Susy, A Story of the Plains - Bret Harte (ebook reader for pc and android txt) 📗

ez mebbee, Mr. Hooker, but the story down in our precinct goes that she gave Mrs. Peyton the slip,—chucked up her situation as adopted darter, and went off with a queer sort of a cirkiss woman,—one of her own KIN, and I reckon one of her own KIND.”

To this Mr. Hooker offered no further reply than a withering rebuke of the waiter, a genteel abstraction, and a lofty change of subject. He pressed upon them two tickets for the performance, of which he seemed to have a number neatly clasped in an india-rubber band, and advised them to come early. They would see him after the performance and sup together. He must leave them now, as he had to be punctually at the theatre, and if he lingered he should be pestered by interviewers. He withdrew under a dazzling display of cuff and white handkerchief, and with that inward swing of the arm and slight bowiness of the leg generally recognized in his profession as the lounging exit of high comedy.

The mingling of awe and an uneasy sense of changed relations which that meeting with Jim had brought to Phoebe was not lessened when she entered the theatre with her father that evening, and even Mr. Hopkins seemed to share her feelings. The theatre was large, and brilliant in decoration, the seats were well filled with the same heterogeneous mingling she had seen in the dining-room at the Placer Hotel, but in the parquet were some fashionable costumes and cultivated faces. Mr. Hopkins was not altogether so sure that Jim had been “only gassing.” But the gorgeous drop curtain, representing an allegory of Californian prosperity and abundance, presently uprolled upon a scene of Western life almost as striking in its glaring unreality. From a rose-clad English cottage in a subtropical landscape skipped “Rosalie, the Prairie Flower.” The briefest of skirts, the most unsullied of stockings, the tiniest of slippers, and the few diamonds that glittered on her fair neck and fingers, revealed at once the simple and unpretending daughter of the American backwoodsman. A tumult of delighted greeting broke from the audience. The bright color came to the pink, girlish cheeks, gratified vanity danced in her violet eyes, and as she piquantly bowed her acknowledgments, this great breath of praise seemed to transfigure and possess her. A very young actor who represented the giddy world in a straw hat and with an effeminate manner was alternately petted and girded at by her during the opening exposition of the plot, until the statement that a “dark destiny” obliged her to follow her uncle in an emigrant train across the plains closed the act, apparently extinguished him, and left HER the central figure. So far, she evidently was the favorite. A singular aversion to her crept into the heart of Phoebe.

But the second act brought an Indian attack upon the emigrant train, and here “Rosalie” displayed the archest heroism and the pinkest and most distracting self-possession, in marked contrast to the giddy worldling who, having accompanied her apparently for comic purposes best known to himself, cowered abjectly under wagons, and was pulled ignominiously out of straw, until Red Dick swept out of the wings with a chosen band and a burst of revolvers and turned the tide of victory. Attired as a picturesque combination of the Neapolitan smuggler, river-bar miner, and Mexican vacquero, Jim Hooker instantly began to justify the plaudits that greeted him and the most sanguinary hopes of the audience. A gloomy but fascinating cloud of gunpowder and dark intrigue from that moment hung about the stage.

Yet in this sombre obscuration Rosalie had passed a happy six months, coming out with her character and stockings equally unchanged and unblemished, to be rewarded with the hand of Red Dick and the discovery of her father, the governor of New Mexico, as a white-haired, but objectionable vacquero, at the fall of the curtain.

Through this exciting performance Phoebe sat with a vague and increasing sense of loneliness and distrust. She did not know that Hooker had added to his ordinary inventive exaggeration the form of dramatic composition. But she had early detected the singular fact that such shadowy outlines of plot as the piece possessed were evidently based on his previous narrative of his OWN experiences, and the saving of Susy Peyton—by himself! There was the episode of their being lost on the plains, as he had already related it to her, with the addition of a few years to Susy’s age and some vivid picturesqueness to himself as Red Dick. She was not, of course, aware that the part of the giddy worldling was Jim’s own conception of the character of Clarence. But what, even to her provincial taste, seemed the extravagance of the piece, she felt, in some way, reflected upon the truthfulness of the story she had heard. It seemed to be a parody on himself, and in the laughter which some of the most thrilling points produced in certain of the audience, she heard an echo of her own doubts. But even this she could have borne if Jim’s confidence had not been given to the general public; it was no longer HERS alone, she shared it with them. And this strange, bold girl, who acted with him,—the “Blanche Belville” of the bills,—how often he must have told HER the story, and yet how badly she had learned it! It was not her own idea of it, nor of HIM. In the last extravagant scene she turned her weary and half-shamed eyes from the stage and looked around the theatre. Among a group of loungers by the wall a face that seemed familiar was turned towards her own with a look of kindly and sympathetic recognition. It was the face of Clarence Brant. When the curtain fell, and she and her father rose to go, he was at their side. He seemed older and more superior looking than she had ever thought him before, and there was a gentle yet sad wisdom in his eyes and voice that comforted her even while it made her feel like crying.

