The one abiding loyalty in Ace's happy-go-lucky life was a fanatical worship of Tom Molyneaux, first champion of America and a sturdy fighting man of color; according to some authorities, the greatest black ringman that ever lived.
Tom Molyneaux died in Ireland a hundred years ago but the memory of his valiant deeds in American and Europe was Ace Jessel's direct incentive to action. As a boy, toiling on the wharves, he had heard an account of Tom's life and battles and the story had started him on the fistic trail.
Ace's most highly prized possession was a painted portrait of the old battler. He had discovered this—a rare find indeed, since even woodcuts of Molyneaux are rare—among the collection of a London sportsman, and had prevailed on the owner to sell it. Paying for it had taken every cent that Ace made in four fights but he counted it cheap at the price. He removed the original frame and replaced it with a frame of solid silver, which, considering the portrait was full length and life size, was more than extravagant.
But no honor was too great for "Mistah Tom" and Ace merely increased the number of his bouts to meet the cost.
Finally my brains and Ace's mallet fists had cleared us a road to the top of the game. Ace loomed up as a heavyweight menace and the champion's manager was ready to sign with us—when an unexpected obstacle blocked our path.
A form hove into view on the fistic horizon that dwarfed and overshadowed all other contenders, including my man. This was "Mankiller Gomez," and he was all that his name implies. Gomez was his ring name, given him by the Spaniard who discovered him and brought him to America. He was a full-blooded Senegalese from the West Coast of Africa.
Once in a century, rings fans see a man like Gomez in action—a born killer who crashes through the general ruck of fighters as a buffalo crashes through a thicket of dead wood. He was a savage, a tiger. What he lacked in actual skill, he made up by ferocity of attack, by ruggedness of body and smashing power of arm. From the time he landed in New York, with a long list of European victories behind him, it was inevitable that he should batter down all opposition—and at last the white champion looked to see the black savage looming above the broken forms of his victims. The champion saw the writing on the wall, but the public was clamoring for a match and whatever his faults, the title-holder was a fighting champion.
Ace Jessel, who alone of all the foremost challengers had not met Gomez, was shoved into discard, and as early summer dawned on New York, a title was lost and won, and Mankiller Gomez, son of the black jungle, rose up as king of all fighting men.
The sporting world and the public at large hated and feared the new champion. Boxing fans like savagery in the ring, but Gomez did not confine his ferocity to the ring. His soul was abysmal. He was ape-like, primordial —the very spirit of that morass of barbarism from which mankind has so tortuously climbed, and toward which men look with so much suspicion.
There went forth a search for a White Hope, but the result was always the same. Challenger after challenger went down before the terrible onslaught of the Mankiller and at last only one man remained who had not crossed gloves with Gomez—Ace Jessel.
I hesitated to throw my man in with a battler like Gomez, for my fondness for the great good-natured negro was more than the friendship of manager for fighter. Ace was something more than a meal-ticket to me, for I knew the real nobility underlying Ace's black skin, and I hated to see him battered into a senseless ruin by a man I know in my heart to be more than Jessel's match. I wanted to wait a while, to let Gomez wear himself out with his terrific battles and the dissipations that were sure to follow the savage's success. These super- sluggers never last long, any more than a jungle native can withstand the temptations of civilization.
But the slump that follows a really great title-holder's gaining the belt was on, and matches were scarce. The public was clamoring for a title fight, sports writers were raising Cain and accusing Ace of cowardice, promoters were offering alluring purses, and at last I signed for a fifteen-round go between Mankiller Gomez and Ace Jessel.
At the training quarters I turned to Ace.
"Ace, do you think you can whip him?"
"Mistah John," Ace answered, meeting my eye with a straight gaze, "I'll do mah best, but I's mighty afeard I caint do it. Dat man ain't human."
This was bad; a man is more than half whipped when he goes into the fight in that frame of mind.
Later I went to Ace's room for something and halted in the doorway in amazement. I had heard the battler talking in a low voice as I came up, but had supposed one of the handlers or sparring partners was in the room with him. Now I saw that he was alone. He was standing before his idol—the portrait of Tom Molyneaux.
"Mistah Tom," he was saying humbly, "I ain't neveh met no man yet what could even knock me off mah feet, but I recon dat niggah can. I's gwine to need help mighty bad, Mistah Tom."
I felt almost as if I had interrupted a religious rite. It was uncanny; had it not been for Ace's evident deep sincerity, I would have felt it to be unholy. But to Ace, Tom Molyneaux was something more than a saint.
I stood in the doorway in silence, watching the strange tableaux. The unknown artist had painted the picture of Molyneaux with remarkable skill. The short black figure stood out boldly from the faded canvas. The breath of by- gone days, he seemed, clad in the long tights of that other day, the powerful legs braced far apart, the knotted arms held stiff and high— just as Molyneaux had appeared when he fought Tom Cribb of England over a hundred years ago.
Ace Jessel stood before the painted figure, his head sunk upon his mighty chest as if listening to some dim whisper inside his soul. And as I watched, a curious and fantastic idea came to me—the memory of a age-old superstition.
You know it had been said by students of the occult that statues and portraits have power to draw departed souls back from the void of eternity. I wondered if Ace had heard of this superstition and hoped to conjure his idol's spirit out of the realms of the dead, for advice and aid. I shrugged my shoulders at this ridiculous idea and turned away. As I did, I glanced again at the picture before which Ace still stood like a great image of black basalt, and was aware of a peculiar illusion; the canvas seemed to ripple slightly, like the surface of a lake across which a faint breeze is blowing...
When the day of the fight arrived, I watched Ace nervously. I was more afraid than ever that I had made a mistake in permitting circumstances to force my man into the ring with Gomez. However, I was backing Ace to the limit—and I was ready to do anything under heaven to help him win that fight.
The great crowd cheered Ace to the echo as he climbed into the ring; cheered again, but not so heartily, as Gomez appeared. They afforded a strange contrast, those two negroes, alike in color but so different in all other respects!
Ace was tall, clean-limbed and rangy, long and smooth of muscle, clear of eye and broad of forehead.
Gomez seemed stocky by comparison, though he stood a good six feet two. Where Jessel's sinews were long and smooth like great cables, his were knotty and bulging. His calves, thighs, arms and shoulders stood out in great bunches of muscles. His small bullet head was set squarely between gigantic shoulders, and his forehead was so low that his kinky wool seemed to grow just above his small, bloodshot eyes. On his chest was a thick grizzle of matted black hair.
He grinned insolently, thumped his breast and flexed his mighty arms with the assurance of the savage. Ace, in his corner, grinned at the crowd, but an ashy tint was on his dusky face and his knees were trembling.