Wilt Thou Torchy — Reading Companion

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Ford, Sewell, 1868-1946 Project Gutenberg 2005
New York (N.Y.) -- Fiction; Humorous stories; Courtship -- Fiction; Treasure troves -- Fiction; Florida -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 67,458
Reading time 294 min
Text sections 9

For Wilt Thou Torchy — Reading Companion, the stored edition analysis reports 67,458 words, 4 hr 54 min estimated reading time, and 9 detected text sections.

The text analysis averages about 11.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “New York (N.Y.) -- Fiction,” connecting these edition facts with the source record’s subject description.

Sewell Ford's 'Wilt Thou Torchy' follows the wisecracking private secretary Torchy through a treasure-hunt comedy set in New York and Florida. The excerpts reveal his colloquial voice, a boss called 'Old Hickory,' and a missing Captain Killam, with a map of Nunca Secos Key as a clue.
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I. ON THE WAY WITH CYBIL II. TOWING CECIL TO A SMEAR III. TORCHY HANDS OUT A SPILL IV. HOW HAM PASSED THE BUCK V. WITH ELMER LEFT IN VI. A BALANCE FOR THE BOSS VII. TORCHY FOLLOWS A HUNCH VIII. BREAKING ODD WITH MYRA IX. REPORTING BLANK ON RUPERT X. WHEN AUNTIE CRASHES IN XI. A JOLT FROM OLD HICKORY XII. TORCHY HITS THE HIGH SEAS XIII. WHEN THE NAVY HORNED IN XIV. AUNTIE TAKES A NIGHT OFF XV. PASSING THE JOKE BUCK XVI. TORCHY TAKES A RUNNING JUMP XVII. A LITTLE SPEED ON THE HOME STRETCH

"But the impudence of you, to do it right here!" she goes on. "No one but you, Torchy, would have thought of that." . . . . . . _Frontispiece_

"I don't think I ever saw Auntie come so near beamin' before. She seems right at home, fieldin' that line of chat. And Vee, too, is more or less under the spell.

"For a second it looked like Gladys was goin' to freeze with horror; but she just gives Valentina the once-over and indulges in a panicky little giggle."

"Then she grips me around the neck and snuggles her head down on my necktie--say, then I knew."

ON THE WAY WITH CECIL

It was a case of declarin' time out on the house. Uh-huh--a whole afternoon. What's the use bein' a private sec. in good standin' unless you can put one over on the time-clock now and then? Besides, I had a social date; and, now Mr. Robert is back on the job so steady and is gettin' so domestic in his habits, somebody's got to represent the Corrugated Trust at these function things.

The event was the openin' of the Pill Box; you know, one of these dinky little theaters where they do the capsule drama at two dollars a seat. Not that I've been givin' my theatrical taste the highbrow treatment. I'm still strong for the smokeless war play where the coisèd spy gets his'n good and hard.

But I understand this one-act stuff is the thing to see just now, and I'd picked up a hunch that Vee and Auntie had planned to be in on this openin' until Auntie's sciatica developed so bad that they had to call it off. So it's me makin' the timely play with a couple of seats in E center and almost gettin' hugged for it. Even Auntie shoots me an approvin' glance as she hands down a favorable decision.

So we sits through five acts of piffle that was mostly talky junk to me. And, at that, I wa'n't sufferin' exactly; for when them actorines got too weird, all I had to do was swing a bit in my seat and I had a side view of a spiffy little white fur boa, with a pink ear-tip showin' under a ripple of corn-colored hair, and a--well, I had something worth watching that's all.

"Wasn't that last thing stupid?" says Vee.

"Didn't bother me any," says I. "Maybe I wa'n't followin' it real close."

"The idea!" says, she. "Why come to the theater, anyway?"

"Lean closer and I'll whisper," says I.

"Silly!" says she. "Here! Have a chocolate."

"Toss," says I, openin' my mouth.

