"I'm writing the scenario myself," she explained, "and that's why you have to be in it. I've written in stuff that the other boys can't do to save their lives. REAL stuff, Lite! You and I are going to run the ranch and punch the cows,—Lazy A cattle, what there are left of them,—and hunt down a bunch of rustlers that have their hangout somewhere down in the breaks; we don't know just where, yet. The places we'll ride, they'll need an airship to follow with the camera! I haven't got it all planned yet, but the first reel is about done; we're going to begin on it this afternoon. We'll need you in the first scenes,—just ranch scenes, with you and Lee; he's my brother, and he'll get killed— Now, what's the matter with you?" She stopped and eyed him disapprovingly. "Why have you got that stubborn look to your mouth? Lite, see here. Before you say a word, I want to tell you that you are not to refuse this. It—it means money, Lite; for you, and for me, too. And that means—dad at home again. Lite—"

Bite looked at her, looked away and bit his lips. It was long since he had seen tears in Jean's steady, brown eyes, and the sight of them hurt him intolerably. There was nothing that he could say to strengthen her faith, absolutely nothing. He did not see how money could free her father before his sentence expired. Her faith in her dad seemed to Lite a wonderful thing, but he himself could not altogether share it, although he had lately come to feel a very definite doubt about Aleck's guilt. Money could not help them, except that it could buy back the Lazy A and restock it, and make of it the home it had been three years ago.

Lite, in the secret heart of him, did not want Jean to set her heart on doing that. Lite was almost in a position to do it himself, just as he had planned and schemed and saved to do, ever since the day when he took Jean to the Bar Nothing, and announced to her that he intended to take care of her in place of her father. He had wanted to surprise Jean; and Jean, with her usual headlong energy bent upon the same object, seemed in a fair way to forestall him, unless he moved very quickly.

"Lite, you won't spoil everything now, just when I'm given this great opportunity, will you?" Jean's voice was steady again. She could even meet his eyes without flinching. "Gil says it's a great opportunity, in every way. It's a series of pictures, really, and they are to be called 'Jean, of the Lazy A.' Gil says they will be advertised a lot, and make me famous. I don't care about that; but the company will pay me more, and that means—that means that I can get out and find Art Osgood sooner, and—get dad home. And you will have to help. The whole thing, as I have planned it, depends upon you, Lite. The riding and the roping, and stuff like that, you'll have to do. You'll have to work right alongside me in all that outdoor stuff, because I am going to quit doing all those spectacular, stagey stunts, and get down to real business. I've made Burns see that there will be money in it for his company, so he is perfectly willing to let me go ahead with it and do it my way. Our way, Lite, because, once you start with it, you can help me plan things." Whereupon, having said almost everything she could think of that would tend to soften that stubborn look in Lite's face, Jean waited.

Lite did a great deal of thinking in the next two or three minutes, but being such a bottled-up person, he did not say half of what he thought; and Jean, closely as she watched his face, could not read what was in his mind. Of Aleck he thought, and the slender chance there was of any one doing what Jean hoped to do; of Art Osgood, and the meager possibility that Art could shed any light upon the killing of Johnny Croft; of the Lazy A, and the probable price that Carl would put upon it if he were asked to sell the ranch and the stock; of the money he had already saved, and the chance that, if he went to Carl now and made him an offer, Carl would accept. He weighed mentally all the various elements that went to make up the depressing tangle of the whole affair, and decided that he would write at once to Rossman, the lawyer who had defended Aleck, and put the whole thing into his hands. He would then know just where he stood, and what he would have to do, and what legal steps he must take.

He looked at Jean and grinned a little. "I'm not pretty enough for a picture actor," he said whimsically. "Better let me be a rustler and wear a mask, if you don't want folks to throw fits."

"You'll be what I want you to be," Jean told him with the little smile in her eyes that Lite had learned to love more than he could ever say. "I'm going to make us both famous, Lite. Now, come on, Bobby Burns has probably chewed up a whole box of those black cigars, waiting for us to show up."

I am not going to describe the making of "Jean, of the Lazy A." It would be interesting, but this is not primarily a story of the motion-picture business, remember. It is the story of the Lazy A and the problem that both Jean and Lite were trying to solve. The Great Western Film Company became, through sheer chance, a factor in that problem, and for that reason we have come into rather close touch with them; but aside from the fact that Jean's photo-play brought Lite into the company and later took them both to Los Angeles, this particular picture has no great bearing upon the matter.

Robert Grant Burns had intended taking his company back to Los Angles in August, when the hot winds began to sweep over the range land. But Jean's story was going "big." Jean was throwing herself into the part heart and mind. She lived it. With Lite riding beside her, helping her with all his skill and energy and much enthusiasm, she almost forgot her great undertaking sometimes, she was so engrossed with her work. With his experience, suggesting frequent changes, she added new touches of realism to this story that made the case-hardened audience of the Great Western's private projection room invent new ways of voicing their enthusiasm, when the negative films Pete Lowry sent in to headquarters were printed and given their trial run.

They were just well started when August came with its hot winds. They stayed and worked upon the serial until it was finished, and that meant that they stayed until the first October blizzard caught them while they were finishing the last reel.

Do you know what they did then? Jean changed a few scenes around at Lite's suggestion, and they went out into the hills in the teeth of the storm and pictured Jean lost in the blizzard, and coming by chance upon the outlaws at their camp, which she and Lite and Lee had been hunting through all the previous installments of the story. It was great stuff,—that ride Jean made in the blizzard,—and that scene where, with numbed fingers and snow matted in her dangling braid, she held up the rustlers and marched them out of the hills, and met Lite coming in search of her.

You will remember it, if you have been frequenting the silent drama and were fortunate enough to see the picture. You may have wondered at the realism of those blizzard scenes, and you may have been curious to know how the camera got the effect. It was wonderful photography, of course; but then, the blizzard was real, and that pinched, half frozen look on Jean's face in the close-up where she met Lite was real. Jean was so cold when she turned the rustlers over to Lite that when she started to dismount and fell in a heap,—you remember?—she was not acting at all. Neither was Lite acting when he plunged through the drift and caught Jean in his arms and held her close against him just as that scene ended. In the name of realism they cut the scene, because Lite showed that he forgot all about the outlaws and the part he was playing.

So they finished the picture, and the whole company packed their trunks thankfully and turned their faces and all their thoughts westward.

Jean was not at all sure that she wanted to go. It seemed almost as though she were setting aside her great undertaking; as though she were weakly deserting her dad when she closed the door for the last time upon her room and turned her back upon Lazy A coulee. But there were certain things which comforted her; Lite was going along to look after the horses, he told her just the day before they started. For Robert Grant Burns, with an eye to the advertising value of the move, had decided that Pard must go with them. He would have to hire an express car, anyway, he said, for the automobile and the scenery sets they had used for interiors. And there would be plenty of room for Pard and Lite's horse and another which Robert Grant Burns had used to carry him to locations in rough country, where the automobile could not go. The car would run in passenger service, Burns said,—he'd fix that,—so Lite would be right with the company all the way out.

Jean appreciated all that as a personal favor, which merely proved how unsophisticated she really was. She did not know that Robert Grant Burns was thinking chiefly of furnishing material for the publicity man to use in news stories. She never once dreamed that the coming of "Jean, of the Lazy A" and Jean's pet horse Pard, and of Lite, who had done so many surprising things in the picture, would be heralded in all the Los Angeles papers before ever they left Montana.

Jean was concerned chiefly with attending to certain matters which seemed to her of vital importance. If she must go, there was something which she must do first,—something which for three years she had shrunk from doing. So she told Robert Grant Burns that she would meet him and his company in Helena, and without a word of explanation, she left two days in advance of them, just after she had had another maddening talk with her Uncle Carl, wherein she had repeated her intention of employing a lawyer.

When she boarded the train at Helena, she did not tell even Lite just where she had been or what she had been doing. She did not need to tell Lite. He looked into her face and saw there the shadow of the high, stone wall that shut her dad away from the world, and he did not ask a single question.



CHAPTER XIX

IN LOS ANGELES

When she felt bewildered, Jean had the trick of appearing merely reserved; and that is what saved her from the charge of rusticity when Robert Grant Burns led her through the station gateway and into a small reception. No less a man than Dewitt, President of the Great Western Film Company, clasped her hand and held it, while he said how glad he was to welcome her. Jean, unawed by his greatness and the honor he was paying her, looked up at him with that distracting little beginning of a smile, and replied with that even-more distracting little drawl in her voice, and wondered why Mrs. Gay should become so plainly flustered all at once.

Dewitt took her by the arm, introduced her to a curious-eyed group with a warming cordiality of manner, and led her away through a crowd that stared and whispered, and up to a great, beautiful, purple machine with a colored chauffeur in dust-colored uniform. Dewitt was talking easily of trivial things, and shooting a question now and then over his shoulder at Robert Grant Burns, who had shed much of his importance and seemed indefinably subservient toward Mr. Dewitt. Jean turned toward him abruptly.

