The Midnight Passenger : A Novel — Story, Setting & Ideas

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Savage, Richard, 1846-1903 Project Gutenberg 2004 Not confirmed
American fiction -- 19th century Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 86,860
Reading time 378 min
Text sections 8

The Midnight Passenger : A Novel — Story, Setting & Ideas can be approached with a clearer sense of reading commitment from its source measurements: 86,860 words, 6 hr 18 min estimated reading time, and 8 detected text sections.

The text analysis averages about 15.6 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 “American fiction -- 19th century,” connecting these edition facts with the source record’s subject description.

Richard Savage's 1897 novel follows Randall Clayton, a businessman carrying $38,000 through New York streets, whose disappearance triggers a web of suspicion involving a pharmacy, a tugboat, and a secret bond. The excerpts reveal a plot built on concealed identities, coded messages, and the tension between public facades and hidden motives.
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Editorial Edition Score 4.7/5

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  • Source metadata20 pts
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Read the Text

There was no air of uncertainty upon the handsome countenance of Mr. Randall Clayton as he stepped out of the elevator of a sedate Fourteenth Street business building and approvingly sniffed the April morning breeze.

On this particular Saturday of ninety-seven, the shopping multitude was already pouring from the Scylla of Simpson, Crawford & Simpson's on Sixth Avenue--and its Charybdis of the Big Store--past the jungles of Altman's, Ehrich's and O'Neill's--to dash feebly upon the buttressed corner of Macy's, and then die away in refluent, diverted waves, lost in the fastnesses of McCreery's and Wanamaker's, far down Broadway.

The pulses of the young man were vaguely thrilled with the coming of spring, and so he complacently took in the never-ceasing tide of eager women, on the street's shady side, with one comprehensive and kindly glance.

For six long years he had cautiously studied that same sea of always anxious faces! He well knew all the types from the disdainful woman of fashion, the crafty daughter of sin, the vacuous country visitor, down to the argus-eyed mere de famille, sternly resolute in her set purpose of making three dollars take the place of five, by some heaven-sent bargain.

Countless times he had threaded this restless multitude, with an alert devotion to the interests of the Western Trading Company. He was, to the ordinary lounger, but the type of the average well-groomed New York business man.

And yet, his watchful eyes swept keenly to right and left, as he breasted the singularly inharmonious waves of the weaker sex.

His left hand firmly gripped a Russian leather portmanteau of substantial construction, while his right lay loosely in the pocket of his modish spring overcoat.

To one having the gift of Asmodeus, that well-gloved right hand would have been revealed as resting upon the handle of a heavy revolver, and the contents of the tourist-looking portmanteau been known as some thirty-eight thousand dollars in well-thumbed currency and greasy checks of polyglot signatures.

It was the "short day" of the week's business, and the usual route for making his bank deposit lay before him. Down University Place to Eighth Street he was bent, thus avoiding the Broadway crush, and over to the shaded counting rooms of the Astor Place Bank.

Clayton's mind was concentrated, as usual, upon his important business. Few of the neighbors in the great office building knew of the vast interests represented by the modest sign "Western Trading Company."

Certain gray-bearded bookkeepers, a couple of brisk correspondents, a stony-faced woman stenographer, with a couple of ferret-eyed office boys were the office force, besides the travelling manager and Mr. Randall Clayton, the cashier and personal representative of the absent "head," who rarely left his Detroit home to interfere with the well-oiled movements of the "New York end."

But daily, rain or shine, Mr. Randall Clayton himself took his way to the bank to deposit the funds to meet their never-ceasing outflow of Western exchange. There was an air of grave prosperity in the sober offices of the great cattle company which impressed even the casual wanderer.

Silence and decorum marked all the transactions of the weekly messengers, paying in the heavy accounts of the hundreds of New York butchers who drew their daily supplies from these great occidental cattle handlers. The various departments of the great business were always kept as sealed books to each other, and only Emil Einstein, Clayton's own office boy, knew how much treasure was daily packed away into that innocent looking portmanteau.

Mr. Somers, the head accountant, with a grave bow, always verified the sealed delivery slip of the funds, and compared it with the returned bank books, carefully filing away all these in his own private safe with Clayton's returned list of Western and Southern exchange.