Vee snickers. "Suppose I missed and hit the fat man beyond?"

"It's a sportin' chance he takes," says I. "Shoot."

I had to bump Fatty a bit makin' the catch; but when he sees what the game is, he comes back with the friendly grin.

"There!" says Vee, tintin' up. "Now behave."

"Sorry," says I, "but I had to field my position, didn't I? Once more, now."

"Certainly not," says Vee. "Besides, there goes the curtain."

And if it hadn't been for interruptions like that we might have had a perfectly good time. We generally do when we're let alone. To sort of string the fun out I suggests goin' somewhere for tea. And it was while we're swappin' josh over the toasted crumpets and marmalade that we discovers a familiar-lookin' couple on the dancin' surface.

"Why, there's Doris!" says Vee.

"And the happy hubby!" I adds. "Hey, Westy! Come nourish yourself."

Maybe you remember that pair? Sappy Westlake, anyway. He's the noble, fair-haired youth that for a long time Auntie had all picked out as the chosen one for Vee, and he hung around constant until one lucky day Vee had this Doris Ull come for a visit.

Kind of a pouty, peevish queen, Doris was, you know. Spoiled at home, and the job finished at one of these flossy girls' boardin'-schools where they get a full course in court etiquette and learn to call the hired girl Smith quite haughty.

But she looked good to Westy, and, what with the help Vee and I gave 'em, they made a match of it. Months ago that must 'a' been, nearly a year. So I signals a fray-juggler to pull up more chairs, and we has quite a reunion.

Seems they'd been on a long honeymoon trip: done the whole Pacific coast, stopped off a while at Banff, and worked hack home through Quebec and the White Mountains. Think of all the carfares and tips to bell-hops that means! He don't have to worry, though. Income is Westy's middle name. All he knows about it is that there's a trust company downtown somewheres that handles the estate and wishes on him quarterly a lot more'n he knows how to spend. Beastly bore!

"What a wonderful time you two must have had!" says Vee.

Doris shrugs her shoulders.

"Sightseeing always gives me a headache," says she. "And in the Canadian Rockies we nearly froze. I was glad to see New York again. But one tires of hotel life. Thank goodness, our house is ready at last. We moved in a week ago."

"Oh!" says Vee. "Then you're housekeeping?"

Doris nods. "It's quite thrilling," says she. "At ten-thirty every morning I have the butler bring me Cook's list. Then I 'phone for the things myself. That is, I've just begun. Let me see, didn't I put in to-day's order in my--yes, here it is." And she fishes a piece of paper out of a platinum mesh bag. "Think of our needing all that--just Harold and me," she goes on.

"I should say so," says Vee, startin' to read over the items. "'Sugar, two pounds; tea, two pounds--'"

"Cook leaves the amounts to me," explains Doris; "so I just order two pounds of everything."

"Oh!" says Vee, readin' on. "'Butter, two pounds; eggs, two--' Do they sell eggs that way, Doris?"

"Don't they?" asks Doris. "I'm sure I don't know."

"'Coffee, two pounds,'" continues Vee. "'Yeast cakes, two pounds--' Why, wouldn't that be a lot of yeast cakes? They're such little things!"

"Perhaps," says Doris. "But then, I sha'n't have to bother ordering any more for a month, you see. Now, take the next item. 'Champagne wafers, ten pounds.' I'm fond of those. But that is the only time I broke my rule. See--'flour, two pounds; roast beef, two pounds,' and so on. Oh, I mean to be quite systematic in my housekeeping!"

"Isn't she a wonder?" asks Westy, gazin' at her proud and mushy.

"I say, though, Vee," goes on Doris enthusiastic, "you must come home with us for dinner to-night. Do!"

At which Westy nudges her and whispers something behind his hand.

"Oh, yes," adds Doris. "You too, Torchy."

Vee had to 'phone Auntie and get Doris to back her up before the special dispensation was granted; but at six-thirty the four of us starts uptown for this brownstone bird-cage of happiness that Westy has taken a five-year lease of.