"Where's Lite? Did you send some one to help him with Pard?" she asked with real concern in her voice. "Those three horses aren't used to towns the size of this, Mr. Burns. Lite is going to have his hands full with Pard. If you will excuse me, Mr. Dewitt, I think I'll go and see how he's making out."

Mr. Dewitt glanced over her head and met the delighted grin of Jim Gates, the publicity manager. The grin said that Jean was "running true to form," which was a pet simile with Jim Gates, and usually accompanied that particular kind of grin. There would be an interesting half column in the next day's papers about Jean's arrival and her deep concern for Lite and her wonderful horse Pard, but of course she did not know that.

"I've got men here to help with the horses," Mr. Dewitt assured her, while he gently urged her into the machine. "They'll be brought right out to the studio. I'm taking you home with me in obedience to my wife's, orders. She is anxious to meet the young woman who can out-ride and out-shoot any man on the screen, and can still be sweet and feminine and lovable. I'm quoting my wife, you see, though I won't say those are not my sentiments also."

"Your poor wife is going to receive a shock," said Jean in an unimpressed tone. "But it's dear of her to want to meet me." Back of her speech was an irritated impatience that she should be gobbled and carried off like this, when she was sure that she ought to be helping Lite get that fool Pard unloaded and safely through the clang and clatter of the down-town district.

Robert Grant Burns, half facing her on a folding seat, sent her a queer, puzzled glance from under his eyebrows. Four months had Jean been working under his direction; four months had he studied her, and still she puzzled him. She was not ignorant—the girl had been out among civilized folks and had learned town ways; she was not stupid—she could keep him guessing, and he thought he knew all the quirks of human nature, too. Then why, in the name of common sense, did she take Dewitt and his patronage in this matter-of-fact way, as if it were his everyday business to meet strange employees and take them home to his wife? He glanced at Dewitt and caught a twinkle of perfect understanding in the bright blue eyes of his chief. Burns made a sound between a grunt and a chuckle, and turned his eyes away immediately; but Dewitt chose to make speech upon the subject.

"You haven't spoiled our new leading woman—yet," he observed idly.

"Oh, but he has," Jean dissented. "He has got me trained so that when he says smile, my mouth stretches itself automatically. When he says sob, I sob. He just snaps his fingers, Mr. Dewitt, and I sit up and go through my tricks very nicely. You ought to see how nicely I do them."

Mr. Dewitt put up a hand and pulled at his close-cropped, white mustache that could not hide the twitching of his lips. "I have seen," he said drily, and leaned forward for a word with the liveried chauffeur. "Turn up on Broadway and stop at the Victoria," he said, and the chin of the driver dropped an inch to prove he heard.

Dewitt laid his fingers on Jean's arm to catch her attention. "Do you see that picture on the billboard over there?" he asked, with a special inflection in his nice, crisp voice. "Does it look familiar to you?"

Jean looked, and pinched her brows together. Just at first she did not comprehend. There was her name in fancy letters two feet high: "JEAN, OF THE LAZY A." It blared at the passer-by, but it did not look familiar at all. Beneath was a high-colored poster of a girl on a horse. The horse was standing on its hind feet, pawing the air; its nostrils flared red; its tail swept like a willow plume behind. The machine slowed and stopped for the traffic signal at the crossing, and still Jean studied the poster. It certainly did not look in the least familiar.

"Is that supposed to be me, on that plum-colored horse?" she drawled, when they slid out slowly in the wake of a great truck.

"Why, don't you like it?" Dewitt looked at Jim Gates, who was again grinning delightedly and surreptitiously scribbling something on the margin of a folded paper he was carrying.

Jean turned upon him a mildly resentful glance. "No, I don't. Pard is not purple; he's brown. And he's got the dearest white hoofs and a white sock on his left hind foot; and he doesn't snort fire and brimstone, either." She glanced anxiously at the jam of wagons and automobiles and clanging street-cars. "I don't know, though," she amended ruefully, "I think perhaps he will, too, when he sees all this. I really ought to have stayed with him."

"You don't think Lite quite capable of taking care of him."

"Oh, yes, of course he is! But I just feel that way."

Dewitt shifted a little, so that he was half facing her, and could look at her without having to turn his head. If his eyes told anything of his thoughts, the President of the Great Western Film Company was curious to know how she felt about her position and her sudden fame and the work itself. Before they had worked their way into the next block, he decided that Jean was not greatly interested in any of these things, and he wondered why.

The machine slowed, swung to the curb, and crept forward and stopped in front of the Victoria. Dewitt looked at Burns and Pete Lowry, who was on the front seat.

"I thought you'd like to take a glance at the lobby display the Victoria is making," he said casually. "They are running the Lazy A series, you know,—to capacity houses, too, they tell me. Shall we get out?"

The chauffeur reached back with that gesture of toleration and infinite boredom common to his kind and swung open the door.

Robert Grant Burns started up. "Come on, Jean," he said eagerly. "I don't suppose that eternal calm of yours will ever show a wrinkle on the surface, but let's have a look, anyway."

Pete Lowry was already out and half way across the pavement. Pete had lain awake in his bed, many's the night, planning the posing of "stills" that would show Jean at her best; he had visioned them on display in theater lobbies, and now he collided with a hurrying shopper in his haste to see the actual fulfillment of those plans.

Jean herself was not so eager. She went with the others, and she saw herself pictured on Pard; on her two feet; and sitting upon a rock with her old Stetson tilted over one eye and her hair tousled with the wind. She was loading her six-shooter, and talking to Lite, who was sitting on his heels with a cigarette in his fingers, looking at her with that bottled-up look in his eyes. She did not remember when the picture was taken, but she liked that best of all. She saw herself leaning out of the window of her room at the Lazy A. She remembered that time. She was talking to Gil outside, and Pete had come up and planted his tripod directly in front of her, and had commanded her to hold her pose. She did not count them, but she had curious impressions of dozens of pictures of herself scattered here and there along the walls of the long, cool-looking lobby. Every single one of them was marked: "Jean, of the Lazy A." Just that.

On a bulletin board in the middle of the entrance, just before the marble box-office, it was lettered again in dignified black type: "JEAN OF THE LAZY A." Below was one word: "To-day."

"It looks awfully queer," said Jean to Mr. Dewitt, who wanted to know what she thought of it all; "they don't explain what it's all about, or anything."

"No, they don't." Dewitt pulled his mustache and piloted her back to the machine. "They don't have to."

"No," echoed Robert Grant Burns, with the fat chuckle of utter content in the knowledge of having achieved something. "From the looks of things, they don't have to." He looked at Jean so intently that she stared back at him, wondering what was the matter; and when he saw that she was wondering, he gave a snort.

"Good Lord!" he said to himself, just above a whisper, and looked away, despairing of ever reading the riddle of Jean's unshakable composure. Was it pose Was the girl phlegmatic,—with that face which was so alive with the thoughts that shuttled back and forth behind those steady, talking eyes of hers? She was not stupid; Robert Grant Burns knew to his own discomfiture that she was not stupid. Nor was she one to pose; the absolute sincerity of her terrific frankness was what had worried Robert Grant Burns most. She must know that she had jumped into the front rank of popular actresses, and stood out before them all,—for the time being, at least. And,—he stole a measuring sidelong glance at her, just as he had done thousands of times in the past four months,—here she was in the private machine of the President of the Great Western Film Company, with that great man himself talking to her as to his honored guest. She had seen herself featured alone at one of the biggest motion-picture theaters in Los Angeles; so well known that "Jean, of the Lazy A" was deemed all-sufficient as information and advertisement. She had reached what seemed to Robert Grant Burns the final heights. And the girl sat there, calm, abstracted, actually not listening to Dewitt when he talked! She was not even thinking about him! Robert Grant Burns gave her another quick, resentful glance, and wondered what under heaven the girl WAS thinking about.

As a matter of fact, having accepted the fact that she seemed to have made a success of her pictures, her thoughts had drifted to what seemed to her more vital. Had she done wrong to come away out here, away from her problem? The distance worried her. She had not even found out who was the mysterious night-prowler, or what he wanted. He had never come again, after that night when Hepsy had scared him away. From long thinking about it, she had come to a vague, general belief that his visits were somehow connected with the murder; but in what manner, she could not even form a theory. That worried her. She wished now that she had told Lite about it. She was foolish not to have done something, instead of sticking her head under the bedclothes and just shivering till he left. Lite would have found out who the man was, and what he wanted. Lite would never have let him come and go like that. But the visits had seemed so absolutely without reason. There was nothing to steal, and nothing to find. Still, she wished she had told Lite, and let him find out who it was.

Then her talk with the great lawyer had been disquieting. He had not wanted to name his fee for defending her dad; but when he had named it, it did not seem so enormous as she had imagined it to be. He had asked a great many questions, and most of them puzzled Jean. He had said that he would take up the matter,—by which she believed he meant an investigation of her uncle's title to the Lazy A. He said that he would see her father, and he told her that he had already been retained to investigate the whole thing, so that she need not worry about having to pay him a fee. That, he said, had already been arranged, though he did not feel at liberty to name his client. But he wanted to assure her that everything was being done that could be done.

