The Two-Gun Man - Charles Alden Seltzer (best english novels to read .txt) 📗

had written of him he would have discontinued his visits to the cabin.

Several of the Two Diamond punchers, also, were noted as being possible secondary characters. She had found them very amusing. But the hero would be the one character to whom she would devote the concentrated effort of her mind. She would make him live in the pages; a real, forceful magnetic human being that the reader would instantly admire. She would bare his soul to the reader; she would reveal his mental processes—not involved, but leading straight and true to——

But would she? Had she not so far discovered a certain craftiness in the character of the Two Diamond stray-man that would indicate subtlety of thought?

This knowledge had been growing gradually upon her since their second meeting, and it had become an obstacle that promised difficulties. Of course she could make Ferguson talk and act as she pleased—in the book. But if she wanted a real character she would have to portray him as he was. To do this would require study. Serious study of any character would inspire faithful delineation.

She gave much thought to him now, keeping this purpose in view. She questioned Ben concerning him, but was unable to gain satisfying information. He had been hired by Stafford, her brother told her, holding the position of stray-man.

"I've seen him once, down the other side of the cottonwood," the young man had said. "He ain't saying much to anyone. Seems to be a quiet sort—and deep. Pretty good sort though."

She was pleased over Ben's brief estimate of the stray-man. It vindicated her judgment. Besides, it showed that her brother was not averse to friendship with him.

Leviatt she saw with her brother often, and occasionally he came to the cabin. His attitude toward her was one of frank admiration, but he had received no encouragement. How could he know that he was going to be the villain in her book—soon to be written?

Shall we take a peep into that mysterious note book? Yes, for later we shall see much of it.

"Dave Leviatt," she had written in one place. "Age thirty-five. Tall, slender; walks with a slight stoop. One rather gets the impression that the stoop is a reflection of the man's nature, which seems vindictive and suggests a low cunning. His eyes are small, deep set, and glitter when he talks. But they are steady, and cold—almost merciless. One's thoughts go instantly to the tiger. I shall try to create that impression in the reader's mind."

In another place she had jotted this down: "I shouldn't want anyone killed in my book, but if I find this to be necessary Leviatt must do the murder. But I think it would be better to have him employ some other person to do it for him; that would give him just the character that would fit him best. I want to make him seem too cowardly—no, not cowardly, because I don't think he is a coward: but too cunning—to take chances of being caught."

Evidently she had been questioning Ben, for in another place she had written:

"Ferguson. I must remember this—all cowboys do not carry two guns. Ben does, because he says he is ambidextrous, shooting equally well with either hand. But he does not tie the bottoms of his holsters down, like Ferguson; he says some men do this, but usually they are men who are exceptionally rapid in getting their revolvers out and that tying down the bottoms of the holsters facilitates removing the weapons. They are accounted to be dangerous men.

"Ben says when a man is quick to shoot out here he is called a gun-man, and that if he carries two revolvers he is a two-gun man. Ben laughs at me when I speak of a 'revolver'; they are known merely as 'guns' out here. I must remember this. Ben says that though he likes Ferguson quite well, he is rather suspicious of him. He seems to be unable to understand why Stafford should employ a two-gun man to look up stray cows."

Below this appeared a brief reference to Ferguson.

"He is not a bit conceited—rather bashful, I should say. But embarrassment in him is attractive. No hero should be conceited. There is a wide difference between impertinence and frankness. Ferguson seems to speak frankly, but with a subtle shade. I think this is a very agreeable trait for a hero in a novel."

There followed more interesting scraps concerning Leviatt, which would have caused the range boss many bad moments. And there were interesting bits of description—jotted down when she became impressed with a particularly odd view of the country. But there were no more references to Ferguson. He—being the hero of her novel—must be studied thoroughly.

CHAPTER XII THE STORY BEGINS

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,