"Just think!" says Vee, as we unloads from the taxi. "You with a house of your own, and managing servants, and--"

"Oh!" remarks Doris, as she pushes the button. "I do hope you won't mind Cyril."

"Mind who?" says Vee.

"He--he's our butler," explains Westy. "I suppose he's a very good butler, too--the man at the employment agency said he was; but--er--"

"I'm sure he is," puts in Doris, "even if he does look a little odd. Then there is his name--Cyril Snee. Of course, Cyril doesn't sound just right for a butler, does it? But Snee is so--so--"

"Isn't it?" says Vee. "I should call him Cyril."

"We started in that way," says Doris, "but he asked us not to; said he preferred to be called Snee. It was unusual, and besides he had private reasons. So between ourselves we speak of him as Cyril, and to his face-- Well, I suppose we shall get used to saying Snee, though-- Why, where can he be? I've rung twice and-- Oh, here he comes!"

And, believe me, when Doris described him as lookin' a little odd she's said sumpun. Cyril was all of that. As far as figures goes he's big and impressive enough, with sort of a dignified bulge around the equator. But that face of his, with the white showin' through the pink, and the pink showin' through the white in the most unexpected places! Like a scraped radish. No, that don't give you the idea of his color scheme exactly. Say a half parboiled baby. For the pink spots on his chin and forehead was baby pink, and the white of his cheeks and ears was a clear, waxy white, like he'd been made up by an artist. Then, the thin gray hair, cropped so close the pink scalp glimmered through; and the wide mouth with the quirky corners; and the greenish pop-eyes with the heavy bags underneath--well, that was a map to remember.

And the worst of it was, I couldn't. Sure, I'd met it. No doubt about that. But I follows the bunch into the house like I was in a trance, starin' at Cyril over Westy's shoulder and askin' myself urgent, "Where have I seen that face before?" No, I couldn't place him. And you know how a thing like that will bother you. It got me in the appetite.

Maybe it was just as well, too, for I'd got half way through the soup before I notices anything the matter with it. My guess was that it tasted scorchy. I glances around at Vee, and finds she's just makin' a bluff at eatin' hers. Doris and Westy ain't even doin' that, and when I drops my spoon Doris signals to take it away. Which Cyril does, movin' as solemn and dignified as if he was usherin' at a funeral. Then there's a stage wait for three or four minutes before the fish is brought in, Cyril paddin' around ponderous with the plates. Doris beckons him up and demands in a whisper:

"Helma, ma'am," says he, "is taking the evening out."

"But--" begins Doris, then stops and bites her lip.

The fish could have stood some of the surplus cookin' that the soup got. It wa'n't exactly eatable fish, and the potato marbles that come with it should have been numbered; then they'd be useful in Kelley pool. Yes, they was a bit hard. Doris gets red under the eyes and waves out the fish.

She stands it, though, until that two-pound roast is put before Westy. Not such a whale of a roast, it ain't. It's a one-rib affair, like an overgrown chop, and it reposes lonesome in the middle of a big silver platter. It's done, all right. Couldn't have been more so if it had been cooked in a blast-furnace. Even the bone was charred through.

Westy he gazes at it in his mild, helpless way, and pokes it doubtful with the carvin'-fork.

"I say, Cyr--er--Snee," says he, "what's this?"

"The roast, sir," says the butler.

"The deuce it is!" says Westy. "Do--do I use a saw or dynamite?" And he stares across at Doris inquirin'.

"Snee," says Doris, her upper lip trembling "you--you may take it away."

"Back to the kitchen, ma'am?" asks Cyril.

"Ye-es," says Doris. "Certainly."

"Very well, ma'am," says Cyril, sort of tragic and mysterious.

He hadn't more'n got through the swing-door before Doris slumps in her chair, puts her face into her hands, and begins lettin' out the sobs reckless. Course, Westy jumps to the rescue and starts pattin' her on the back and offerin' soothin' words. So does Vee.