On the sunny April morning, Randall Clayton was weary of the confining life of the silence haunted office rooms, where he patiently bore the strain of his grave duties, with a cautious avoidance of useless communication, fencing him even from his fellow employees.

As he strode along the crowded street, his jaded soul yearned for the wild majesty of the far off Montana mountains, and the untrammeled life of the Western frontier, given up perforce, when his father's death had left him, twelve years before, alone in the world.

"The same old daily grind," he murmured. "Oh! For one good long gallop on the lonely prairies--a day in the forest with the antlered elk, an afternoon among the gray boulders of the McCloud River."

He sighed as he recalled his drudging rise in business, since his father's old partner had set his life work out before him, when the lonely boy had finished with honor his course at Ann Arbor.

The novel opens with Randall Clayton stepping out of a Fourteenth Street elevator, gripping a Russian leather portmanteau containing $38,000 in currency and checks. His right hand rests on a revolver, and his eyes sweep the crowd with practiced vigilance. The April morning bustle of New York shoppers is rendered in elaborate, almost ethnographic detail—women of fashion, country visitors, and bargain-hunting mothers—as Clayton navigates the streets toward his bank deposit. This careful setup, with its precise geography and inventory of urban types, establishes a world where appearances are deceptive and every gesture may conceal a threat.

The Opening: A City of Watchers and Hidden Objects

The first chapter introduces Clayton as a man of routine and alertness, but the narrator immediately signals that more lies beneath: the portmanteau's contents and the revolver are revealed only to a reader with “the gift of Asmodeus.” The prose lingers on the physical details of the city—the “Scylla of Simpson, Crawford & Simpson's” and the “Charybdis of the Big Store”—suggesting a world where commerce and danger intertwine. Clayton's disappearance is foreshadowed by the careful mention of his route and the “short day” of business. The reader is positioned as a detective, invited to note the significance of every object and glance.

The Middle: Voices of Fear and Secrecy

Later excerpts shift to dialogue and interior panic. Emil Einstein, an office boy, speaks in hurried, fragmented sentences: “I know nothing; just keep a shut mouth. There'll be hell to pay now.” His mother Leah carries three five-hundred-dollar bills sewn into her corset—a detail that echoes Clayton's hidden money. The pharmacy run by Ben Timmins becomes a hub of coded communication, where Emil can receive messages. The policeman Dennis McNerney observes Clayton putting Leah into a carriage, but dismisses it as a “side issue.” These scenes build a network of characters who know only fragments, creating a sense of pervasive suspicion.

The Later Excerpts: Unraveling Alibis and Double Meanings

In the Fourth of July scene at Magdal's Pharmacy, Emil tests Ben Timmins with a question about “the old man.” Ben's reply—that he took a cheap Saturday boat to Europe—is met with a laugh, but Emil notes that Timmins “really knew nothing.” The picture-dealer Adolph Lilienthal appears with a crafty smile, asking for an address under a false pretext. Meanwhile, Arthur Ferris, returned from the West, searches for Clayton but dares not mention his name to Robert Wade. The excerpts end with a sense of converging threads: the pharmacy, the missing man, and the hidden bonds between characters remain unresolved.

Structure and Voice: The Reader as Confidant

Savage employs a third-person narrator who occasionally addresses the reader directly, as in the reference to Asmodeus. The prose is dense with commercial and geographical specifics—store names, street routes, and the precise amount of money—that ground the mystery in a recognizable New York. Dialogue is often clipped and evasive, with characters speaking in half-truths. The excerpts suggest a novel that rewards attention to small details: a revolver in a pocket, a corset hiding banknotes, a pharmacy as a meeting place. The reader is positioned to piece together clues that the characters themselves may miss.

These excerpts offer a fragmented view of a novel that builds its suspense through withheld information and layered observation. Readers should attend to the recurring motifs of money, concealment, and surveillance, and note how each character's limited perspective contributes to the central mystery. The incomplete excerpts leave key questions—Clayton's fate, the nature of the “dark bond,” and the role of the tugboat—unanswered, inviting a careful reading of the full text.

There’s something haunting about Randall Clayton disappearing with that money, all those hidden motives in plain sight. It reminds me of The Newcomes: Memoirs of a Most Respectable Family — Inside the Classic, where respectability likewise masks so much longing. I think we recognize that tension—what we carry privately versus what we show the street. A quiet ache, really, for both books.

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