by Harte, Bret
So profound was the impression upon Key and his human passion that it at first seemed an ironical and eternal ending of his quest. It was with difficulty that he reasoned that the catastrophe occurred before Alice's flight, and that even Collinson might have had time to escape. He slowly skirted the edge of the chasm, and made his way back through the empty woods behind the old mill-site towards the place where he had dismounted. His horse seemed to have strayed into the shadows of this covert; but as he approached him, he was amazed to see that it was not his own, and that a woman's scarf was lying over its side saddle. A wild idea seized him, and found expression in an impulsive cry:—
"Alice!"
The woods echoed it; there was an interval of silence, and then a faint response. But it was HER voice. He ran eagerly forward in that direction, and called again; the response was nearer this time, and then the tall ferns parted, and her lithe, graceful figure came running, stumbling, and limping towards him like a wounded fawn. Her face was pale and agitated, the tendrils of her light hair were straying over her shoulder, and one of the sleeves of her school-gown was stained with blood and dust. He caught the white and trembling hands that were thrust out to him eagerly.
"It is YOU!" she gasped. "I prayed for some one to come, but I did not dream it would be YOU. And then I heard YOUR voice—and I thought it could be only a dream until you called a second time."
"But you are hurt," he exclaimed passionately. "You have met with some accident!"
"No, no!" she said eagerly. "Not I—but a poor, poor man I found lying on the edge of the cliff. I could not help him much, I did not care to leave him. No one WOULD come! I have been with him alone, all the morning! Come quick, he may be dying."
He passed his arm around her waist unconsciously; she permitted it as unconsciously, as he half supported her figure while they hurried forward.
"He had been crushed by something, and was just hanging over the ledge, and could not move nor speak," she went on quickly. "I dragged him away to a tree, it took me hours to move him, he was so heavy,—and I got him some water from the stream and bathed his face, and blooded all my sleeve."
"But what were you doing here?" he asked quickly.
A faint blush crossed the pallor of her delicate cheek. She looked away quickly. "I—was going to find my brother at Bald Top," she replied at last hurriedly. "But don't ask me now—only come quick, do."
"Is the wounded man conscious? Did you speak with him? Does he know who you are?" asked Key uneasily.
"No! he only moaned a little and opened his eyes when I dragged him. I don't think he even knew what had happened."
They hurried on again. The wood lightened suddenly. "Here!" she said in a half whisper, and stepped timidly into the open light. Only a few feet from the fatal ledge, against the roots of a buckeye, with HER shawl thrown over him, lay the wounded man.
Key started back. It was Collinson!
His head and shoulders seemed uninjured; but as Key lifted the shawl, he saw that the long, lank figure appeared to melt away below the waist into a mass of shapeless and dirty rags. Key hurriedly replaced the shawl, and, bending over him, listened to his hurried respiration and the beating of his heart. Then he pressed a drinking-flask to his lips. The spirit seemed to revive him; he slowly opened his eyes. They fell upon Key with quick recognition. But the look changed; one could see that he was trying to rise, but that no movement of the limbs accompanied that effort of will, and his old patient, resigned look returned. Key shuddered. There was some injury to the spine. The man was paralyzed.
"I can't get up, Mr. Key," he said in a faint but untroubled voice, "nor seem to move my arms, but you'll just allow that I've shook hands with ye—all the same."
"How did this happen?" said Key anxiously.
"Thet's wot gets me! Sometimes I reckon I know, and sometimes I don't. Lyin' thar on thet ledge all last night, and only jest able to look down into the old valley, sometimes it seemed to me ez if I fell over and got caught in the rocks trying to save my wife; but then when I kem to think sensible, and know my wife wasn't there at all, I get mystified. Sometimes I think I got ter thinkin' of my wife only when this yer young gal thet's bin like an angel to me kem here and dragged me off the ledge, for you see she don't belong here, and hez dropped on to me like a sperrit."
"Then you were not in the house when the shock came?" said Key.
"No. You see the mill was filled with them fellers as the sheriff was arter, and it went over with 'em—and I"—
"Alice," said Key, with a white face, "would you mind going to my horse, which you will find somewhere near yours, and bringing me a medicine case from my saddle-bags?"
The innocent girl glanced quickly at her companion, saw the change in his face, and, attributing it to the imminent danger of the injured man, at once glided away. When she was out of hearing, Key leaned gravely over him:—
"Collinson, I must trust you with a secret. I am afraid that this poor girl who helped you is the sister of the leader of that gang the sheriff was in pursuit of. She has been kept in perfect ignorance of her brother's crimes. She must NEVER know them—nor even know his fate! If he perished utterly in this catastrophe, as it would seem—it was God's will to spare her that knowledge. I tell you this, to warn you in anything you say before her. She MUST believe, as I shall try to make her believe, that he has gone back to the States—where she will perhaps, hereafter, believe that he died. Better that she should know nothing—and keep her thought of him unchanged."