She herself had seen her father. She shrank within herself and tried not to think of that horrible meeting. Her soul writhed under the tormenting memory of how she had seen him. She had not been able to talk to him at all, scarcely. The words would not come. She had said that she and Lite were on their way to Los Angeles, and would be there all winter. He had patted her shoulder with a tragic apathy in his manner, and had said that the change would do her good. And that was all she could remember that they had talked about. And then the guard came, and—

That is what she was thinking about while the big, purple machine slid smoothly through the tunnel, negotiated a rough stretch where the street-pavers were at work, and sped purring out upon the boulevard that stretched away to Hollywood and the hills. That was what she kept hidden behind the "eternal calm" that so irritated Robert Grant Burns and so delighted Dewitt and so interested Jim Gates, who studied her for what "copy" there was in her personality.

It was the same when, the next day, Dewitt himself took her over to the big plant which he spoke of as the studio. It was immense, and yet Jean seemed unimpressed. She was gladder to see Pard and Lite again than she was to meet the six-hundred-a-week star whose popularity she seemed in a fair way to outrival. Men and women who were "in stock," and therefore within the social pale, were introduced to her and said nice, hackneyed things about how they admired her work and were glad to welcome her. She felt the warm air of good-fellowship that followed her everywhere. All of these people seemed to accept her at once as one of themselves. When she noticed it, she was amused at the way the "extras" stood back and looked at her and whispered together. More than once she overheard what seemed almost to have become a catch-phrase out here; "Jean of the lazy A" was the phrase.

Jean was not made of wood, understand. In a manner she recognized all these little tributes, and to a certain degree she appreciated them. She was glad that she had made such a success of it, but she was glad because it would help her to take her dad away from that horrible, ghastly place and that horrible, ghastly death-in-life under which he lived. In three years he had grown old and stooped—her dad!

And Burns twitted her ironically because she could not simper and lose her head over the attentions these people were loading upon her! Save for the fact that in this way she could earn a good deal of money, and could pay that lawyer Rossman, and trace Art Osgood, she would not have stayed; she could not have endured the staying. For the easier they made life for her, the greater contrast did they make between her and her dad.

Gil brought her a great bunch of roses, unbelievably beautiful and fragrant, and laughed and told her they didn't look much like those snowdrifts she waded through the last day they worked on the Lazy A serial. For just a minute he thought Jean was going to throw them at him, and he worried himself into sleeplessness, poor boy, wondering how he had offended her, and how he could make amends. Could he have looked into Jean's soul, he would have seen that it was seared with the fresh memory of iron bars and high walls and her dad who never saw any roses; and that the contrast between their beauty and the terrible barrenness that surrounded him was like a blow in her face.

Dewitt himself sensed that something was wrong with her. She was not her natural self, and he knew it, though his acquaintance with her was a matter of hours only. Part of his business it was to study people, to read them; he read Jean now, in a general way. Not being a clairvoyant, he of course had no inkling of the very real troubles that filled her mind, though the effect of those troubles he saw quite plainly. He watched her quietly for a day, and then he applied the best remedy he knew.

"You've just finished a long, hard piece of work," he said in his crisp, matter-of-fact way, on the second morning after her arrival. "There is going to be a delay here while we shape things up for the winter, and it is my custom to keep my people in the very best condition to work right up to the standard. So you are all going to have a two-weeks vacation, Jean-of-the-Lazy-A. At full salary, of course; and to put you yourself into the true holiday spirit, I'm going to raise your salary to a hundred and seventy-five a week. I consider you worth it," he added, with a quieting gesture of uplifted hand, "or you may be sure I wouldn't pay it.

"Get some nice old lady to chaperone you, and go and play. The ocean is good; get somewhere on the beach. Or go to Catalina and play there. Or stay here, and go to the movies. Go and see 'Jean, of the Lazy A,' and watch how the audience lives with her on the screen. Go up and talk to the wife. She told me to bring you up for dinner. You go climb into my machine, and tell Bob to take you to the house now. Run along, Jean of the Lazy A! This is an order from your chief."

Jean wanted to cry. She held the roses, that she almost hated for their very beauty and fragrance, close pressed in her arms, while she went away toward the machine. Dewitt looked after her, thought she meant to obey him, and turned to greet a great man of the town who had been waiting for five minutes to speak to him.

Jean did not climb into the purple car and tell Bob to drive her to "the house." She walked past it without even noticing that it stood there, an aristocrat among the other machines parked behind the great studio that looked like a long, low warehouse. She knew the straightest, shortest trail to the corrals, you may be sure of that. She took that trail.

Pard was standing in a far corner under a shed, switching his tail methodically at the October crop of flies. His head lay over the neck of a scrawny little buckskin, for which he had formed a sudden and violent attachment, and his eyes were half closed while he drowsed in lazy content. Pard was not worrying about anything. He looked so luxuriously happy that Jean had not the heart to disturb him, even with her comfort-seeking caresses. She leaned her elbows on the corral gate and watched him awhile. She asked a bashful, gum-chewing youth if he could tell her where to find Lite Avery. But the youth seemed never to have heard of Lite Avery, and Jean was too miserable to explain and describe Lite, and insist upon seeing him. She walked over to the nearest car-line and caught the next street car for the city. Part of her chief's orders at least she would obey. She would go down to the Victoria and see "Jean, of the Lazy A," but she was not going because of any impulse of vanity, or to soothe her soul with the applause of strangers. She wanted to see the ranch again. She wanted to see the dear, familiar line of the old bluff that framed the coulee, and ride again with Lite through those wild places they had chosen for the pictures. She wanted to lose herself for a little while among the hills that were home.



CHAPTER XX

CHANCE TAKES A HAND

A huge pipe organ was filling the theater with a vast undertone that was like the whispering surge of a great wind. Jean went into the soft twilight and sat down, feeling that she had shut herself away from the harsh, horrible world that held so much of suffering. She sighed and leaned her head back against the curtained enclosure of the loges, and closed her eyes and listened to the big, sweeping harmonies that were yet so subdued.

Down next the river, in a sheltered little coulee, there was a group of great bull pines. Sometimes she had gone there and leaned against a tree trunk, and had shut her eyes and listened to the vast symphony which the wind and the water played together. She forgot that she had come to see a picture which she had helped to create. She held her eyes shut and listened; and that horror of high walls and iron bars that had haunted her for days, and the aged, broken man who was her father, dimmed and faded and was temporarily erased; the lightness of her lips eased a little; the tenseness relaxed from her face, as it does from one who sleeps.

But the music changed, and her mood changed with it. She did not know that this was because the story pictured upon the screen had changed, but she sat up straight and opened her eyes, and felt almost as though she had just awakened from a vivid dream.

A Mexican series of educational pictures were being shown. Jean looked, and leaned forward with a little gasp. But even as she fixed her eyes and startled attention upon it, that scene was gone, and she was reading mechanically of refugees fleeing to the border line.

She must have been asleep, she told herself, and had gotten things mixed up in her dreams. She shook herself mentally and remembered that she ought to take off her hat; and she tried to fix her mind upon the pictures. Perhaps she had been mistaken; perhaps she had not seen what she believed she had seen. But—what if it were true? What if she had really seen and not imagined it? It couldn't be true, she kept telling herself; of course, it couldn't be true! Still, her mind clung to that instant when she had first opened her eyes, and very little of what she saw afterwards reached her brain at all.

Then she had, for the first time in her life, the strange experience of seeing herself as others saw her. The screen announcement and expectant stir that greeted it caught her attention, and pulled her back from the whirl of conjecture into which she had been plunged. She watched, and she saw herself ride up to the foreground on Pard. She saw herself look straight out at the audience with that peculiar little easing of the lips and the lightening of the eyes which was just the infectious beginning of a smile. Involuntarily she smiled back at her pictured self, just as every one else was smiling back. For that, you must know, was what had first endeared her so to the public; the human quality that compelled instinctive response from those who looked at her. So Jean in the loge smiled at Jean on the screen. Then Lite—dear, silent, long-legged Lite!—came loping up, and pushed back his hat with the gesture that she knew so well, and spoke to her and smiled; and a lump filled the throat of Jean in the loge, though she could not have told why. Then Jean on the screen turned and went riding with Lite back down the trail, with her hat tilted over one eye because of the sun, and with one foot swinging free of the stirrup in that absolute unconsciousness of pose that had first caught the attention of Robert Grant Burns and his camera man. Jean in the loge heard the ripple of applause among the audience and responded to it with a perfectly human thrill.

Presently she was back at the Lazy A, living again the scenes which she herself had created. This was the fourth or fifth picture,—she did not at the moment remember just which. At any rate, it had in it that incident when she had first met the picture-people in the hills and mistaken Gil Huntley and the other boys for real rustlers stealing her uncle's cattle. You will remember that Robert Grant Burns had told Pete to take all of that encounter, and he had later told Jean to write her scenario so as to include that incident.