"There, there!" says Vee. "We don't mind a bit. Such things are bound to happen."

"But I--I don't know what to do," sobs Doris. "It's--it's been getting worse every day. They began all right--the servants, I mean. But yesterday Marie was impudent, and to-night Helma has gone out when she shouldn't, and now Cook has spoiled everything, and--"

We ain't favored with the rest of the sad tale, for just then there's a quick scuff of feet, and Cyril comes skatin' through the pantry door and does a frantic dive behind the sideboard.

Doris straightens up, brushes her eyes clear, and makes a brave stab at bein' dignified.

"Snee," says she, real reprovin'.

"I--I beg pardon, ma'am," says Cyril, edgin' out and revealin' a broad black smooch on his shirt-front as well as a few other un-butlery signs.

"Why, whatever has happened to yon?" demands Doris.

"I'm not complaining, ma'am," says Cyril; "but Cook, you see, she--she didn't like it because of my bringing back the roast. And I'm not very good at dodging, ma'am."

"Oh!" says Doris, shudderin'.

"It struck me here, ma'am," says Cyril, indicatin' the exact spot.

"Yes, yes, I see," says Doris. "I--I'm sorry, Snee."

"Not at all, ma'am," objects Cyril. "My fault entirely. I should have jumped quicker. And it might have been the pudding. That wouldn't have hit so hard, but it would have splashed more. You see, ma'am, I--"

"Never mind, Snee," cuts in Doris, tryin' to stop him.

"I don't, ma'am, I assure you," says Cyril, pluckin' a spray of parsley off his collar. "I was only going to remark what a wonderful true eye Cook has, ma'am; and her in liquor, at that."

"Oh, oh!" squeals Doris panicky.

"It began when I brought her the brandy for the pudding sauce, ma'am," goes on Cyril, real chatty. "She'd had only one glass when she begins chucking me under the chin and calling me Dearie. Not that I ever gave her any cause, ma'am, to--"

"Please!" wails Doris. "Harold! Stop him, can't you?"

And say, can you see Sappy Westlake stoppin' anything? Specially such a runnin' stream as this here now Cyril. But he comes to life for one faint effort.

"I say, you know," he starts in, "perhaps you'd best say no more about it, Snee."

"As you like, sir," says Cyril. "Only, I don't wish my feelings considered. Not in the least. If you care to send back the salad I will gladly--"

Westy glances appealin' towards me.

"Torchy," says he, "couldn't you--"

Couldn't I, though! Say, I'd just been yearnin' to crash into this affair for the last five minutes. I'd remembered Cyril. At least, I thought I had. And I proceeds to rap for order with a table-knife.

"Excuse me, Mr. Snee," says I, "but you ain't been called on for a monologue. You can print the whole story of how kitchen neutrality was violated, issue a yellow book, if you like; but just for the minute try to forget that assault with the roast and see if you can remember ever havin' met me before. Can you?"

Don't seem to faze Cyril a bit. He takes a good look at me and then shakes his head.

"I'm sorry, sir," says he, "but I'm afraid I'm stupid about such things. I can sometimes recall names very readily, but faces--"

"How long since you quit jugglin' pies and sandwiches at the quick-lunch joint?" says I.

"Three months, sir," says he prompt.

"Tied the can to you, did they?" says I.

"I was discharged, sir," says Cyril. "The proprietor objected to my talking so much to customers. I suppose he was quite right. One of my many failings, sir."

"I believe you," says I. "So you took up buttling, eh? Wa'n't that some nervy jump?"

"I considered it a helpful step in my career," says he.

"Your which?" says I.

"Perhaps I should put it," says he, "that the work seemed to offer the discipline which would make me most useful to our noble order."

And as he says the last two words he puts his palms at right angles to his ears, thumbs in, and bows three times.

"Eh?" says I, gawpin'.

