Trailin'!. Max Brand

went on with a long, easy stride like a runner starting a distance race. First he skirted the row of poplars on the drive; then doubled back across the meadow to his right and ran in a sharp-angling course across an orchard of apple trees. Diverging from this direction, he circled at a quicker pace toward the rear of the grounds and coursed like a wild deer over a stretch of terraced lawns. On one of these low crests he stopped short under the black shadow of an elm.

      In the smooth-shaven centre of the hollow before him, the same ground over which he had run and played a thousand times in his childhood, he saw two tall men standing back to back, like fighters come to a last stand and facing a crowd of foes. They separated at once, striding out with a measured step, and it was not until they moved that he caught the glint of metal at the side of one of them and knew that one was the man who had answered to the name of John Bard and the other was the grey man who had spoken to him at the Garden the night before. He knew it not so much by the testimony of his eyes at that dim distance as by a queer, inner feeling that this must be so. There was also a sense of familiarity about the whole thing, as if he were looking on something which he had seen rehearsed a thousand times.

      As if they reached the end of an agreed course, the two whirled at the same instant, the metal in their hands glinted in an upward semicircle, and two guns barked hoarsely across the lawns.

      One of them stood with his gun still poised; the other leaned gradually forward and toppled at full length on the grass. The victor strode out toward the fallen, but hearing the wild yell of Anthony he stopped, turned his head, and then fled into the grove of trees which topped the next rise of ground. After him, running as he had never before raced, went Anthony; his hand, as he sprinted, already tensed for the coming battle; two hundred yards at the most and he would reach the lumbering figure which had plunged into the night of the trees; but a call reached him as sharp as the crack of the guns a moment before: "Anthony!"

      His head twitched to one side and he saw John Bard rising to his elbow. His racing stride shortened choppily.

      "Anthony!"

      He could not choose but halt, groaning to give up the chase, and then sped back to the fallen man. At his coming John Bard collapsed on the grass, and when Anthony knelt beside him a voice in rough dialect began, as if an enforced culture were brushed away and forgotten in the crisis: "Anthony, there ain't no use in followin' him!"

      "Where did the bullet strike you? Quick!"

      "A place where it ain't no use to look. I know!"

      "Let me follow him; it's not too late—"

      The dying man struggled to one elbow.

      "Don't follow, lad, if you love me."

      "Who is he? Give me his name and—"

      "He's acted in the name of God. You have no right to hunt him down."

      "Then the law will do that."

      "Not the law. For God's sake swear—"

      "I'll swear anything. But now lie quiet; let me—"

      "Don't try. This couldn't end no other way for John Bard."

      "Is that your real name?"

      "Yes. Now listen, Anthony, for my time's short."

      He closed his eyes as if fighting silently for strength.

      Then: "When I was a lad like you, Anthony—" That was all. The massive body relaxed; the head fell back into the dewy grass. Anthony pressed his head against the breast of John Bard and it seemed to him that there was still a faint pulse. With his pocket knife he ripped away the coat from the great chest and then tore open the shirt. On the expanse of the hairy chest there was one spot from which the purple blood welled; a deadly place for a wound, and yet the bleeding showed that there must still be life.

      He had no chance to bind the wound, for John Bard opened his eyes again and said, as if in his dream he had still continued his tale to Anthony.

      "So that's all the story, lad. Do you forgive me?"

      "For what, sir? In God's name, for what?"

      "Damnation! Tell me; do you forgive John Bard?"

      He did not hear the answer, for he murmured: "Even Joan would forgive," and died.

      CHAPTER VII

      BLUEBEARD'S ROOM

      As Anthony Woodbury, he knelt beside the dying. As Anthony Bard he rose with the dead man in his arms a mighty burden even for his supple strength; yet he went staggering up the slope, across a level terrace, and back to the house. There it was Peters who answered his call, Peters with a flabby face grown grey, but still the perfect servant who asked no questions; together they bore the weight up the stairs and placed it on John Bard's bed. While Anthony kept his steady vigil by the dead man, it was Peters again who summoned the police and the useless doctor.

      To the old, uniformed sergeant, Anthony told a simple lie. His father had gone for a walk through the grounds because the night was fine, and Anthony was to join him there later, but when he arrived he found a dying man who could not even explain the manner of his death.

      "Nothin' surprises me about a rich man's death," said the sergeant, "not in these here days of anarchy. Got a place to write? I want to make out my report."

      So Anthony led the grizzled fellow to the library and supplied him with what he wished. The sergeant, saying good-bye, shook hands with a lingering grip.

      "I knew John Woodbury," he said, "just by sight, but I'm here to tell the world that you've lost a father who was just about all man. So long; I'll be seein' you again."

      Left alone, Anthony Bard went to the secret room. The key fitted smoothly into the lock. What the door opened upon was a little grey apartment with an arched ceiling, a place devoid of a single article of furniture save a straight-backed chair in the centre. Otherwise Anthony saw three things-two pictures on the wall and a little box in the corner. He went about his work very calmly, for here, he knew, was the only light upon the past of John Bard, that past which had lain passive so long and overwhelmed him on this night.

      First he took up the box, as being by far the most promising of the three to give him what he wished to know; the name of the slayer, the place where he could be found, and the cause of the slaying. It held only two things; a piece of dirty silk and a small oil can; but the oil can and the black smears on the silk made him look closer, closer until the meaning struck him in a flare, as the glow of a lighted match suddenly illumines, even if faintly, an entire room.

      In that box the revolver had lain, and here every day through all the year, John Bard retired to clean and oil his gun, oil and reclean it, keeping it ready for the crisis. That was why he went to the secret room as soon as he heard the call from the garden, and carrying that gun with him he had walked out, prepared. The time had come for which he had waited a quarter of a century, knowing all that time that the day must arrive. It was easy to understand now many an act of the big grim man; but still there was no light upon the slayer.

      As he sat pondering he began to feel as if eyes were fastened upon him, watching, waiting, mocking him, eyes from behind which stared until a chill ran up his back. He jerked his head up, at last, and flashed a glance over his shoulder.

      Indeed there was mockery in the smile with which she stared down to him from her frame, down to him and past him as if she scorned in him all men forever. It was not that which made Anthony close his eyes. He was trying with all his might to conjure up his own image vividly. He looked again, comparing his picture with this portrait on the wall, and then he knew why the grey man at the Garden had said: "Son, who's your mother?" For this was she into whose eyes he now stared.

      She had the same deep, dark eyes, the same black hair, the same rather aquiline, thin face which her woman's eyes and lovely mouth made beautiful, but otherwise the same. He was simply a copy of that head hewn with a rough chisel—a sculptor's clay model rather than a smoothly finished re-production.

      Ah, and the fine spirit of her, the buoyant, proud, scornful spirit! He stretched out his arms to her, drew closer, smiling as if she could meet and welcome his caress, and then remembered that this was a thing of canvas and paint—a bright shadow; no more.

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