Jean blushed when she saw herself ride up to those three and "throw down on them" with her gun. She had been terribly chagrined over that performance! But now it looked awfully real, she told herself with a little glow of pride. Poor old Gil! They hadn't caught her roping him, anyway, and she was glad of that. He would have looked absurd, and those people would have laughed at him. She watched how she had driven the cattle back up the coulee, with little rushes up the bank to head off an unruly cow that had ideas of her own about the direction in which she would travel. She loved Pard, for the way he tossed his head and whirled the cricket in his bit with his tongue, and obeyed the slightest touch on the rein. The audience applauded that cattle drive; and Jean was almost betrayed into applauding it herself.

Later there was a scene where she had helped Lite Avery and Lee Milligan round up a bunch of cattle and cut out three or four, which were to be sold to a butcher for money to take her mother to the doctor. Lite rode close to the camera and looked straight at her, and Jean bit her lips sharply as tears stung her lashes for some inexplicable reason. Dear old Lite! Every line in his face she knew, every varying, vagrant expression, every little twitch of his lips and eyelids that meant so much to those who knew him well enough to read his face. Jean's eyes softened, cleared, and while she looked, her lips parted a little, and she did not know that she was smiling.

She was thinking of the day, not long ago, when she had seen a bird fly into the loft over the store-house, and she had climbed in a spirit of idle curiosity to see what the bird wanted there. She had found Lite's bed neatly smoothed for the day, the pillow placed so that, lying there, he could look out through the opening and see the house and the path that led to it. There was the faint aroma of tobacco about the place. Jean had known at once just why that bed was there, and almost she knew how long it had been there. She had never once hinted that she knew; and Lite would never tell her, by look or word, that he was watching her welfare.

Here came Gil, dashing up to the brow of the hill, dismounting and creeping behind a rock, that he might watch them working with the cattle in the valley below. Jean met his pictured approach with a little smile of welcome. That was the scene where she told him he got off the horse like a sack of oats, and had shown him how to swing down lightly and with a perfect balance, instead of coming to the earth with a thud of his feet. Gil had taken it all in good faith; the camera proved now how well he had followed her instructions. And afterwards, while the assistant camera-man (with whom Jean never had felt acquainted) shouldered the camera and tripod, and they all tramped down the hill to another location, there had been a little scene in the shade of that rock, between Jean and the star villain. She blushed a little and wondered if Gil remembered that tentative love-making scene which Burns had unconsciously cut short with a bellowing order to rehearse the next scene.

It was wonderful, it was fascinating to sit there and see those days of hard, absorbing work relived in the story she had created. Jean lost herself in watching how Jean of the Lazy A came and went and lived her life bravely in the midst of so much that was hard. Jean in the loge remembered how Burns had yelled, "Smile when you come up; look light-hearted! And then let your face change gradually, while you listen to your mother crying in there. There'll be a cut-back to show her down on her knees crying before Bob's chair. Let that tired, worried look come into your face,—the load's dropping on to your shoulders again,—that kind of dope. Get me?" Jean in the loge remembered how she had been told to do this deliberately, just out of her imagination. And then she saw how Jean on the screen came whistling up to the house, swinging her quirt by its loop and with a spring in her walk, and making you feel that it was a beautiful day and that all the meadow larks were singing, and that she had just had a gallop on Pard that made her forget that she ever looked trouble in the face.

Then Jean in the loge looked and saw screen—Jean's mother kneeling before Bob's chair and sobbing so that her shoulders shook. She looked and saw screen Jean stop whistling and swinging her quirt; saw her stand still in the path and listen; saw the smile fade out of her eyes. Jean in the loge thought suddenly of that moment when she had looked at dad coming in where she waited, and swallowed a lump in her throat. A woman near her gave a little stifled sob of sympathy when screen-Jean turned and went softly around the corner of the house with all the light gone from her face and all the spring gone out of her walk.

Jean in the loge gave a sigh of relaxed tension and looked around her. The seats were nearly all full, and every one was gazing fixedly forward, lost in the pictured story of Jean on the screen. So that was what all those made-to-order smiles and frowns meant! Jean had done them at Burns' command, because she had seen that the others simulated different emotions whenever he told them to. She knew, furthermore, that she had done them remarkably well; so well that people responded to every emotion she presented to them. She was surprised at the vividness of every one of those cut-and-dried scenes. They imposed upon her, even, after all the work and fussing she had gone through to get them to Burns' liking. And there, in the cool gloom of the Victoria, Jean for the first time realized to the full the true ability of Robert Grant Burns. For the first time she really appreciated him and respected him, and was grateful to him for what he had taught her to do.

Her mood changed abruptly when the Jean picture ended. The music changed to the strain that had filled the great place when she entered, nearly an hour before. Jean sat up straight again and waited, alert, impatient, anxious to miss no smallest part of that picture which had startled her so when she had first looked at the screen. If the thing was true which she half believed—if it were true! So she stared with narrowed lids, intent, watchful, her whole mind concentrated upon what she should presently see.

"Warring Mexico!" That was the name of it; a Lubin special release, of the kind technically called "educational." Jean held her breath, waiting for the scene that might mean so much to her. There: this must be it, she thought with a flush of inner excitement. This surely must be the one:

"NOGALES, MEXICO. FEDERAL TROOPS OF GENERAL KOSTERLISKY, WITH AMERICAN SOLDIERS OF FORTUNE SERVING ON STAFF OF NOTED GENERAL."

Jean had it stamped indelibly upon her brain. She waited, with a quick intake of breath when the picture stood out with a sudden clarity before her eyes.

A "close-up" group of officers and men,—and some of the men Americans in face, dress, and manner. But it was one man, and one only, at whom she looked. Tall he was, and square-shouldered and lean; with his hat set far back on his head and a half smile curling his lips, and his eyes looking straight into the camera. Standing there with his weight all on one foot, in that attitude which cowboys call "hipshot." Art Osgood! She was sure of it! Her hands clenched in her lap. Art Osgood, at Nogales, Mexico. Serving on the staff of General Kosterlisky. Was the man mad, to stand there publicly before the merciless, revealing eye of a motion-picture camera? Or did his vanity blind him to the risk he was taking?

The man at whom she sat glaring glanced sidewise at some person unseen; and Jean knew that glance, that turn of the head. He smiled anew and lifted his American-made Stetson a few inches above his head and held it so in salute. Just so had he lifted and held his hat high one day, when she had turned and ridden away from him down the trail. Jean caught herself just as her lips opened to call out to him in recognition and sharp reproach. He turned and walked away to where the troopers were massed in the background. It was thus that she had first glimpsed him for one instant before the scene ended; it was just as he turned his face away that she had opened her eyes, and thought it was Art Osgood who was walking away from the camera.

She waited a minute, staring abstractedly at the refugees who were presented next. She wished that she knew when the picture had been taken,—how long ago. Her experience with motion-picture making, her listening to the shop-talk of the company, had taught her much; she knew that sometimes weeks elapse between the camera's work and the actual projection of a picture upon the theater screens. Still, this was, in a sense, a news release, and therefore in all probability hurried to the public. Art Osgood might still be at Nogales, Mexico, wherever that was. He might; and Jean made up her mind and laid her plans while she sat there pinning on her hat.

She got up quietly and slipped out. She was going to Nogales, Mexico, wherever that was. She was going to get Art Osgood, and she didn't care whether she had to fight her way clear through "Warring Mexico." She would find him and get him and bring him back.

In the lobby, while she paused with a truly feminine instinct to tip her hat this way and that before the mirror, and give her hair a tentative pat or two at the back, the grinning face of Lite Avery in his gray Stetson appeared like an apparition before her eyes. She turned quickly.

"Why, Lite!" she said, a little startled.

"Why, Jean!" he mimicked, in the bantering voice that was like home to her. "Don't rush off; haven't seen you to-day. Wait till I get you a ticket, and then you come back and help me admire ourselves. I came down on a long lope when somebody said you caught a street car headed this way. Thought maybe I'd run across you here. Knew you couldn't stay away much longer from seeing how you look. Ain't too proud to sit alongside a rough-neck puncher, are you?"

Jean looked at him understandingly. Lite's exuberance was unusual; but she knew, as well as though he had told her, that he had been lonesome in this strange city, and that he was overjoyed at the sight of her, who was his friend. She unpinned her hat which she had been at some pains to adjust at the exact angle decreed by fashion.

"Yes, I'll go back with you," she drawled. "I want to see how you like the sight of yourself just as you are. It—it's good for one, after the first shock wears off." She would not say a word about that Mexican picture, she thought; but she wanted to see if Lite also would recognize Art Osgood, and feel as sure of his identity as she had felt. That would make her doubly sure of her self. She could do what she meant to do without any misgivings whatsoever. She could afford to wait a little while and have the pleasure of Lite's presence beside her. Lite was homesick and lonesome;—she felt it in every tone and in every look;—almost as homesick and lonesome as she was herself. She would not hurt him by going off and leaving him alone, even if she had not wanted to be with him and to watch the effect that Mexican picture would have upon him. Lite believed Art Osgood was in the Klondyke. She would wait and see what he believed after he had seen that Nogales picture.