"I refer," says Cyril, "to the Brotherhood of the Sacred Owls, which is also named the Sublime Order of Humility and Wisdom."

And once more he does the ear wigwag. Believe me, he had us all gaspin'.

"Vurra good, Eddie!" says I. "Sacred Owls, eh? What is that--one of these insurance schemes?"

"There are both mortuary and sick benefits appertaining to membership," says Cyril, "but our chief aim and purpose is to acquire humility and wisdom. It so happens that I have been named as candidate for Grand Organizer of the East, and at our next solemn conclave, to be held--"

"I get you," says I. "I can see where you might find some practice in bein' humble by buttlin', but how about gettin' wise?"

"With humility comes wisdom, as our public ritual has it," says Cyril. "In the text-book which I studied--'The Perfect Butler'--there was very little about being humble, however. But my cousin, who conducts an employment agency, assured me that could only be acquired by practice. So he secured me several positions. He was wholly correct. I have been discharged on an average of once a week for the last two months, and on each occasion I have discovered newer and deeper depths of humility."

I draws a long breath and gazes admiring at Cyril. Then I turns to the Westlakes.

"Westy," says I, "do you want to accommodate Mr. Snee with a fresh chance of perfectin' himself for the Sublime Order?"

He nods. So does Doris.

"It's a unanimous vote, Cyril," says I. "You're fired. Not for failin' to duck the roast, understand, but because you're too gabby."

"Thank you, sir," says he, actin' a little disappointed. "I am to leave at once, I suppose?"

"No," says I. "Stop long enough in the kitchen to tell Cook she gets the chuck, too. After that, if you ain't qualified as Grand Imperial Organizer of the whole United States, then the Sacred Owls don't know their business. By-by, Cyril. We're backin' you to win, remember."

And as I pushes him through the pantry door I locks it behind him. Followin' which, Doris uses the powder-puff under her eyes a little and we adjourns to the Plutoria palm-room, where we had a perfectly good dinner, all the humility Westy could buy with a two-dollar tip, and no folksy chatter on the side.

Next day the Westlakes calls up another agency, and by night they had an entire new line of help on the job.

What do you guess, though? Here yesterday afternoon I leaves the office on the jump and chases up to the apartment house where Vee and Auntie are settled for the winter. My idea was that I might catch Vee comin' home from a shoppin' orgie, or the matinée, or something, and get a few minutes' conversation in the lobby.

The elevator-boy says she's out, too, so it looks like I was a winner. I waits half an hour and she don't show up, and I'm just about to take a chance on ringin' up Auntie for information, when in she comes, chirky and smilin', with rose leaves sprinkled on both cheeks and her eyes sparklin'. Also she has a bundle of books under one arm.

"Why the literature?" says I. "Goin' to read Auntie to sleep?"

"There!" says she, poutin' cute. "I wasn't going to let anyone know. I've started in at college."

"Wha-a-at!" says I. "You ain't never goin' to be a lady doctor or anything like that, are you?"

"I am taking a course at Columbia," says Vee, "in domestic science. Doris is doing it, too. And such fun! To-day we learned how to make a bed--actually made it up, too. To-morrow I am going to boil potatoes."

"Hel-lup!" says I. "You are? Say, how long does this last?"

"It's a two-year course," says Vee.

"Stick to it," says I. "That'll give me time to take lessons from Westy on how to get an income wished onto me."

As it stands, though, Vee's got me distanced. Please, ain't somebody got a plute aunt to spare?

TOWING CECIL TO A SMEAR

Just think! If it had turned out a little different I might have been called to stand on a platform in front of City Hall while the Mayor wished a Victoria Cross or something like that on me.

The opening chapter introduces Torchy, a private secretary who talks in a breezy, slangy first-person voice—'declarin' time out on the house'—and who uses his boss's domesticity to sneak off to a theater opening. The Pill Box, a 'dinky little theater' with capsule dramas, sets the scene for Torchy's social maneuvering with Vee and Auntie. His narration is full of asides and self-aware humor, as when he admits he wasn't following the play closely because he was watching Vee's 'spiffy little white fur boa.'

