CHAPTER THIRTEEN
THE RAWHIDE
First of all he unhitched the horses from the buckboard and turned them loose. Then, since he was early trained in Indian warfare, he dragged Palmer to the wagon wheel, and tied him so closely to it that he could not roll over. For, though the bronco-buster was already so fettered that his only possible movement was of the jack-knife variety, nevertheless he might be able to hitch himself along the ground to a sharp stone, there to saw through the rope about his wrists. Estrella, her husband held in contempt. He merely supplemented her wrist bands by one about the ankles.
Leisurely he mounted Button and turned up the wagon trail, leaving the two. Estrella had exhausted herself. She was capable of nothing more in the way of emotion. Her eyes tight closed, she inhaled in deep, trembling, long-drawn breaths, and exhaled with the name of her Maker.
Brent Palmer, on the contrary, was by no means subdued. He had expected to be shot in cold blood. Now he did not know what to anticipate. His black, level brows drawn straight in defiance, he threw his curses after Johnson’s retreating figure.
The latter, however, paid no attention. He had his purposes. Once at the top of the arroyo he took a careful survey of the landscape, now rich with dawn. Each excrescence on the plain his half-squinted eyes noticed, and with instant skill relegated to its proper category of soapweed, mesquite, cactus. At length he swung Button in an easy lope toward what looked to be a bunch of soapweed in the middle distance.
But in a moment the cattle could be seen plainly. Button pricked up his ears. He knew cattle. Now he proceeded tentatively, lifting high his little hoofs to avoid the half-seen inequalities of the ground and the ground’s growths, wondering whether he were to be called on to rope or to drive. When the rider had approached to within a hundred feet, the cattle started. Immediately Button understood that he was to pursue. No rope swung above his head, so he sheered off and ran as fast as he could to cut ahead of the bunch. But his rider with knee and rein forced him in. After a moment, to his astonishment, he found himself running alongside a big steer. Button had never hunted buffalo—Buck Johnson had.
The Colt’s forty-five barked once, and then again. The steer staggered, fell to his knees, recovered, and finally stopped, the blood streaming from his nostrils. In a moment he fell heavily on his side—dead.
Senor Johnson at once dismounted and began methodically to skin the animal. This was not easy for he had no way of suspending the carcass nor of rolling it from side to side. However, he was practised at it and did a neat job. Two or three times he even caught himself taking extra pains that the thin flesh strips should not adhere to the inside of the pelt. Then he smiled grimly, and ripped it loose.
After the hide had been removed he cut from the edge, around and around, a long, narrow strip. With this he bound the whole into a compact bundle, strapped it on behind his saddle, and remounted. He returned to the arroyo.
Estrella still lay with her eyes closed. Brent Palmer looked up keenly. The bronco-buster saw the green hide. A puzzled expression crept across his face.
Roughly Johnson loosed his enemy from the wheel and dragged him to the woman. He passed the free end of the riata about them both, tying them close together. The girl continued to moan, out of her wits with terror.
“What are you going to do now, you devil?” demanded Palmer, but received no reply.
Buck Johnson spread out the rawhide. Putting forth his huge strength, he carried to it the pair, bound together like a bale of goods, and laid them on its cool surface. He threw across them the edges, and then deliberately began to wind around and around the huge and unwieldy rawhide package the strip he had cut from the edge of the pelt.
Nor was this altogether easy. At last Brent Palmer understood. He writhed in the struggle of desperation, foaming blasphemies. The uncouth bundle rolled here and there. But inexorably the other, from the advantage of his position, drew the thongs tighter.
And then, all at once, from vituperation the bronco-buster fell to pleading, not for life, but for death.
“For God’s sake, shoot me!” he cried from within the smothering folds of the rawhide. “If you ever had a heart in you, shoot me! Don’t leave me here to be crushed in this vise. You wouldn’t do that to a yellow dog. An Injin wouldn’t do that, Buck. It’s a joke, isn’t it? Don’t go away and leave me, Buck. I’ve done you dirt. Cut my heart out, if you want to; I won’t say a word, but don’t leave me here for the sun—”
is voice was drowned in a piercing scream, as Estrella came to
herself and understood. Always the rawhide had possessed for her an occult fascination and repulsion. She had never been able to touch it without a shudder, and yet she had always been drawn to experiment with it. The terror of her doom had now added to it for her all the vague and premonitory terrors which heretofore she had not understood.
The richness of the dawn had flowed to the west. Day was at hand. Breezes had begun to play across the desert; the wind devils to raise their straight columns. A first long shaft of sunlight shot through a pass in the Chiricahuas, trembled in the dust-moted air, and laid its warmth on the rawhide. Senor Johnson roused himself from his gloom to speak his first words of the episode.
“There, damn you!” said he. “I guess you’ll be close enough together now!”
He turned away to look for his horse.
CHAPTER FOURTEEN
THE DESERT
Button was a trusty of Senor Johnson’s private animals. He was never known to leave his master in the lurch, and so was habitually allowed certain privileges. Now, instead of remaining exactly on the spot where he was “tied to the ground,” he had wandered out of the dry arroyo bed to the upper level of the plains, where he knew certain bunch grasses might be found. Buck Johnson climbed the steep wooded bank in search of him.