She waited. She had missed Lite in the last day or so; she had seemed almost as far away from him as from the Lazy A. But all the while she talked to him in whispers when he had wanted to discuss the Jean picture, she was waiting, just waiting, for that Nogales picture.

When it came at last, Jean turned her head and watched Lite. And Lite gave a real start and said something under his breath, and plucked at her sleeve afterwards to attract her attention.

"Look—quick! That fellow standing there with his arms folded. Skin me alive if it isn't Art Osgood!"

"Are you sure?" Jean studied him.

"Sure? Where're your eyes? Look at him! It sure ain't anybody else, Jean. Now, what do you reckon he's doing down in Mexico?"



CHAPTER XXI

JEAN BELIEVES THAT SHE TAKES MATTERS INTO HER OWN HANDS

After all, Jean did not have to fight her way clear through "Warring Mexico" and back again, in order to reach Nogales. She let Lite take her to the snug little apartment which she was to share with Muriel and her mother, and she fancied that she had been very crafty and very natural in her manner all the while he was with her, and that Lite did not dream of what she had in her mind to do. At any rate, she watched him stalk away on his high-heeled riding-boots, and she thought that his mind was perfectly at ease. (Jean, I fear, never will understand Lite half as well as Lite has always understood Jean.)

She caught the next down-town car and went straight to the information bureau of the Southern Pacific, established for the convenience of the public and the sanity of employees who have something to do besides answer foolish questions.

She found a young man there who was not averse to talking at length with a young woman who was dressed trimly in a street suit of the latest fashion, and who had almost entrancing, soft drawl to her voice and a most fascinating way of looking at one. This young man appeared to know a great deal, and to be almost eager to pass along his wisdom. He knew all about Nogales, Mexico, for instance, and just what train would next depart in that general direction, and how much it would cost, and how long she would have to wait in Tucson for the once-a-day train to Nogales, and when she might logically expect to arrive in that squatty little town that might be said to be really and truly divided against itself. Here the nice young man became facetious.

"Bible tells us a city divided against itself cannot stand," he informed Jean quite gratuitously. "Well, maybe that's straight goods, too. But Nogales is cut right through at the waist line with the international boundary line. United States customhouse on one corner of the street, Mexican customhouse in talking distance on the other corner. Great place for holdups, that!" This was a joke, and Jean smiled obligingly. "First the United States holds you up, and then the Mexicans. You get it coming and going. Well, Nogales don't have to stand. It squats. It's adobe mostly."

Jean was interested, and she did not discourage the nice young man. She let him say all he could think of on the subject of Nogales and the Federal troops stationed there, and on warring Mexico generally. When she left him, she felt as if she knew a great deal about the end of her journey. So she smiled and thanked the nice young man in that soft drawl that lingered pleasantly in his memory, and went over to another window and bought a ticket to Nogales. She moved farther along to another window and secured a Pullman ticket which gave her lower five in car four for her comfort.

With an impulse of wanting to let her Uncle Carl know that she was not forgetting her mission, she sent him this laconic telegram:

Have located Art. Will bring him back with me. JEAN.

After that, she went home and packed a suit-case and her six-shooter and belt. She did not, after all, know just what might happen in Nogales, Mexico, but she meant to bring back Art Osgood if he were to be found alive; hence the six-shooter.

That evening she told Muriel that she was going to run away and have her vacation—her "vacation" hunting down and capturing a murderer who had taken refuge in the Mexican army!—and that she would write when she knew just where she would stop. Then she went away alone in a taxi to the depot, and started on her journey with a six-shooter jostling a box of chocolates in her suit-case, and with her heart almost light again, now that she was at last following a clue that promised something at the other end.

It was all just as the nice young man had told her. Jean arrived in Tucson, and she left on time, on the once-a-day train to Nogales.

Lite also arrived in Tucson on time, though Jean did not see him, since he descended from the chair car with some caution just as she went into the depot. He did not depart on time as it happened; he was thirsty, and he went off to find something wetter than water to drink, and while he was gone the once-a-day train also went off through the desert. Lite saw the last pair of wheels it owned go clipping over the switch, and he stood in the middle of the track and swore. Then he went to the telegraph office and found out that a freight left for Nogales in ten minutes. He hunted up the conductor and did things to his bank roll, and afterwards climbed into the caboose on the sidetrack. Lite has been so careful to keep in the background, through all these chapters, that it seems a shame to tell on him now. But I am going to say that, little as Jean suspected it, he had been quite as interested in finding Art Osgood as had she herself. When he saw her pass through the gate to the train, in Los Angeles, that was his first intimation that she was going to Nogales; so he had stayed in the chair car out of sight. But it just shows how great minds run in the same channel; and how, without suspecting one another, these two started at the same time upon the same quest.

Jean stared out over the barrenness that was not like the barrenness of Montana, and tried not to think that perhaps Art Osgood had by this time drifted on into obscurity. Still, if he had drifted on, surely she could trace him, since he had been serving on the staff of a general and should therefore be pretty well known. What she really hated most to think of was the possibility that he might have been killed. They did get killed, sometimes, down there where there was so much fighting going on all the time.

When the shadows of the giant cactus stretched mutilated hands across the desert sand, and she believed that Nogales was near, Jean carried her suit-case to the cramped dressing-room and took out her six-shooter and buckled it around her. Then she pulled her coat down over it with a good deal of twisting and turning before the dirty mirror to see that it looked all right, and not in the least as though a perfect lady was packing a gun.

She went back and dipped fastidious fingers into the box of chocolates, and settled herself to nibble candy and wait for what might come. She felt very calm and self-possessed and sure of herself. Her only fear was that Art Osgood might have been killed, and his lips closed for all time. So they rattled away through the barrenness and drew near to Nogales.

Casa del Sonora, whither she went, was an old, two-story structure of the truly Spanish type, and it was kept by a huge, blubbery creature with piggish eyes and a bloated, purple countenance and the palsy. As much of him as appeared to be human appeared to be Irish; and Jean, after the first qualm of repulsion, when she faced him over the hotel register, detected a certain kindly solicitude in his manner, and was reassured.

So far, everything had run smoothly, like a well-staged play. Absurdly simple, utterly devoid of any element of danger, any vexatious obstacle to the immediate achievement of her purpose! But Jean was not thrown off her guard because of the smoothness of the trail.

The trip from Tucson had been terribly tiresome; she was weary in every fibre, it seemed to her. But for all that she intended, sometime that evening, to meet Art Osgood if he were in town. She intended to take him with her on the train that left the next morning. She thought it would be a good idea to rest now, and to proceed deliberately, lest she frustrate all her plans by over-eagerness.

Perhaps she slept a little while she lay upon the bed and schooled herself to calmness. A band, somewhere, playing a pulsing Spanish air, brought her to her feet. She went to the window and looked out, and saw that the street lay cool and sunless with the coming of dusk.

From the American customhouse just on the opposite corner came Lite Avery, stalking leisurely along in his high-heeled riding-boots. Jean drew back with a little flutter of the pulse and watched him, wondering how he came to be in Nogales. She had last seen him boarding a car that would take him out to the Great Western Studio; and now, here he was, sauntering across the street as if he lived here. It was like finding his bed up in the loft and knowing all at once that he had been keeping watch all the while, thinking of her welfare and never giving her the least hint of it. That at least was understandable. But to her there was something uncanny about his being here in Nogales. When he was gone, she stepped out through the open window to the veranda that ran the whole length of the hotel, and looked across the street into Mexico.

She was, she decided critically, about fifteen feet from the boundary line. Just across the street fluttered the Mexican flag from the Mexican customhouse. A Mexican guard lounged against the wall, his swarthy face mask-like in its calm. While she leaned over the railing and stared curiously at that part of the street which was another country, from the hills away to the west, where were camped soldiers,—the American soldiers,—who prevented the war from slopping over the line now and then into Arizona, came the clear notes of a bugle held close-pressed against the lips of a United States soldier in snug-fitting khaki. The boom of the sundown salute followed immediately after. In the street below her, Mexicans and Americans mingled amiably and sauntered here and there, killing time during that bored interval between eating and the evening's amusement.

Just beyond the Mexican boundary, the door of a long, adobe cantina was flung open, and a group of men came out and paused as if they were wondering what they should do next, and where they should go. Jean looked them over curiously. Mexicans they were not, though they had some of the dress which belonged on that side of the boundary.

Americans they were; one knew by the set of their shoulders, by the little traits of race which have nothing to do with complexion or speech.

Jean caught her breath and leaned forward. There was Art Osgood, standing with his back toward her and with one palm spread upon his hip in the attitude she knew so well. If only he would turn! Should she run down the stairs and go over there and march him across the line at the muzzle of her revolver? The idea repelled her, now that she had actually come to the point of action.

Jean, now that the crisis had arrived, used her woman's wile, rather than the harsher but perhaps less effective weapons of a man.

"Oh, Art!" she called, just exactly as she would have called to him on the range, in Montana "Hello, Art!"