The excerpts quickly establish a pattern: Torchy's casual attitude clashes with the stern Mr. Ellins, whom he calls 'Old Hickory.' When a treasure map of Florida appears, the story shifts from social comedy to a hunt for Captain Killam, with Torchy's loose tongue causing trouble. The narrative voice remains consistently colloquial, with dropped g's and contractions like 'ain't' and 'wa'n't.'

Torchy's Voice and the Social World

From the first paragraph, Torchy's narration is distinctive: he uses contractions like 'uh-huh,' 'wa'n't,' and 'ain't,' and phrases like 'put one over on the time-clock' and 'function things.' This voice is not just slangy but also self-deprecating and observant. He describes Vee's 'ripple of corn-colored hair' and Auntie's 'sciatica' with equal specificity. The social world is one of theaters, riding togs, and 'function things' where Torchy represents the Corrugated Trust. His relationship with Vee is flirtatious but informal—he calls her 'old thing' and she calls him 'Torchy.' The excerpts show a clear hierarchy: Torchy is a subordinate who nonetheless feels free to tease and scheme.

The Boss and the Treasure Hunt

Mr. Ellins, called 'Old Hickory,' is a stern figure who 'chews his cigar savage' and speaks with 'brutal politeness.' When Torchy tries to joke about Auntie's involvement, Ellins misses the 'comedy cue' and rebukes him for revealing the secret. The treasure hunt involves a 'batty stranger in a blue flannel shirt' named Captain Killam, a map of 'Nunca Secos Key,' and a hidden fortune of 'several million dollars.' Ellins's reaction to competition from Auntie shows his determination: 'when Auntie crashes in, the case is entirely different; then he's strong for it.' The excerpts suggest a race to find Killam first, with Torchy reluctantly trailing along.

Recurring Details and Structural Patterns

Several details recur across the excerpts: the 'map of Florida' with Nunca Secos Key marked, the 'blue flannel shirt' of Captain Killam, and the phrase 'Old Hickory' for Mr. Ellins. The narrative structure alternates between Torchy's social scenes (theater, riding) and the treasure plot (searching for Killam, confronting Auntie). Each excerpt ends with a shift in tone—from comedy to tension, as when Ellins 'snaps out' orders. The illustrations mentioned in the frontispiece and list—'But the impudence of you, to do it right here!'—suggest a key confrontation. The excerpts also show Torchy's tendency to 'spill' secrets, a trait that drives the plot.

Inference from Incomplete Excerpts

The excerpts cover only the beginning and middle of the book, so the full treasure hunt and romantic outcome are unknown. The map of Nunca Secos Key and the mention of Florida in the catalog subjects hint that the story moves there, but the excerpts do not show that journey. The relationship between Torchy and Vee is flirtatious but unresolved; the frontispiece caption—'No one but you, Torchy, would have thought of that'—suggests a bold move. The role of Auntie and the 'Navy' (from chapter titles) is unclear. Readers should expect a first-person narrative that mixes humor with suspense, but the ending remains open to discovery.

As you read, pay attention to how Torchy's slangy narration colors every event—from a theater date to a treasure hunt. The map of Nunca Secos Key and the character of Old Hickory are central clues, but the excerpts leave the full adventure to the text. Note how the social comedy and the treasure plot intertwine, and how Torchy's voice shifts between self-mockery and genuine concern. The book rewards attention to its specific details and the rhythm of its dialogue.

There’s something about Torchy’s treasure hunt that keeps whispering to me, the way old maps do. I keep returning to that missing captain and his Florida key, wondering what he’d make of the quieter reckonings in The Death Shot: A Story Retold — Themes and Context. Maybe it’s just that both know how secrets settle, stubborn as sand.

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