Читать книгу The Dry Bottom Trilogy: The Two-Gun Man, The Coming of the Law & Firebrand Trevison - Charles Alden Seltzer - Страница 15

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Miss Radford tied her pony to the trunk of a slender fir-balsam and climbed to the summit of a small hill. There were some trees, quite a bit of grass, some shrubbery, on the hill—and no snakes. She made sure of this before seating herself upon a little shelf of rock, near a tall cedar.

Half a mile down the river she could see a corner of Ben's cabin, a section of the corral fence, and one of the small outbuildings. Opposite the cabin, across the river, rose the buttes that met her eyes always when she came to the cabin door. This hill upon which she sat was one that she saw often, when in the evening, watching the setting sun, she followed its golden rays with her eyes. Many times, as the sun had gone slowly down into a rift of the mountains, she had seen the crest of this hill shimmering in a saffron light; the only spot in the flat that rose above the somber, oncoming shadows of the dusk.

From here, it seemed, began the rose veil that followed the broad saffron shaft that led straight to the mountains. Often, watching the beauty of the hill during the long sunset, she had felt a deep awe stirring her. Romance was here, and mystery; it was a spot favored by the Sun-Gods, who surrounded it with a glorious halo, lingeringly, reluctantly withdrawing as the long shadows of the twilight crept over the face of the world.

It was not her first visit to the hill. Many times she had come here, charmed with the beauty of the view, and during one of those visits she had decided that seated on the shelf rock on the summit of the hill she would write the first page of the book. It was for this purpose that she had now come.

After seating herself she opened a small handbag, producing therefrom many sheets of paper, a much-thumbed copy of Shakespeare, and a pencil. She was tempted to begin with a description of the particular bit of country upon which she looked, for long ago she had decided upon Bear Flat for the locale of the story. But she sat long nibbling at the end of the pencil, delaying the beginning for fear of being unable to do justice to it.

She began at length, making several false starts and beginning anew. Finally came a paragraph that remained. Evidently this was satisfactory, for another paragraph followed; and then another, and still another. Presently a complete page. Then she looked up with a long-drawn sigh of relief. The start had been made.

She had drawn a word picture of the flat; dwelling upon the solitude, the desolation, the vastness, the swimming sunlight, the absence of life and movement. But as she looked, critically comparing what she had written with the reality, there came a movement—a horseman had ridden into her picture. He had come down through a little gully that led into the flat and was loping his pony through the deep saccatone grass toward the cabin.

It couldn't be Ben. Ben had told her that he intended riding some thirty miles down the river and he couldn't be returning already. She leaned forward, watching intently, the story forgotten.

The rider kept steadily on for a quarter of an hour. Then he reached the clearing in which the cabin stood; she saw him ride through it and disappear. Five minutes later he reappeared, hesitated at the edge of the clearing and then urged his pony toward the hill upon which she sat. As he rode out of the shadows of the trees within an eighth of a mile of her the sunlight shone fairly upon the pony. She would have known Mustard among many other ponies.

She drew a sudden, deep breath and sat erect, tucking back some stray wisps of hair from her forehead. Did the rider see her?

For a moment it seemed that the answer would be negative, for he disappeared behind some dense shrubbery on the plain below and seemed to be on the point of passing the hill. But just at the edge of the shrubbery Mustard suddenly swerved and came directly toward her. Through the corners of her eyes she watched while Ferguson dismounted, tied Mustard close to her own animal, and stood a moment quietly regarding her.

"You want to look at the country all by yourself?" he inquired.

She pretended a start, looking down at him in apparent surprise.

"Why," she prevaricated, "I thought there was no one within miles of me!"

She saw his eyes flash in the sunlight. "Of course," he drawled, "there's such an awful darkness that no one could see a pony comin' across the flat. You think you'll be able to find your way home?"

She flushed guiltily and did not reply. She heard him clambering up over the loose stones, and presently he stood near her. She made a pretense of writing.

"Did you stop at the cabin?" she asked without looking up.

He regarded her with amused eyes, standing loosely, his arms folded, the fingers of his right hand pulling at his chin. "Did I stop?" he repeated. "I couldn't rightly say. Seems to me as though I did. You see, I didn't intend to, but I was ridin' down that way an' I thought I'd stop in an' have a talk with Ben."

"Oh!" Sometimes even a monosyllable is pregnant with mockery.

"But he wasn't there. Nobody was there. I wasn't reckonin' on everybody runnin' off."