Art Osgood wheeled and sent a startled, seeking glance up at the veranda; saw her and knew who it was that had called him, and lifted his hat in the gesture that she knew so well. Jean's fingers were close to her gun, though she was not conscious of it, or of the strained, tense muscles that waited the next move.

Art, contrary to her expectations, did the most natural thing in the world. He grinned and came hurrying toward her with the long, eager steps of one who goes to greet a friend after an absence that makes of that meeting an event. Jean watched him cross the street. She waited, dazed by the instant success of her ruse, while he disappeared under the veranda. She heard his feet upon the stairs. She heard him come striding down the hall to the glass-paneled door. She saw him coming toward her, still grinning in his joy at the meeting.

"Jean Douglas! By all that's lucky!" he was exclaiming. "Where in the world did you light down from?" He came to a stop directly in front of her, and held out his hand in unsuspecting friendship.



CHAPTER XXII

JEAN MEETS ONE CRISIS AND CONFRONTS ANOTHER

"Well, say! This is like seeing you walk out of that picture that's running at the Teatro Palacia. You sure are making a hit with those moving-pictures; made me feel like I'd met somebody from home to stroll in there and see you and Lite come riding up, large as life. How is Lite, anyway?"

If Art Osgood felt any embarrassment over meeting her, he certainly gave no sign of it. He sat down on the railing, pushed back his hat, and looked as though he was preparing for a real soul-feast of reminiscent gossip. "Just get in?" he asked, by way of opening wider the channel of talk. He lighted a cigarette and flipped the match down into the street. "I've been here three or four months. I'm part of the Mexican revolution, though I don't reckon I look it. We been keeping things pretty well stirred up, down this way. You looking for picture dope? Lubin folks are copping all kinds of good stuff here. You ain't with them, are you?"

Jean braced herself against slipping into easy conversation with this man who seemed so friendly and unsuspicious and so conscience-free. Killing a man, she thought, evidently did not seem to him a matter of any moment; perhaps because he had since then become a professional killer of men. After planning exactly how she should meet any contingency that might arise, she found herself baffled. She had not expected to meet this attitude. She was not prepared to meet it. She had taken it for granted that Art Osgood would shun a meeting; that she would have to force him to face her. And here he was, sitting on the porch rail and swinging one spurred and booted foot, smiling at her and talking, in high spirits over the meeting—or a genius at acting. She eyed him uncertainly, trying to adjust herself to this emergency.

Art came to a pause and looked at her inquiringly. "What's the matter?" he demanded. "You called me up here—and I sure was tickled to death to come, all right!—and now you stand there looking like I was a kid that had been caught whispering, and must be kept after school. I know the symptoms, believe me! You're sore about something I've said. What, don't you like to have anybody talk about you being a movie-queen? You sure are all of that. You've got a license to be proud of yourself. Or maybe you didn't know you was speaking to a Mexican soldier, or something like that." He made a move to rise. "Ex-cuse ME, if I've said something I hadn't ought. I'll beat it, while the beating's good."

"No, you won't. You'll stay right where you are." His frank acceptance of her hostile attitude steadied Jean. "Do you think I came all the way down here just to say hello?"

"Search me." Art studied her curiously. "I never could keep track of what you thought and what you meant, and I guess you haven't grown any easier to read since I saw you last. I'll be darned if I know what you came for; but it's a cinch you didn't come just to be riding on the cars."

"No," drawled Jean, watching him. "I didn't. I came after you."

Art Osgood stared, while his cheeks darkened with the flush of confusion. He laughed a little. "I sure wish that was the truth," he said. "Jean, you never would have to go very far after any man with two eyes in his head. Don't rub it in."

"I did," said Jean calmly. "I came after you. I'd have found you if I had to hunt all through Mexico and fight both armies for you."

"Jean!" There was a queer, pleading note in Art's voice. "I wish I could believe that, but I can't. I ain't a fool."

"Yes, you are." Jean contradicted him pitilessly. "You were a fool when you thought you could go away and no one think you knew anything at all about—Johnny Croft."

Art's fingers had been picking at a loose splinter on the wooden rail whereon he sat. He looked down at it, jerked it loose with a sharp twist, and began snapping off little bits with his thumb and forefinger. In a minute he looked up at Jean, and his eyes were different. They were not hostile; they were merely cold and watchful and questioning.

"Well?"

"Well, somebody did think so. I've thought so for three years, and so I'm here." Jean found that her breath was coming fast, and that as she leaned back against a post and gripped the rail on either side, her arms were quivering like the legs of a frightened horse. Still, her voice had sounded calm enough.

Art Osgood sat with his shoulders drooped forward a little, and painstakingly snipped off tiny bits of the splinter. After a short silence, he turned his head and looked at her again.

"I shouldn't think you'd want to stir up that trouble after all this while," he said. "But women are queer. I can't see, myself, why you'd want to bother hunting me up on account of—that."

Jean weighed his words, his look, his manner, and got no clue at all to what was going on back of his eyes. On the surface, he was just a tanned, fairly good-looking young man who has been reluctantly drawn into an unpleasant subject.

"Well, I did consider it worth while bothering to hunt you up," she told him flatly. "If you don't think it's important, you at least won't object to going back with me?"

Again his glance went to her face, plainly startled. "Go back with you?" he repeated. "What for?"

"Well—" Jean still had some trouble with her breath and to keep her quiet, smooth drawl, "let's make it a woman's reason. Because."

Art's face settled to a certain hardness that still was not hostile. "Becauses don't go," he said. "Not with a girl like you; they might with some. What do you want me to go back for?"

"Well, I want you to go because I want to clear things up, about Johnny Croft. It's time—it was cleared up."

Art regarded her fixedly. "Well, I don't see yet what's back of that first BECAUSE," he sparred. "There's nothing I can do to clear up anything."

"Art, don't lie to me about it. I know—"

"What do you know?" Art's eyes never left her face, now. They seemed to be boring into her brain. Jean began to feel a certain confusion. To be sure, she had never had any experience whatever with fugitive murderers; but no one would ever expect one to act like this. A little more, she thought resentfully, and he would be making her feel as if she were the guilty person. She straightened herself and stared back at him.

"I know you left because you—you didn't want to stay and face-things. I—I have felt as if I could kill you, almost, for what you have done. I—I don't see how you can SIT there and—and look at me that way." She stopped and braced herself. "I don't want to argue about it. I came here to make you go back and face things. It's—horrible—" She was thinking of her father then, and she could not go on.

"Jean, you're all wrong. I don't know what idea you've got, but you may as well get one or two things straight. Maybe you do feel like killing me; but I don't know what for. I haven't the slightest notion of going back; there's nothing I could clear up, if I did go."

Jean looked at him dumbly. She supposed she should have to force him to go, after all. Of course, you couldn't expect that a man who had committed a crime will admit it to the first questioner; you couldn't expect him to go back willingly and face the penalty. She would have to use her gun; perhaps even call on Lite, since Lite had followed her. She might have felt easier in her mind had she seen how Lite was standing just within the glass-paneled door behind the dimity curtain, listening to every word, and watching every expression on Art Osgood's face. Lite's hand, also, was close to his gun, to be perfectly sure of Jean's safety. But he had no intention of spoiling her feeling of independence if he could help it. He had lots of faith in Jean.

"What has cropped up, anyway?" Art asked her curiously, as if he had been puzzling over her reasons for being there. "I thought that affair was settled long ago, when it happened. I thought it was all straight sailing—"

"To send an innocent man to prison for it? Do you call that straight sailing?" Jean's eyes had in them now a flash of anger that steadied her.

"What innocent man?" Art threw away the stub of the splinter and sat up straight. "I never knew any innocent man—"

"Oh! You didn't know?"

"All I know," said Art, with a certain swiftness of speech that was a new element in his manner, "I'm dead willing to tell you. I knew Johnny had been around knocking the outfit, and making some threats, and saying things he had no business to say. I never did have any use for him, just because he was so mouthy. I wasn't surprised to hear—how it ended up."

"To hear! You weren't there, when it happened?" Jean was watching him for some betraying emotion, some sign that she had struck home. She got a quick, sharp glance from him, as if he were trying to guess just how much she knew.

"Why should I have been there? The last time I was ever at the Lazy A," he stated distinctly, "was the day before I left. I didn't go any farther than the gate then. I had a letter for your father, and I met him at the gate and gave it to him."

"A letter for dad?" It was not much, but it was better than nothing. Jean thought she might lead him on to something more.

"Yes! A note, or a letter. Carl sent me over with it."

"Carl? What was it about? I never heard—"

"I never read it. Ask your dad what it was about, why don't you? I don't reckon it was anything particular."

"Maybe it was, though." Jean was turning crafty. She would pretend to be interested in the letter, and trip Art somehow when he was off his guard. "Are you sure that it was the day before—you left?"

"Yes." Some high talk in the street caught his attention, and Art turned and looked down. Jean caught at the chance to study his averted face, but she could not read innocence or guilt there. Art, she decided, was not as transparent as she had always believed him to be. He turned back and met her look. "I know it was the day before. Why?"