The pony stood not ten feet distant. At his master’s abrupt appearance he merely raised his head, a wisp of grass in the corner of his mouth, without attempting to move away. Buck Johnson walked confidently to him, fumbling in his side pocket for the piece of sugar with which he habitually soothed Button’s sophisticated palate. His hand encountered Estrella’s letter. He drew it out and opened it.
“Dear Buck,” it read, “I am going away. I tried to be good, but I can’t. It’s too lonesome for me. I’m afraid of the horses and the cattle and the men and the desert. I hate it all. I tried to make you see how I felt about it, but you couldn’t seem to see. I know you’ll never forgive me, but I’d go crazy here. I’m almost crazy now. I suppose you think I’m a bad woman, but I am not. You won’t believe that. Its’ true though. The desert would make anyone bad. I don’t see how you stand it. You’ve been good to me, and I’ve really tried, but it’s no use. The country is awful. I never ought to have come. I’m sorry you are going to think me a bad woman, for I like you and admire you, but nothing, NOTHING could make me stay here any longer.” She signed herself simply Estrella Sands, her maiden name.
Buck Johnson stood staring at the paper for a much longer time than was necessary merely to absorb the meaning of the words. His senses, sharpened by the stress of the last sixteen hours, were trying mightily to cut to the mystery of a change going on within himself. The phrases of the letter were bald enough, yet they conveyed something vital to his inner being. He could not understand what it was.
Then abruptly he raised his eyes.
Before him lay the desert, but a desert suddenly and miraculously changed, a desert he had never seen before. Mile after mile it swept away before him, hot, dry, suffocating, lifeless. The sparse vegetation was grey with the alkali dust. The heat hung choking in the air like a curtain. Lizards sprawled in the sun, repulsive. A rattlesnake dragged its loathsome length from under a mesquite. The dried carcass of a steer, whose parchment skin drew tight across its bones, rattled in the breeze. Here and there rock ridges showed with the obscenity of so many skeletons, exposing to the hard, cruel sky the earth’s nakedness. Thirst, delirium, death, hovered palpa
ble in the wind; dreadful, unconquerable, ghastly.
The desert showed her teeth and lay in wait like a fierce beast. The little soul of man shrank in terror before it.
Buck Johnson stared, recalling the phrases of the letter, recalling the words of his foreman, Jed Parker. “It’s too lonesome for me,” “I’m afraid,” “I hate it all,” “I’d go crazy here,” “The desert would make anyone bad,” “The country is awful.” And the musing voice of the old cattleman, “I wonder if she’ll like the country!” They reiterated themselves over and over; and always as refrain his own confident reply, “Like the country? Sure! Why SHOULDN’T she?”
And then he recalled the summer just passing, and the woman who had made no fuss. Chance remarks of hers came back to him, remarks whose meaning he had not at the time grasped, but which now he saw were desperate appeals to his understanding. He had known his desert. He had never known hers.
With an exclamation Buck Johnson turned abruptly back to the arroyo. Button followed him, mildly curious, certain that his master’s reappearance meant a summons for himself.
Down the miniature cliff the man slid, confidently, without hesitation, sure of himself. His shoulders held squarely, his step elastic, his eye bright, he walked to the fearful, shapeless bundle now lying motionless on the flat surface of the alkali.
Brent Palmer had fallen into a grim silence, but Estrella still moaned. The cattleman drew his knife and ripped loose the bonds. Immediately the flaps of the wet rawhide fell apart, exposing to the new daylight the two bound together. Buck Johnson leaned over to touch the woman’s shoulder.
“Estrella,” said he gently.
Her eyes came open with a snap, and stared into his, wild with the surprise of his return.
“Estrella,” he repeated, “how old are you?”
She gulped down a sob, unable to comprehend the purport of his question.
“How old are you, Estrella?” he repeated again.
“Twenty-one,” she gasped finally.
“Ah!” said he.
He stood for a moment in deep thought, then began methodically, without haste, to cut loose the thongs that bound the two together.
When the man and the woman were quite freed, he stood for a moment, the knife in his hand, looking down on them. Then he swung himself into the saddle and rode away, straight down the narrow arroyo, out beyond its lower widening, into the vast plains the hither side of the Chiricahuas. The alkali dust was snatched by the wind from beneath his horse’s feet. Smaller and smaller he dwindled, rising and falling, rising and falling in the monotonous cow-pony’s lope. The heat shimmer veiled him for a moment, but he reappeared. A mirage concealed him, but he emerged on the other side of it. Then suddenly he was gone. The desert had swallowed him up.
End of the Project Gutenberg EBook of Arizona Nights, by Stewart Edward White
*** END OF THIS PROJECT GUTENBERG EBOOK ARIZONA NIGHTS ***
***** This file should be named 753-h.htm or 753-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/7/5/753/
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 following 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.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
Arizona Nights Page 20