"I see—I see—I see, Mr. Key," murmured the injured man. "Thet's wot I've been sayin' to myself lyin' here all night. Thet's wot I bin sayin' o' my wife Sadie,—her that I actooally got to think kem back to me last night. You see I'd heerd from one o' those fellars that a woman like unto her had been picked up in Texas and brought on yere, and that mebbe she was somewhar in Californy. I was that foolish—and that ontrue to her, all the while knowin', as I once told you, Mr. Key, that ef she'd been alive she'd bin yere—that I believed it true for a minit! And that was why, afore this happened, I had a dream, right out yer, and dreamed she kem to me, all white and troubled, through the woods. At first I thought it war my Sadie; but when I see she warn't like her old self, and her voice was strange and her laugh was strange—then I knowed it wasn't her, and I was dreamin'. You're right, Mr. Key, in wot you got off just now—wot was it? Better to know nothin'—and keep the old thoughts unchanged."
"Have you any pain?" asked Key after a pause.
"No; I kinder feel easier now."
Key looked at his changing face. "Tell me," he said gently, "if it does not tax your strength, all that has happened here, all you know. It is for HER sake."
Thus adjured, with his eyes fixed on Key, Collinson narrated his story from the irruption of the outlaws to the final catastrophe. Even then he palliated their outrage with his characteristic patience, keeping still his strange fascination for Chivers, and his blind belief in his miserable wife. The story was at times broken by lapses of faintness, by a singular return of his old abstraction and forgetfulness in the midst of a sentence, and at last by a fit of coughing that left a few crimson bubbles on the corners of his month. Key lifted his eyes anxiously; there was some grave internal injury, which the dying man's resolute patience had suppressed. Yet, at the sound of Alice's returning step, Collinson's eyes brightened, apparently as much at her coming as from the effect of the powerful stimulant Key had taken from his medicine case.
"I thank ye, Mr. Key," he said faintly; "for I've got an idea I ain't got no great time before me, and I've got suthin' to say to you, afore witnesses"—his eyes sought Alice's in half apology—"afore witnesses, you understand. Would you mind standin' out thar, afore me, in the light, so I kin see you both, and you, miss, rememberin', ez a witness, suthin' I got to tell to him? You might take his hand, miss, to make it more regular and lawlike."
The two did as he bade them, standing side by side, painfully humoring what seemed to them to be wanderings of a dying
man.
"Thar was a young fellow," said Collinson in a steady voice, "ez kem to my shanty a night ago on his way to the—the—valley. He was a sprightly young fellow, gay and chipper-like, and he sez to me, confidential-like, 'Collinson,' sez he, 'I'm off to the States this very night on business of importance; mebbe I'll be away a long time—for years! You know,' sez he, 'Mr. Key, in the Hollow! Go to him,' sez he, 'and tell him ez how I hadn't time to get to see him; tell him,' sez he, 'that RIVERS'—you've got the name, Mr. Key?—you've got the name, miss?—'that RIVERS wants him to say this to his little sister from her lovin' brother. And tell him,' sez he, this yer RIVERS, 'to look arter her, being alone.' You remember that, Mr. Key? you remember it, miss? You see, I remembered it, too, being, so to speak, alone myself"—he paused, and added in a faint whisper—"till now."
Then he was silent. That innocent lie was the first and last upon his honest lips; for as they stood there, hand in hand, they saw his plain, hard face take upon itself, at first, the gray, ashen hues of the rocks around him, and then and thereafter something of the infinite tranquillity and peace of that wilderness in which he had lived and died, and of which he was a part.
Contemporaneous history was less kindly. The "Bald Top Sentinel" congratulated its readers that the late seismic disturbance was accompanied with very little loss of life, if any. "It is reported that the proprietor of a low shebeen for emigrants in an obscure hollow had succumbed from injuries; but," added the editor, with a fine touch of Western humor, "whether this was the result of his being forcibly mixed up with his own tanglefoot whiskey or not, we are unable to determine from the evidence before us." For all that, a small stone shaft was added later to the rocks near the site of the old mill, inscribed to the memory of this obscure proprietor, with the singular legend: "Have ye faith like to him?" And those who knew only of the material catastrophe looking around upon the scene of desolation it commemorated, thought grimly that it must be faith indeed, and—were wiser than they knew.
"You smiled, Don Preble," said the Lady Superior to Key a few weeks later, "when I told to you that many caballeros thought it most discreet to intrust their future brides to the maternal guardianship and training of the Holy Church; yet, of a truth, I meant not YOU. And yet—eh! well, we shall see."
End of the Project Gutenberg EBook of In a Hollow of the Hills, by Bret Harte
*** END OF THIS PROJECT GUTENBERG EBOOK IN A HOLLOW OF THE HILLS ***
***** This file should be named 2180-h.htm or 2180-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/2/1/8/2180/
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The follo
wing sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