"Oh, I wondered. Dad didn't say— What did he do with it—the letter?"

"He opened it and read it." A smile of amused understanding of her finesse curled Art's lips. "And he stuck it in the pocket of his chaps and went on to wherever he was going." His eyes challenged her impishly.

"And it was from Uncle Carl, you say?"

Art hesitated, and the smile left his lips. "It—it was from Carl, yes. Why?"

"Oh, I just wondered." Jean was wondering why he had stopped smiling, all at once, and why he hesitated. Was he afraid he was going to contradict himself about the day or the errand? Or was he afraid she would ask her Uncle Carl, and find that there was no letter?

"Why don't you ask your dad, if you are so anxious to know all about it?" Art demanded abruptly. "Anyway, that's the last time I was ever over there."

"Ask dad!" Jean's anger flamed out suddenly. "Art Osgood, when I think of dad, I wonder why I don't shoot you! I wonder how you dare sit there and look me in the face. Ask dad! Dad, who is paying with his life and all that's worth while in life, for that murder that you deny—"

"What's that? Paying how?" Art leaned toward her; and now his face was hard and hostile, and so were his eyes.

"Paying! You know how he is paying! Paying in Deer Lodge penitentiary—"

"Who? YOUR FATHER?" Had Art been ready to spring at her and catch her by the throat, he would not have looked much different.

"My father!" Jean's voice broke upon the word. "And you—" She did not attempt to finish the charge.

Art sat looking at her with a queer intensity. "Your father!" he repeated. "Aleck! I never knew that, Jean. Take my word, I never knew that!" He seemed to be thinking pretty fast. "Where's Carl at?" he asked irrelevantly.

"Uncle Carl? He's home, running both ranches. I—I never could make Uncle Carl see that you must have been the one."

"Been the one that shot Crofty, you mean?" Art gave a short laugh. He got up and stood in front of her. "Thanks, awfully. Good reason why he couldn't see it! He knows well enough I didn't do it. He knows—who did." He bit his lips then, as if he feared that he had said too much.

"Uncle Carl knows? Then why doesn't he tell? It wasn't dad!" Jean took a defiant step toward him. "Art Osgood, if you dare say it was dad, I—I'll kill you!"

Art smiled at her with a brief lightening of his eyes. "I believe you would, at that," he said soberly. "But it wasn't your dad, Jean."

"Who was it?"

"I—don't—know."

"You do! You do know, Art Osgood! And you ran off; and they gave dad eight years—"

Art spoke one word under his breath, and that word was profane. "I don't see how that could be," he said after a minute.

Jean did not answer. She was biting her lips to keep back the tears. She felt that somehow she had failed; that Art Osgood was slipping through her fingers, in spite of the fact that he did not seem to fear her or to oppose her except in the final accusation. It was the lack of opposition, that lack of fear, that baffled her so. Art, she felt dimly, must be very sure of his own position; was it because he was so close to the Mexican line? Jean glanced desperately that way. It was very close. She could see the features of the Mexican soldiers lounging before the cantina over there; through the lighted window of the customhouse she could see a dark-faced officer bending over a littered desk. The guard over there spoke to a friend, and she could hear the words he said.

Jean thought swiftly. She must not let Art Osgood go back across that street. She could cover him with her gun—Art knew how well she could use it!—and she would call for an American officer and have him arrested. Or, Lite was somewhere below; she would call for Lite, and he could go and get an officer and a warrant.

"How soon you going back?" Art asked abruptly, as though he had been pondering a problem and had reached the solution. "I'll have to get a leave of absence, or go down on the books as a deserter; and I wouldn't want that. I can get it, all right. I'll go back with you and straighten this thing out, if it's the way you say it is. I sure didn't know they'd pulled your dad for it, Jean."

This, coming so close upon the heels of her own decision, set Jean all at sea again. She looked at him doubtfully.

"I thought you said you didn't know, and you wouldn't go back."

Art grinned sardonically. "I'll lie any time to help a friend," he admitted frankly. "What I do draw the line at is lying to help some cowardly cuss double-cross a man. Your father got the double-cross; I don't stand for anything like that. Not a-tall!" He heaved a sigh of nervous relaxation, for the last half hour had been keyed rather high for them both, and pulled his hat down on his head.

"Say, Jean! Want to go across with me and meet the general? You can make my talk a whole lot stronger by telling what you came for. I'll get leave, all right, then. And you'll know for sure that I'm playing straight. You see that two-story 'dobe about half-way down the block,—the one with the Mexican flag over it?" He pointed. "There's where he is. Want to go over?"

"Any objections to taking me along with you?" This was Lite, coming nonchalantly toward them from the doorway. Lite was still perfectly willing to let Jean manage this affair in her own way, but that did not mean that he would not continue to watch over her. Lite was much like a man who lets a small boy believe he is driving a skittish team all alone. Jean believed that she was acting alone in this, as in everything else. She had yet to learn that Lite had for three years been always at hand, ready to take the lines if the team proved too fractious for her.

Art turned and put out his hand. "Why, hello, Lite! Sure, you can come along; glad to have you." He eyed Lite questioningly. "I'll gamble you've heard all we've been talking about," he said. "That would be you, all right! So you don't need any wising up. Come on; I want to catch the chief before he goes off somewhere."

To see the three of them go down the stairs and out upon the street and across it into Mexico,—which to Jean seemed very queer,—you would never dream of the quest that had brought them together down here on the border. Even Jean was smiling, in a tired, anxious way. She walked close to Lite and never once asked him how he came to be there, or why. She was glad that he was there. She was glad to shift the whole matter to his broad shoulders now, and let him take the lead.

They had a real Mexican dinner in a queer little adobe place where Art advised them quite seriously never to come alone. They had thick soup with a strange flavor, and Art talked with the waiter in Mexican dialect that made Jean glad indeed to feel Lite's elbow touching hers, and to know that although Lite's hand rested idly on his knee, it was only one second from his weapon. She had no definite suspicion of Art Osgood, but all the same she was thankful that she was not there alone with him among all these dark, sharp-eyed Mexicans with their atmosphere of latent treachery.

Lite ate mostly with his left hand. Jean noticed that. It was the only sign of watchfulness that he betrayed, unless one added the fact that he had chosen a seat which brought his back against an adobe wall and his face toward Art and the room, with Jean beside him. That might have been pure chance, and it might not. But Art was evidently playing fair.

A little later they came back to the Casa del Sonora, and Jean went up to her room feeling that a great burden had been lifted from her shoulders. Lite and Art Osgood were out on the veranda, gossiping of the range, and in Art's pocket was a month's leave of absence from his duties. Once she heard Lite laugh, and she stood with one hand full of hairpins and the other holding the brush and listened, and smiled a little. It all sounded very companionable, very care-free,—not in the least as though they were about to clear up an old wrong.

She got into bed and thumped the hard pillow into a little nest for her tired head, and listened languidly to the familiar voices that came to her mingled with confused noises of the street. Lite was on guard; he would not lose his caution just because Art seemed friendly and helpfully inclined, and had meant no treachery over in that queer restaurant. Lite would not be easily tricked. So she presently fell asleep.



CHAPTER XXIII

A LITTLE ENLIGHTENMENT

Sometime in the night Jean awoke to hear footsteps in the corridor outside her room. She sat up with a start, and her right hand went groping for her gun. Just for the moment she thought that she was in her room at the Lazy A, and that the night-prowler had come and was beginning his stealthy search of the house.

Then she heard some one down in the street call out a swift sentence in Spanish, and get a laugh for an answer. She remembered that she was in Nogales, within talking distance of Mexico, and that she had found Art Osgood, and that he did not behave like a fugitive murderer, but like a friend who was anxious to help free her father.

The footsteps went on down the hall,—the footsteps of Lite, who had come and stood for a minute outside her door to make sure that all was quiet and that she slept. But Jean, now that she knew where she was, lay wide awake and thinking. Suddenly she sat up again, staring straight before her.

That letter,—the letter Art had taken to her father, the letter he had read and put in the pocket of his chaps! Was that what the man had been hunting for, those nights when he had come searching in that secret, stealthy way? She did not remember ever having looked into the pocket of her father's chaps, though they had hung in her room all those three years since the tragedy. Pockets in chaps were not, as a general thing, much used. Men carried matches in them sometimes, or money. The flap over her dad's chap-pocket was buttoned down, and the leather was stiff; perhaps the letter was there yet.

She got up and turned on the light, and looked at her watch. She wanted to start then, that instant, for Los Angeles. She wanted to take her dad's chaps out of her trunk where she had packed them just for the comfort of having them with her, and she wanted to look and see if the letter was there still. There was no particular reason for believing that this was of any particular importance, or had any bearing whatever upon the crime. But the idea was there, and it nagged at her.

Her watch said that it was twenty-five minutes after two o'clock. The train, Lite had told her, would leave for Tucson at seven-forty-five in the morning. She told herself that, since it was too far to walk, and since she could not start any sooner by staying up and freezing, she might just as well get back into bed and try to sleep.