She turned and looked straight at him. "Why," she said, "I shouldn't think our running away would surprise you. You see, you set us an example in running away the other day."

He knew instantly that she referred to his precipitate retreat on the night she had hinted that she intended putting him into her story. She shot another glance at him and saw his face redden with embarrassment, but he showed no intention of running now.

"I've been thinkin' of what you said," he returned. "You couldn't put me into no book. You don't know anything about me. You don't know what I think. Then how could you do it?"

"Of course," she returned, turning squarely around to him and speaking seriously, "the story will be fiction, and the plot will have no foundation in fact. But I shall be very careful to have my characters talk and act naturally. To do this I shall have to study the people whom I wish to characterize."

He was moved by an inward mirth. "You're still thinkin' of puttin' me into the book?" he questioned.

She nodded, smiling.

"Then," he said, very gravely, "you hadn't ought to have told me. You didn't show so clever there. Ain't you afraid that I'll go to actin' swelled? If I do that, you'd not have the character you wanted."

"I had thought of that, too," she returned seriously. "If you were that kind of a man I shouldn't want you in the book. How do you know that I haven't told you for the purpose of discovering if you would be affected in that manner?"

He scratched his head, contemplating her gravely. "I reckon you're travelin' too fast for me, ma'am," he said.

His expression of frank amusement was good to see. He stood before her, plainly ready to surrender. Absolutely boyish, he seemed to her—a grown-up boy to be sure, but with a boy's enthusiasms, impulses, and generosity. Yet in his eyes was something that told of maturity, of conscious power, of perfect trust in his ability to give a good account of himself, even in this country where these qualities constituted the chief rule of life.

A strange emotion stirred her, a sudden quickening of the pulse told her that something new had come into her life. She drew a deep, startled breath and felt her cheeks crimsoning. She swiftly turned her head and gazed out over the flat, leaving him standing there, scarcely comprehending her embarrassment.

"I reckon you've been writin' some of that book, ma'am," he said, seeing the papers lying on the rock beside her. "I don't see why you should want to write a Western story. Do folks in the East get interested in knowin' what's goin' on out here?"

She suddenly thought of herself. Had she found it interesting? She looked swiftly at him, appraising him from a new viewpoint, feeling a strange, new interest in him.

"It would be strange if they didn't," she returned. "Why, it is the only part of the country in which there still remains a touch of romance. You must remember that this is a young country; that its history began at a comparatively late date. England can write of its feudal barons; France of its ancient aristocracy; but America can look back only to the Colonial period—and the West."

"Mebbe you're right," he said, not convinced. "But I expect there ain't a heap of romance out here. Leastways, if there is it manages to keep itself pretty well hid."

She smiled, thinking of the romance that surrounded him—of which, plainly, he was not conscious. To him, romance meant the lights, the crowds, the amusements, the glitter and tinsel of the cities of the East, word of which had come to him through various channels. To her these things were no longer novel,—if they had ever been so—and so for her romance must come from the new, the unusual, the unconventional. The West was all this, therefore romance dwelt here.

"Of course it all seems commonplace to you," she returned; "perhaps even monotonous. For you have lived here long."

He laughed. "I've traveled a heap," he said. "I've been in California, Dakota, Wyoming, Texas, an' Arizona. An' now I'm here. Savin' a man meets different people, this country is pretty much all the same."

"You must have had a great deal of experience," she said. "And you are not very old."

He gravely considered her. "I would say that I am about the average age for this country. You see, folks don't live to get very old out here—unless they're mighty careful."

"And you haven't been careful?"

He smiled gravely. "I expect you wouldn't call it careful. But I'm still livin'."

His words were singularly free from boast.

"That means that you have escaped the dangers," she said. "I have heard that a man's safety in this country depends largely upon his ability to shoot quickly and accurately. I suppose you are accounted a good shot?"

The question was too direct. His eyes narrowed craftily.

"I expect you're thinkin' of that book now ma'am," he said. "There's a heap of men c'n shoot. You might say they're all good shots. I've told you about the men who can't shoot good. They're either mighty careful, or they ain't here any more. It's always one or the other."

"Oh, dear!" she exclaimed, shuddering slightly. "In that case I suppose the hero in my story will have to be a good shot." She laughed. "I shouldn't want him to get half way through the story and then be killed because he was clumsy in handling his weapon. I am beginning to believe that I shall have to make him a 'two-gun' man. I understand they are supposed to be very good shots."

"I've seen them that wasn't," he returned gravely and shortly.

