An American Tragedy - Theodore Dreiser [372]
And here he slapped him genially and heartily on the back, while Clyde, strangely heartened, felt, for the time being at least, that certainly he could do as he was told, and would.
And then Jephson, taking out his watch and looking first at Belknap, then out of the nearest window through which were to be seen the already assembled crowds—one about the courthouse steps; a second including newspapermen and women, newspaper photographers and artists, gathered closely before the jail walk, and eagerly waiting to “snap” Clyde or any one connected with this case—went calmly on with:
“Well, it’s about time, I guess. Looks as though all Cataraqui would like to get inside. We’re going to have quite an audience.” And turning to Clyde once more, he added: “Now, you don’t want to let those people disturb you, Clyde. They’re nothing but a lot of country people come to town to see a show.”
And then the two of them, Belknap and Jephson, going out. And Kraut and Sissel coming in to take personal charge of Clyde, while the two lawyers, passing amid whispers, crossed over to the court building in the square of brown grass beyond.
And after them, and in less than five minutes, and preceded by Slack and Sissel and followed by Kraut and Swenk—yet protected on either side by two extra deputies in case there should be an outbreak or demonstration of any kind—Clyde himself, attempting to look as jaunty and nonchalant as possible, yet because of the many rough and strange faces about him—men in heavy raccoon coats and caps, and with thick whiskers, or in worn and faded and nondescript clothes such as characterized many of the farmers of this region, accompanied by their wives and children, and all staring so strangely and curiously—he felt not a little nervous, as though at any moment there might be a revolver shot, or some one might leap at him with a knife—the deputies with their hands on their guns lending not a little to the reality of his mood. Yet only cries of: “Here he comes! Here he comes!” “There he is!” “Would you believe that he could do a thing like that?”
And then the cameras clicking and whirring and his two protectors shouldering closer and closer to him while he shrank down within himself mentally.
And then a flight of five brown stone steps leading up to an old courthouse door. And beyond that, an inner flight of steps to a large, long, brown, high-ceilinged chamber, in which, to the right and left, and in the rear facing east, were tall, thin, round-topped windows, fitted with thin panes, admitting a flood of light. And at the west end, a raised platform, with a highly ornamental, dark brown carved bench upon it. And behind it, a portrait—and on either side, north and south, and at the rear, benches and benches in rows—each tier higher than the other, and all crowded with people, the space behind them packed with standing bodies, and all apparently, as he entered, leaning and craning and examining him with sharp keen eyes, while there went about a conversational buzz or brrh. He could hear a general sssss—pppp—as he approached and passed through a gate to an open space beyond it, wherein, as he could see, were Belknap and Jephson at a table, and between them a vacant chair for him. And he could see and feel the eyes and faces on which he was not quite willing to look.
But directly before him, at another table in the same square, but more directly below the raised platform at the west end, as he could see now, were Mason and several men whom he seemed to recollect—Earl Newcomb and Burton Burleigh and yet another man whom he had never seen before, all four turning and gazing at him as he came.
And about this inner group, an outer circle of men and women writers and sketch artists.
And then, after a time, recalling Belknap’s advice, he managed to straighten up and with an air of studied ease and courage—which was belied to a certain