But she could not sleep. She kept thinking of the letter, and trying to imagine what clue it could possibly give if she found it still in the pocket. Carl had sent it, Art said. A thought came to Jean which she tried to ignore; and because she tried to ignore it, it returned with a dogged insistence, and took clearer shape in her mind, and formed itself into questions which she was compelled at last to face and try to answer.

Was it her Uncle Carl who had come and searched the house at night, trying to find that letter? If it were her uncle, why was he so anxious to find it, after three years had passed? What was in the letter? If it had any bearing whatever upon the death of Johnny Croft, why hadn't her dad mentioned it? Why hadn't her Uncle Carl said something about it? Was the letter just a note about some ranch business? Then why else should any one come at night and prowl all through the house, and never take anything? Why had he come that first night?

Jean drew in her breath sharply. All at once, like a flashlight turned upon a dark corner of her mind, she remembered something about that night. She remembered how she had told her Uncle Carl that she meant to prove that her dad was innocent; that she meant to investigate the devious process by which the Lazy A ranch and all the stock had ceased to belong to her or her father; that she meant to adopt sly, sleuth-like methods; she remembered the very words which she had used. She remembered how bitter her uncle had become. Had she frightened him, somehow, with her bold declaration that she would not "let sleeping dogs lie" any longer? Had he remembered the letter, and been uneasy because of what was in it? But what COULD be in it, if it were written at least a day before the terrible thing had happened?

She remembered her uncle's uncontrolled fury that evening when she had ridden over to see Lite. What had she said to cause it? She tried to recall her words, and finally she did remember saying something about proving that her own money had been paying for her "keep" for three years. Then he had gone into that rage, and she had not at the time seen any connection between her words and his raving anger. But perhaps there was a connection. Perhaps—

"Oh, my goodness!" she exclaimed aloud. She was remembering the telegram which she had sent him just before she left Los Angeles for Nogales. "He'll just simply go WILD when he gets that wire!" She recalled now how he had insisted all along that Art Osgood knew absolutely nothing about the murder; she recalled also, with an uncanny sort of vividness, Art's manner when he had admitted for the second time that the letter had been from Carl. She remembered how he had changed when he found that her father was being punished for the crime.

She did not know, just yet, how all these tangled facts were going to work out. She had not yet come to the final question that she would presently be asking herself. She felt sure that her uncle knew more,—a great deal more,—about Johnny Croft's death than he had appeared to know; but she had not yet reached the point to which her reasonings inevitably would bring her; perhaps her mind was subconsciously delaying the ultimate conclusion.

She got up and dressed; unfastening her window, she stepped out on the veranda. The street was quiet at that time in the morning. A sentry stood on guard at the corner, and here and there a light flared in some window where others were wakeful. But for the most part the town lay asleep. Over in what was really the Mexican quarter, three or four roosters were crowing as if they would never leave off. The sound of them depressed Jean, and made her feel how heavy was the weight of her great undertaking,—heavier now, when the end was almost in sight, than it had seemed on that moonlight night when she had ridden over to the Lazy A and had not the faintest idea of how she was going to accomplish any part of her task which she had set herself. She shivered, and turned back to get the gay serape which she had bought from an old Mexican woman when they were coming out of that queer restaurant last evening.

When she came out again, Lite was standing there, smoking a cigarette and leaning against a post.

"You'd better get some sleep, Jean," he reproved her when she came and stood beside him. "You had a pretty hard day yesterday; and to-day won't be any easier. Better go back and lie down."

Jean merely pulled the serape snugger about her shoulders and sat down sidewise upon the railing. "I couldn't sleep," she said. "If I could, I wouldn't be out here; I'd be asleep, wouldn't I? Why don't you go to bed yourself?"

"Ah-h, Art's learned to talk Spanish," he said drily. "I got myself all worked up trying to make out what he was trying to say in his sleep, and then I found out it wasn't my kinda talk, anyway. So I quit. What's the matter that you can't sleep?"

Jean stared down at the shadowy street. A dog ran out from somewhere, sniffed at a doorstep, and trotted over into Mexico and up to the sentry. The sentry patted it on the head and muttered a friendly word or two. Jean watched him absently. It was all so peaceful! Not at all what one would expect, after seeing pictures of all those refugees and all those soldiers fighting, and the dead lying in the street in some little town whose name she could not pronounce correctly.

"Did you hear Art tell about taking a letter to dad the day before?" she asked abruptly. "He wasn't telling the truth, not all the time. But somehow I believe that was the truth. He said dad stuck it in the pocket of his chaps. I believe it's there yet, Lite. I don't remember ever looking into that pocket. And I believe—Lite, I never said anything about it, but somebody kept coming to the house in the night and hunting around through all the rooms. He never came into my room, so I—I didn't bother him; but I've wondered what he was after. It just occurred to me that maybe—"

"I never could figure out what he was after, either," Lite observed quietly.

"You?" Jean turned her head, so that her eyes shone in the light of a street lamp while she looked up at him. "How in the world did you know about him?"

Lite laughed drily. "I don't think there's much concerns you that I don't know," he confessed. "I saw him, I guess, every time he came around. He couldn't have made a crooked move,—and got away with it. But I never could figure him out exactly."

Jean looked at him, touched by the care of her that he had betrayed in those few words. Always she had accepted him as the one friend who never failed her, but lately,—since the advent of the motion-picture people, to be exact,—a new note had crept into his friendship; a new meaning into his watching over her. She had sensed it, but she had never faced it openly. She pulled her thoughts away from it now.

"Did you know who he was?"

It was like Jean to come straight to the point. Lite smiled faintly; he knew that question would come, and he knew that he would have to answer it.

"Sure. I made it my business to know who he was."

"Who was it, Lite?"

Lite did not say. He knew that question was coming also, but he did not know whether he ought to answer it.

"It was Uncle Carl, wasn't it?"

Lite glanced down at her quickly. "You're a good little guesser."

"Then it was that letter he was after." She was silent for a minute, and then she looked at her watch. "And I can't get at those chaps before to-morrow!" She sighed and leaned back against the post.

"Lite, if it was worth all that hunting for, it must mean something to us. I wonder what it can be; don't you know?"

"No," said Lite slowly, "I don't. And it's something a man don't want to do any guessing about."

This, Jean felt, was a gentle reproof for her own speculations upon the subject. She said no more about the letter.

"I sent him a telegram," she informed Lite irrelevantly, "saying I'd located Art and was going to take him back there. I wonder what he thought when he got that!"

Lite turned half around and stared down at her. He opened his lips to speak, hesitated, and closed them without making a sound. He turned away and stared down into the street that was so empty. After a little he glanced at his own watch, with the same impulse Jean had felt. The hours and minutes were beginning to drag their feet as they passed.

"You go in," he ordered gently, "and lie down. You'll be all worn out when the time comes for you to get busy. We don't know what's ahead of us on this trail, Jean. Right now, it's peaceful as Sunday morning down in Maine; so you go in and get some sleep, while you have a chance, and stop thinking about things. Go on, Jean. I'll call you plenty early; you needn't be afraid of missing the train."

Jean smiled a little at the tender, protective note of authority in his voice and manner. Whether she permitted it or not, Lite would go right on watching over her and taking care of her. With a sudden desire to please him, she rose obediently. When she passed him, she reached out and gave his arm a little squeeze.

"You cantankerous old tyrant," she drawled in a whisper, "you do love to haze me around, don't you? Just to spite you, I'll do it!" She went in and left him standing there, smoking and leaning against the post, calm as the stars above. But under that surface calm, the heart of Lite Avery was thumping violently. His arm quivered still under the thrill of Jean's fingers. Your bottled-up souls are quick to sense the meaning in a tone or a touch; Jean, whether she herself knew it or not, had betrayed an emotion that set Lite's thoughts racing out into a golden future. He stood there a long while, staring out upon the darkness, his eyes shining.



CHAPTER XXIV

THE LETTER IN THE CHAPS

Though hours may drag themselves into the past so sluggishly that one is fairly maddened by the snail's pace of them, into the past they must go eventually. Jean had sat and listened to the wheels of the Golden State Limited clank over the cryptic phrase that meant so much. "Letter-in-the-chaps! Letter-in-the chaps!" was what they had said while the train pounded across the desert and slid through arroyas and deep cuts which leveled hills for its passing. "Letter-in-the-chaps! Letter-in-the-chaps!" And then a silence while they stood by some desolate station where the people were swarthy of skin and black of hair and eyes, and moved languidly if they moved at all. Then they would go on; and when the wheels had clicked over the switches of the various side tracks, they would take up again the refrain: "Letter-in-the-chaps! Letter-in-the-chaps!" until Jean thought she would go crazy if they kept it up much longer.

Little by little they drew near to Los Angeles. And then they were there, sliding slowly through the yards in a drab drizzle of one of California's fall rains. Then they were in a taxicab, making for the Third Street tunnel. Then Jean stared heavy-eyed at the dripping palms along the boulevard which led away from the smoke of the city and into Hollywood, snuggled against the misty hills. "Letter-in-the-chaps!" her tired brain repeated it still.