"How did you prove that?" she asked suddenly.

But he was not to be snared. "I didn't say I'd proved it," he stated. "But I've seen it proved."

"How proved?"

"Why," he said, his eyes glinting with amusement, "they ain't here any more, ma'am."

"Oh. Then it doesn't follow that because a man wears two guns he is more likely to survive than is the man who wears only one?"

"I reckon not, ma'am."

"I see that you have the bottoms of your holsters tied down," she said, looking at them. "Why have you done that?"

"Well," he declared, drawling his words a little, "I've always found that there ain't any use of takin' chances on an accident. You mightn't live to tell about it. An' havin' the bottoms of your holsters tied down keeps your guns from snaggin'. I've seen men whose guns got snagged when they wanted to use them. They wasn't so active after."

"Then I shall have to make my hero a 'two-gun' man," she said. "That is decided. Now, the next thing to do is to give some attention to his character. I think he ought to be absolutely fearless and honest and incapable of committing a dishonorable deed. Don't you think so?"

While they had talked he had come closer to her and stood beside the shelf rock, one foot resting on it. At her question he suddenly looked down at the foot, shifting it nervously, while a flush started from above the blue scarf at his throat and slowly suffused his face.

"Don't you think so?" she repeated, her eyes meeting his for an instant.

"Why, of course, ma'am," he suddenly answered, the words coming sharply, as though he had only at that instant realized the import of the question.

"Why," said she, aware of his embarrassment, "don't you think there are such men?"

"I expect there are, ma'am," he returned; "but in this country there's a heap of argument could be made about what would be dishonorable. If your two-gun should happen to be a horse thief, or a rustler, I reckon we could get at it right off."

"He shan't be either of those," she declared stoutly. "I don't think he would stoop to such contemptible deeds. In the story he is employed by a ranch owner to kill a rustler whom the owner imagines has been stealing his cattle."

His hands were suddenly behind him, the fingers clenched. His eyes searched her face with an alert, intense gaze. His embarrassment was gone; his expression was saturnine, his eyes narrowed with a slight mockery. And his voice came, cold, deliberate, even.

"I reckon you've got your gun-man true to life, ma'am," he said.

She laughed lightly, amused over the sudden change that she saw and felt in him. "Of course the gun-man doesn't really intend to kill the rustler," she said. "I don't believe I shall have any one killed in the story. The gun-man is merely attracted by the sum of money promised him by the ranch owner, and when he accepts it is only because he is in dire need of work. Don't you think that could be possible?"

"That could happen easy in this country, ma'am," he returned.

She laughed delightedly. "That vindicates my judgment," she declared.

He was regarding her with unwavering eyes. "Is that gun-man goin' to be the hero in your story, ma'am?" he asked quietly.

"Why, of course."

"An' I'm to be him?"

She gave him a defiant glance, though she blushed immediately.

"Why do you ask?" she questioned in reply. "You need have no fear that I will compel my hero to do anything dishonorable."

"I ain't fearin' anything," he returned. "But I'd like to know how you come to think of that. Do writers make them things up out of their own minds, or does someone tell them?"

"Those things generally have their origin in the mind of the writer," she replied.

"Meanin' that you thought of that yourself?" he persisted.

"Of course."

He lifted his foot from the rock and stood looking gravely at her. "In most of the books I have read there's always a villain. I reckon you're goin' to have one?"

"There will be a villain," she returned.

His eyes flashed queerly. "Would you mind tellin' me who you have picked out for your villain?" he continued.

"I don't mind," she said. "It is Leviatt."

He suddenly grinned broadly and held out his right hand to her. "Shake, ma'am," he said. "I reckon if I was writin' a book Leviatt would be the villain."

She rose from the rock and took his outstretched hand, her eyes drooping as they met his. He felt her hand tremble a little, and he looked at it, marveling. She glanced up, saw him looking at her hand, swiftly withdrew it, and turned from him, looking down into the flat at the base of the hill. She started, uttering the sharp command:

"Look!"

Perhaps a hundred yards distant, sitting on his pony in a lounging attitude, was a horseman. While they looked the horseman removed his broad brimmed hat, bowed mockingly, and urged his pony out into the flat. It was Leviatt.

On the slight breeze a laugh floated back to them, short, sharp, mocking.

For a time they stood silent, watching the departing rider. Then Ferguson's lips wreathed into a feline smile.

"Kind of dramatic, him ridin' up that-a-way," he said. "Don't you think puttin' him in the book will spoil it, ma'am?"