Light of the Western Stars Read online

Page 37


  "Senora, it is not too late!"

  He spoke her language with an accent strange to her, so that it seemed to hinder understanding.

  "Senora, you got here in time," he went on. "El Capitan Stewart will be free."

  "Free!" she whispered.

  She rose, reeling.

  "Come," replied Montes, taking her arm. "Perdoneme, Senora."

  Without his assistance she would have fallen wholly upon Nels, who supported her on the other side. They helped her alight from the car. For a moment the white walls, the hazy red sky, the dark figures of the rebels, whirled before Madeline's eyes. She took a few steps, swaying between her escorts; then the confusion of her sight and mind passed away. It was as if she quickened with a thousand vivifying currents, as if she could see and hear and feel everything in the world, as if nothing could be overlooked, forgotten, neglected.

  She turned back, remembering Link. He was lurching from the car, helmet and goggles thrust back, the gray shade gone from his face, the cool, bright gleam of his eyes disappearing for something warmer.

  Senor Montes led Madeline and her cowboys through a hall to a patio, and on through a large room with flooring of rough, bare boards that rattled, into a smaller room full of armed quiet rebels facing an open window.

  Madeline scanned the faces of these men, expecting to see Don Carlos. But he was not present. A soldier addressed her in Spanish too swiftly uttered, too voluble for her to translate. But, like Senor Montes, he was gracious and, despite his ragged garb and uncouth appearance, he bore the unmistakable stamp of authority.

  Montes directed Madeline's attention to a man by the window. A loose scarf of vivid red hung from his hand.

  "Senora, they were waiting for the sun to set when we arrived," said Montes. "The signal was about to be given for Senor Stewart's walk to death."

  "Stewart's walk!" echoed Madeline.

  "Ah, Senora, let me tell you his sentence—the sentence I have had the honor and happiness to revoke for you."

  Stewart had been court-martialed and sentenced according to a Mexican custom observed in cases of brave soldiers to whom honorable and fitting executions were due. His hour had been set for Thursday when the sun had sunk. Upon signal he was to be liberated and was free to walk out into the road, to take any direction he pleased. He knew his sentence; knew that death awaited him, that every possible avenue of escape was blocked by men with rifles ready. But he had not the slightest idea at what moment or from what direction the bullets were to come.

  "Senora, we have sent messengers to every squad of waiting soldiers—an order that El Capitan is not to be shot. He is ignorant of his release. I shall give the signal for his freedom."

  Montes was ceremonious, gallant, emotional. Madeline saw his pride, and divined that the situation was one which brought out the vanity, the ostentation, as well as the cruelty of his race. He would keep her in an agony of suspense, let Stewart start upon that terrible walk in ignorance of his freedom. It was the motive of a Spaniard. Suddenly Madeline had a horrible quaking fear that Montes lied, that he meant her to be a witness of Stewart's execution. But no, the man was honest; he was only barbarous. He would satisfy certain instincts of his nature—sentiment, romance, cruelty—by starting Stewart upon that walk, by watching Stewart's actions in the face of seeming death, by seeing Madeline's agony of doubt, fear, pity, love. Almost Madeline felt that she could not endure the situation. She was weak and tottering.

  "Senora! Ah, it will be one beautiful thing!" Montes caught the scarf from the rebel's hand. He was glowing, passionate; his eyes had a strange, soft, cold flash; his voice was low, intense. He was living something splendid to him. "I'll wave the scarf, Senora. That will be the signal. It will be seen down at the other end of the road. Senor Stewart's jailer will see the signal, take off Stewart's irons, release him, open the door for his walk. Stewart will be free. But he will not know. He will expect death. As he is a brave man, he will face it. He will walk this way. Every step of that walk he will expect to be shot from some unknown quarter. But he will not be afraid. Senora, I have seen El Captain fighting in the field. What is death to him? Ah, will it not be magnificent to see him come forth—to walk down? Senora, you will see what a man he is. All the way he will expect cold, swift death. Here at this end of the road he will meet his beautiful lady!"

  "Is there no—no possibility of a mistake?" faltered Madeline.

  "None. My order included unloading of rifles."

  "Don Carlos?"

  "He is in irons, and must answer to General Salazar," replied Montes.

  Madeline looked down the deserted road. How strange to see the last ruddy glow of the sun over the brow of the mountain range! The thought of that sunset had been torture for her. Yet it had passed, and now the afterlights were luminous, beautiful, prophetic.

  With a heart stricken by both joy and agony, she saw Montes wave the scarf.

  Then she waited. No change manifested itself down the length of that lonely road. There was absolute silence in the room behind her. How terribly, infinitely long seemed the waiting! Never in all her future life would she forget the quaint pink, blue, and white walled houses with their colored roofs. That dusty bare road resembled one of the uncovered streets of Pompeii with its look of centuries of solitude.

  Suddenly a door opened and a tall man stepped out.

