According to Miss Reba in Sanctuary, among the women who have sought attention from Popeye over the years is "a little married woman" who "offered Minnie twenty-five dollars just to get him into the room" (145).
In Sanctuary Horace sees but cannot overhear this "gesticulant" man in "his shirt sleeves" haranguing the crowd that gathers in front of the jail after Lee Goodwin is convicted (293). While it seems certain that he is inciting them to violence against Lee, the crowd remains "quite orderly" after he finishes "talking himself out" (293).
Little Belle is at a "house party" somewhere when Horace calls her at the end of Sanctuary (299), with someone whom readers only hear, as a "masculine voice" who interrupts Belle to try to tell Horace something before Belle "hushes" him (300).
Standing outside Miss Reba's brothel in Sanctuary, Virgil and Fonzo see this man get out of a taxi with a "plump blonde woman" (192). The couple's behavior outside the door causes Fonzo to suck in his breath, and Virgil to assume that they must be married, but while the narrator never says so explicitly, it's clear enough that she is a prostitute and he is one of her customers. He leaves in the taxi after dropping her off at the house.
In Sanctuary Temple sees "a man in a cap" twice when she leaves Miss Reba's to make a phone call (228). The first time he is "standing in a door[way]" (228), and it seems fairly certain (without being made explicit) that he is a confederate of Popeye who is there to keep an eye on her.
In Sanctuary within a few hours after Lee is convicted - formally for Tommy's murder, and in the minds of the townspeople for Temple's rape - the crowd that gathers in the Square turns into a lynch mob of "antic" figures who burn him to death (296). We see the confused scene through Horace's eyes. He registers running men, "panting shouts," a "circle" that has gathered around a "blazing mass" (295-96), but only one member of the mob is individualized: a man "carrying a five-gallon coal oil can" which explodes in his hands.
Because they felt sorry about his handicap, the unnamed law professors who taught Eustace Graham at the "State University" in Sanctuary "groomed him like a race-horse" (262).
The "drummers" in Sanctuary don't actually appear in the novel, but we know they exist because the "old man" who picks them up in his taxi when they come to town on the train apparently tells them all the epigram that he has come up with to tell the story of his life (297). In Faulkner's time (and in his world), a "drummer" is a traveling salesman.
In an odd aside, Sanctuary notes that the "suit of gray" worn by the "old man" in Kinston who drives the taxi was "made by Jews in the New York tenement district" (298). Many different ethnicities worked in the city's garment industry and belonged to the International Ladies' Garment Workers' Union (founded in 1900), but the stereotype of the Jewish garment worker was widespread in the 1920s.