“You are satisfied that no harm has come to our friend,” he said pleasantly. “Of course you recognized him?”

“Oh, yes; we met him to-day,” said Phoebe. Her provincial pride impelled her to keep up a show of security and indifference. “We are going to supper with him.”

Clarence slightly lifted his brows.

“You are more fortunate than I am,” he said smilingly. “I only arrived here at seven, and I must leave at midnight.”

Phoebe hesitated a moment, then said with affected carelessness:—

“What do you think of the young girl who plays with him? Do you know her? Who is she?”

He looked at her quickly, and then said, with some surprise:—

“Did he not tell you?”

“She WAS the adopted daughter of Mrs. Peyton,—Miss Susan Silsbee,” he said gravely.

“Then she DID run away from home as they said,” said Phoebe impulsively.

“Not EXACTLY as they said,” said Clarence gently. “She elected to make her home with her aunt, Mrs. McClosky, who is the wife of the manager of this theatre, and she adopted the profession a month ago. As it now appears that there was some informality in the old articles of guardianship, Mrs. Peyton would have been powerless to prevent her from doing either, even if she had wished to.”

The infelicity of questioning Clarence regarding Susy suddenly flashed upon the forgetful Phoebe, and she colored. Yet, although sad, he did not look like a rejected lover.

“Of course, if she is here with her own relatives, that makes all the difference,” she said gently. “It is protection.”

“Certainly,” said Clarence.

“And,” continued Phoebe hesitatingly, “she is playing with—with—an old friend—Mr. Hooker!”

“That is quite proper, too, considering their relations,” said Clarence tolerantly.

“I—don’t—understand,” stammered Phoebe.

The slightly cynical smile on Clarence’s face changed as he looked into Phoebe’s eyes.

“I’ve just heard that they are married,” he returned gently.

 

CHAPTER XII.

 

Nowhere had the long season of flowers brought such glory as to the broad plains and slopes of Robles Rancho. By some fortuitous chance of soil, or flood, or drifting pollen, the three terraces had each taken a distinct and separate blossom and tint of color. The straggling line of corral, the crumbling wall of the old garden, the outlying chapel, and even the brown walls of the casa itself, were half sunken in the tall racemes of crowding lupines, until from the distance they seemed to be slowly settling in the profundity of a dark-blue sea. The second terrace was a league-long flow of gray and gold daisies, in which the cattle dazedly wandered mid-leg deep. A perpetual sunshine of yellow dandelions lay upon the third. The gentle slope to the dark-green canada was a broad cataract of crimson poppies. Everywhere where water had stood, great patches of color had taken its place. It seemed as if the rains had ceased only that the broken heavens might drop flowers.

Never before had its beauty—a beauty that seemed built upon a cruel, youthful, obliterating forgetfulness of the past—struck Clarence as keenly as when he had made up his mind that he must leave the place forever. For the tale of his mischance and ill-fortune, as told by Hopkins, was unfortunately true. When he discovered that in his desire to save Peyton’s house by the purchase of the Sisters’ title he himself had been the victim of a gigantic fraud, he accepted the loss of the greater part of his fortune with resignation, and was even satisfied by the thought that he had at least effected the possession of the property for Mrs. Peyton. But when he found that those of his tenants who had bought under him had acquired only a dubious possession of their lands and no title, he had unhesitatingly reimbursed them for their improvements with the last of his capital. Only the lawless Gilroy had good-humoredly declined. The quiet acceptance of the others did not, unfortunately, preclude their settled belief that Clarence had participated in the fraud, and that even now his restitution was making a dangerous precedent, subversive of the best interests of the State, and discouraging to immigration. Some doubted his sanity. Only one, struck with the sincerity of his motive, hesitated to take his money, with a look of commiseration on his face.

“Are you not satisfied?” asked Clarence, smiling.

“Yes, but”—

“But what?”

“Nothin’. Only I was thinkin’ that a man like you must feel awful lonesome in Calforny!”

Lonely he was, indeed; but his loneliness was not the loss of fortune nor what it might bring. Perhaps he had never fully realized his wealth; it had been an accident rather than a custom of his life, and when it had failed in the only test he had made of its power, it is to be feared that he only sentimentally regretted it. It was too early yet for him to comprehend the veiled blessings of the catastrophe in its merciful disruption of habits and ways of life; his loneliness was still the hopeless solitude left by vanished ideals and overthrown idols. He was satisfied that he had never cared for Susy, but he still cared for the belief that he had.

After the discovery of Pedro’s body that fatal morning, a brief but emphatic interview between himself and Mrs. McClosky had followed. He had insisted upon her immediately accompanying Susy and himself to Mrs. Peyton in San Francisco. Horror-stricken and terrified at the catastrophe, and frightened by the strange looks of the excited servants, they did not dare to disobey him. He had left them with Mrs. Peyton in the briefest preliminary interview, during which he spoke only of the catastrophe, shielding the woman from the presumption of having provoked it, and urging only the importance of settling the question of guardianship at once. It was odd that Mrs.