  Madeline recognized Stewart. She had to place both hands on the window-sill for support, while a storm of emotion swayed her. Like a retreating wave it rushed away. Stewart lived. He was free. He had stepped out into the light. She had saved him. Life changed for her in that instant of realization and became sweet, full, strange.

  Stewart shook hands with some one in the doorway. Then he looked up and down the road. The door closed behind him. Leisurely he rolled a cigarette, stood close to the wall while he scratched a match. Even at that distance Madeline's keen eyes caught the small flame, the first little puff of smoke.

  Stewart then took to the middle of the road and leisurely began his walk.

  To Madeline he appeared natural, walked as unconcernedly as if he were strolling for pleasure; but the absence of any other living thing, the silence, the red haze, the surcharged atmosphere—these were all unnatural. From time to time Stewart stopped to turn face forward toward houses and corners. Only silence greeted these significant moves of his. Once he halted to roll and light another cigarette. After that his step quickened.

  Madeline watched him, with pride, love, pain, glory combating for a mastery over her. This walk of his seemingly took longer than all her hours of awakening, of strife, of remorse, longer than the ride to find him. She felt that it would be impossible for her to wait till he reached the end of the road. Yet in the hurry and riot of her feelings she had fleeting panics. What could she say to him? How meet him? Well she remembered the tall, powerful form now growing close enough to distinguish its dress. Stewart's face was yet only a dark gleam. Soon she would see it—long before he could know she was there. She wanted to run to meet him. Nevertheless, she stood rooted to her covert behind the window, living that terrible walk with him to the uttermost thought of home, sister, mother, sweetheart, wife, life itself—every thought that could come to a man stalking to meet his executioners. With all that tumult in her mind and heart Madeline still fell prey to the incomprehensible variations of emotion possible to a woman. Every step Stewart took thrilled her. She had some strange, subtle intuition that he was not unhappy, and that he believed beyond shadow of doubt that he was walking to his death. His steps dragged a little, though they had begun to be swift. The old, hard, physical, wild nerve of the cowboy was perhaps in conflict with spiritual growth of the finer man, realizing too late that life ought not to be sacrificed.

  Then the dark gleam that was his face took shape, grew sharper and clearer. He was stalking now, and there was a suggestion of impatience in his stride. It took these hidden Mexicans a long time to kill him! At a point in the middle of the road, even with the corner o
f a house and opposite to Madeline's position, Stewart halted stock-still. He presented a fair, bold mark to his executioners, and he stood there motionless a full moment.

  Only silence greeted him. Plain it was to Madeline, and she thought to all who had eyes to see, that to Stewart, since for some reason he had been spared all along his walk, this was the moment when he ought to be mercifully shot. But as no shots came a rugged dignity left him for a reckless scorn manifest in the way he strolled, across to the corner of the house, rolled yet another cigarette, and, presenting a broad breast to the window, smoked and waited.

  That wait was almost unendurable for Madeline. Perhaps it was only a moment, several moments at the longest, but the time seemed a year. Stewart's face was scornful, hard. Did he suspect treachery on the part of his captors, that they meant to play with him as a cat with a mouse, to murder him at leisure? Madeline was sure she caught the old, inscrutable, mocking smile fleeting across his lips. He held that position for what must have been a reasonable time to his mind, then with a laugh and a shrug he threw the cigarette into the road. He shook his head as if at the incomprehensible motives of men who could have no fair reasons now for delay.

  He made a sudden violent action that was more than a straightening of his powerful frame. It was the old instinctive violence. Then he faced north. Madeline read his thought, knew he was thinking of her, calling her a last silent farewell. He would serve her to his last breath, leave her free, keep his secret. That picture of him, dark-browed, fire-eyed, strangely sad and strong, sank indelibly into Madeline's heart of hearts.

  The next instant he was striding forward, to force by bold and scornful presence a speedy fulfilment of his sentence.

  Madeline stepped into the door, crossed the threshold. Stewart staggered as if indeed the bullets he expected had pierced him in mortal wound. His dark face turned white. His eyes had the rapt stare, the wild fear of a man who saw an apparition, yet who doubted his sight. Perhaps he had called to her as the Mexicans called to their Virgin; perhaps he imagined sudden death had come unawares, and this was her image appearing to him in some other life.

  "Who—are—you?" he whispered, hoarsely.

  She tried to lift her hands, failed, tried again, and held them out, trembling.

  "It is I. Majesty. Your wife!"

  End of the Project Gutenberg EBook of The Light of Western Stars, by Zane Grey

  *** END OF THIS PROJECT GUTENBERG EBOOK THE LIGHT OF WESTERN STARS ***

  ***** This file should be named 1095-h.htm or 1095-h.zip *****

  This and all associated files of various formats will be found in:

  http://www.gutenberg.org/1/0/9/1095/

  Produced by Nigel Lacey

  Updated editions will replace the previous one--the old editions

  will be renamed.

