something like water coming out of the crack.

'And,' Wilbur says, 'as I am looking for a blanket for Lillian, and it will be a bother to go back to my room, I figure I will get one out of this room. I try the knob but the door is locked, so I kick it in, and walk in to find the room full of smoke, and fire is shooting through the windows very lovely, and when I grab a blanket off the bed for Lillian, what is under the blanket but the kid?

'Well,' Wilbur says, 'the kid is squawking, and Lillian is merowing, and there is so much confusion generally that it makes me nervous, so I figure we better go up on the roof and let the stink blow off us, and look at the fire from there. It seems there is a guy stretched out on the floor of the room alongside an upset table between the door and the bed. He has a bottle in one hand, and he is dead. Well, naturally there is no percentage in lugging a dead guy along, so I take Lillian and the kid and go up on the roof, and we just naturally fly off like humming birds. Now I must get a drink,' Wilbur says, 'I wonder if anybody has anything on their hip?'

Well, the papers are certainly full of Wilbur and Lillian the next day, especially Lillian, and they are both great heroes.

But Wilbur cannot stand the publicity very long, because he never has any time to himself for his drinking, what with the scribes and the photographers hopping on him every few minutes wishing to hear his story, and to take more pictures of him and Lillian, so one night he disappears, and Lillian disappears with him.

About a year later it comes out that he marries his old doll, Lillian Withington-Harmon, and falls into a lot of dough, and what is more he cuts out the liquor and becomes quite a useful citizen one way and another. So everybody has to admit that black cats are not always bad luck, although I say Wilbur's case is a little exceptional because he does not start out knowing Lillian is a black cat, but thinking she is a leopard.

I happen to run into Wilbur one day all dressed up in good clothes and jewellery and chucking quite a swell.

'Wilbur,' I say to him, 'I often think how remarkable it is the way Lillian suddenly gets such an attachment for the little kid and remembers about him being in the hotel and leads you back there a second time to the right room. If I do not see this come off with my own eyes, I will never believe a cat has brains enough to do such a thing, because I consider cats extra dumb.'

'Brains nothing,' Wilbur says. 'Lillian does not have brains enough to grease a gimlet. And what is more, she has no more attachment for the kid than a jack rabbit. The time has come,' Wilbur says, 'to expose Lillian. She gets a lot of credit which is never coming to her. I will now tell you about Lillian, and nobody knows this but me.

'You see,' Wilbur says, 'when Lillian is a little kitten I always put a little Scotch in her milk, partly to help make her good and strong, and partly because I am never no hand to drink alone, unless there is nobody with me. Well, at first Lillian does not care so much for this Scotch in her milk, but finally she takes a liking to it, and I keep making her toddy stronger until in the end she will lap up a good big snort without any milk for a chaser, and yell for more. In fact, I suddenly realize that Lillian becomes a rumpot, just like I am in those days, and simply must have her grog, and it is when she is good and rummed up that Lillian goes off snatching Pekes, and acting tough generally.

'Now,' Wilbur says, 'the time of the fire is about the time I get home every morning and give Lillian her schnapps. But when I go into the hotel and get her the first time I forget to Scotch her up, and the reason she runs back into the hotel is because she is looking for her shot. And the reason she is sniffing at the kid's door is not because the kid is in there but because the trickle that is coming through the crack under the door is nothing but Scotch that is running out of the bottle in the dead guy's hand. I never mention this before because I figure it may be a knock to a dead guy's memory,' Wilbur says. 'Drinking is certainly a disgusting thing, especially secret drinking.'

'But how is Lillian getting along these days?' I ask Wilbur Willard.

'I am greatly disappointed in Lillian,' he says. 'She refuses to reform when I do, and the last I hear of her she takes up with Gregorio, the Ginney bootlegger, who keeps her well Scotched up all the time so she will lead his blonde doll's Peke a dog's life.'