  Creating the works from public domain print editions means that no

  one owns a United States copyright in these works, so the Foundation

  (and you!) can copy and distribute it in the United States without

  permission and without paying copyright royalties. Special rules,

  set forth in the General Terms of Use part of this license, apply to

  copying and distributing Project Gutenberg-tm electronic works to

  protect the PROJECT GUTENBERG-tm concept and trademark. Project

  Gutenberg is a registered trademark, and may not be used if you

  charge for the eBooks, unless you receive specific permission. If you

  do not charge anything for copies of this eBook, complying with the

  rules is very easy. You may use this eBook for nearly any purpose

  such as creation of derivative works, reports, performances and

  research. They may be modified and printed and given away--you may do

  practically ANYTHING with public domain eBooks. Redistribution is

  subject to the trademark license, especially commercial

  redistribution.

  *** START: FULL LICENSE ***

  THE FULL PROJECT GUTENBERG LICENSE

  PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

  To protect the Project Gutenberg-tm mission of promoting the free

  distribution of electronic works, by using or distributing this work

  (or any other work associated in any way with the phrase "Project

  Gutenberg"), you agree to comply with all the terms of the Full Project

  Gutenberg-tm License (available with this file or online at

  http://gutenberg.org/license).

  Section 1. General Terms of Use and Redistributing Project Gutenberg-tm

  electronic works

  1.A. By reading or using any part of this Project Gutenberg-tm

  electronic work, you indicate that you have read, understand, agree to

  and accept all the terms of this license and intellectual property

  (trademark/copyright) agreement. If you do not agree to abide by all

  the terms of this agreement, you must cease using and return or destroy

  all copies of Project Gutenberg-tm electronic works in your possession.

  If you paid a fee for obtaining a copy of or access to a Project

  Gutenberg-tm electronic work and you do not agree to be bound by the

  terms of this agreement, you may obtain a refund from the person or

  entity to whom you paid the fee as set forth in paragraph 1.E.8.

  1.B. "Project Gutenberg" is a registered trademark. It may only be

  used on or associated in any way with an electronic work by people who

  agree to be bound by the terms of this agreement. There are a few

  things that you can do with most Project Gutenberg-tm electronic works

  even without complying with the full terms of this agreement. See

  paragraph 1.C below. There are a lot of things you can do with Project

  Gutenberg-tm electronic works if you follow the terms of this agreement

  and help preserve free future access to Project Gutenberg-tm electronic

  works. See paragraph 1.E below.

  1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"

  or PGLAF), owns a compilation copyright in the collection of Project

  Gutenberg-tm electronic works. Nearly all the individual works in the

  collection are in the public domain in the United States. If an

  individual work is in the public domain in the United States and you are

  located in the United States, we do not claim a right to prevent you from

  copying, distributing, performing, displaying or creating derivative

  works based on the work as long as all references to Project Gutenberg

  are removed. Of course, we hope that you will support the Project

  Gutenberg-tm mission of promoting free access to electronic works by

  freely sharing Project Gutenberg-tm works in compliance with the terms of

  this agreement for keeping the Project Gutenberg-tm name associated with

  the work. You can easily comply with the terms of this agreement by

  keeping this work in the same format with its attached full Project

  Gutenberg-tm License when you share it without charge with others.

  1.D. The copyright laws of the place where you are located also govern

  what you can do with this work. Copyright laws in most countries are in

  a constant state of change. If you are outside the United States, check

  the laws of your country in addition to the terms of this agreement

  before downloading, copying, displaying, performing, distributing or

  creating derivative works based on this work or any other Project

  Gutenberg-tm work. The Foundation makes no representations concerning

  the copyright status of any work in any country outside the United

  States.

  1.E. Unless you have
removed all references to Project Gutenberg:

  1.E.1. The following sentence, with active links to, or other immediate

  access to, the full Project Gutenberg-tm License must appear prominently

  whenever any copy of a Project Gutenberg-tm work (any work on which the

  phrase "Project Gutenberg" appears, or with which the phrase "Project

  Gutenberg" is associated) is accessed, displayed, performed, viewed,

  copied or distributed:

  This eBook is for the use of anyone anywhere at no cost and with

  almost no restrictions whatsoever. You may copy it, give it away or

  re-use it under the terms of the Project Gutenberg License included

  with this eBook or online at www.gutenberg.org

  1.E.2. If an individual Project Gutenberg-tm electronic work is derived

  from the public domain (does not contain a notice indicating that it is

  posted with permission of the copyright holder), the work can be copied

  and distributed to anyone in the United States without paying any fees

  or charges. If you are redistributing or providing access to a work

  with the phrase "Project Gutenberg" associated with or appearing on the

  work, you must comply either with the requirements of paragraphs 1.E.1

  through 1.E.7 or obtain permission for the use of the work and the

  Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

  1.E.9.

  1.E.3. If an individual Project Gutenberg-tm electronic work is posted

  with the permission of the copyright holder, your use and distribution

  must comply with both paragraphs 1.E.1 through 1.E.7 and any additional

  terms imposed by the copyright holder. Additional terms will be linked

  to the Project Gutenberg-tm License for all works posted with the

  permission of the copyright holder found at the beginning of this work.