The Complete Western Stories of Elmore Leonard by Elmore Leonard
Though neither of them believed that.
They watched the darkness creep in long shadows down out of the trees and across the meadow. It came dingy and dark gray over the yard bringing with it a deep silence and only occasional night sounds. When the room was dim the girl rose and brought a lamp to the table, but Brady shook his head and she sat down again without lighting it.
Now neither of them spoke and after a time Brady's hand moved to hers on the table. His fingers touched her fingers lightly. His hand covered hers and held it. They sat this way for a long time, at first selfconsciously aware of their hands together, then gradually relaxing, still not speaking, but feeling the nearness of one another and experiencing in the touch of their hands a strange warm intimate feeling, as if they had known each other for years and not just hours.
They sat this way as Brady's fingers moved and rubbed the back of her hand lightly, feeling the small bones and the smoothness of her skin, and when her hand turned their palms came together and held firmly. They sat this way until the faraway sound of a falling bucket clanged abruptly out of the darkness.
Brady came to his feet. He heard the girl gasp and he said, "Hold on to yourself. Remember now, you stay in here. You don't open the door unless you hear my voice."
He went out the front door, closing it quietly, now moving along the front of the house. At the corner he drew his Colt, eased back the hammer, hesitated only a brief moment before crouching and running along the fence to the front of the stable. He stopped to listen, then moved again, around the stable and along its adobe side to the back corner and now he went down to one knee.
Less than forty feet away directly across from him, the door of the barn came slowly open. Someone hesitated in the black square of the opening before coming out cautiously, keeping close to the front of the barn until he reached the corner. Brady waited, his eyes going from the dark figure to the open doorway, but no one followed.
You know who it is, Brady thought, raising, aiming the Colt. You know blame well who it is. He's alone because he ran out of patience.
Too young and full of fire to sit and wait. All right. That's fine. Albie, you're digging your own hole and that's just fine.
He watched the figure leave the barn: side-stepping cautiously out of the deep shadow, facing the house with his drawn gun, but edging one step at a time toward the dim outline of the corn crib.
Don't give him a chance, Brady thought. But as his hand tightened on the trigger he called out, "Albie--"
Albie fired. There was no hesitation, no indecision. With the sound of his name, his gun hand swung across his body and fired and with the movement he was running, going down as he reached the corn crib.
Silence.
So you learn, Brady thought. But you don't make the same mistake twice. He stepped out past the corner of the stable bringing up the Colt and lining the barrel on the empty corn crib.
Three times in quick succession he aimed and fired, moving the Colt from right to left across the shape of the crib. The sounds clashed in the darkness: the heavy ring of the Colt, the ripping, whining of the bullets splintering the slats and with the third shot a howl of pain.
Brady moved quickly across the yard to the corner of the barn. He loaded the Colt, listening, watching the crib, then edged around the corner, dropped to his hands and knees and crept toward the crib. Albie was on his knees doubled over holding his arms tight to his stomach when Brady pressed the Colt into his back.
"Get up, Albie."
"I can't move." The words came out in short grunts.
"You're going to move one more time," Brady said.
He took Albie's gun then went quickly across to the house and called the girl's name. The door opened and he saw the relief in her eyes and saw her about to speak, but he said, "Albie's not going to last." "Oh--" He saw her bite her lower lip.
"Listen--but maybe we can still use him." Brady spoke hurriedly, but quietly, telling her what to do: to hold Albie's gun on him and not move it even though he was doubled over with a bullet through his middle. And after that Brady ran to the barn. He went through it seeing only the cow, then out the rear door and across the wagon ruts into the trees. A dozen yards back in the pines he found their horses picketed with Albie's. He led them back to the barn and came out the front leading only Albie's.
The girl's eyes were open wide. "He's hurt terribly bad."
Brady said nothing. Albie screamed as Brady stooped and pulled him to his feet and made him mount the horse. Brady said then, "Listen to me. We're giving you a chance. Go get some help. You hear me, go get Ed to take care of you." He slapped the horse's rump, jumped after it and slapped again and the horse broke into a gallop--with Albie doubled over, his hands gripping the saddle horn--and rounded the corner of the stable.
Taking the girl's hand, Brady led her through the house, opened the front door then stood in the doorway, his hand holding her arm.
"I don't understand," she said.
"Listen a minute." They could still hear Albie's horse, though faintly now in the distance. "Going straight across," Brady said. "Telling us where Mr. Moak's waiting."
Chapter Six.
Two to One Odds NOW THINK about it some more, Brady thought. He was by the window again staring out at the masked, unmoving shapes in the darkness and hearing the small sounds of the girl who was in the kitchen, beyond the blanket that draped the doorway. Kitty. No--Catherine Mary. Brady said Catherine Mary again to himself, listening to the sound of it in his mind.
All right, and what're the odds on calling her that tomorrow?
Two to one now. Getting better. But now what will they do? You know what you'll do, but what about them? Was Albie on his own?
Maybe. Or part of a plan. Maybe. One of them is back in the trees and the other one's in front, across the meadow. Maybe. Could you run for it now, both of you? Maybe. Or will Ed Moak run for it? Hell no. One, two, three, four maybe's and a hell no--so the changing of the odds doesn't change your situation any. You still sit and wait. But now he knows you're not asleep.
He moved around the table to the side of the window and looked diagonally out across the yard. The aspen stand showed ghostly gray lines and a mass of branches and beyond it, in the smoked light of part of a moon, the meadow was mist gray and had no end as it stretched to nothing.
"Will he die?" the girl asked. She had made no sound coming to stand close to him.
"I think he will," Brady said. The girl did not speak and he said then, "I didn't want to kill him. I wanted to shoot him. I mean I was trying to shoot him because I had to, but killing him or seeing him dead wasn't in my mind."
His eyes moved to her face. She was staring out at the night and Brady said, "You feel sorry for him now."
"I can't help it." Her voice was low and with little tone.
"Listen, I felt sorry for him when I put him on the horse. He was just a poor kid going to die and I didn't like it one bit--but all the time I kept thinking, we're still in it. There's no time out for burying the dead and saying Our Fathers because Ed Moak is still here and knowing it is the only thing in the whole world that's important."
"Unless he's gone," the girl said.
"I just finished adding up the maybe's," Brady said. "You want to know how many there are?"
"I'm sorry."
"No, I shouldn't have said that."
She turned to him. "You remind me a lot of my older brother."
"I hope that's good."
She smiled. "I believe everybody likes Paul. He's never put on or anything." "Yeah?" There was a silence before Brady said, "You know, I was thinking, you haven't once cried or carried on or--you know, like you'd think a girl would."
"All girls don't act like that."
"I guess not." Brady said then, "You can learn a lot in a few hours, can't you?"
"Things that might've taken months," the girl said.
"Or years."
"It's funny, isn't it?"
"It's strange--"
"That's
what I mean."
Brady said, "I've been thinking about you more than about Ed Moak."
HER FACE WAS CLOSE to his, but now she looked out the window not knowing what to say.
"I didn't have any trouble telling you that," Brady said. "Which is something, for me."
She looked at him again, her face upturned calmly now and again close to his. "What is it you're telling me, Mr. Brady?"
"You know."
"I want to hear it."
"It would sound funny."
"That's all right."
He leaned closer and kissed her, holding her face gently between his hands. He kissed her again, hearing the soft sound of it and feeling the clinging response of her lips. His hands dropped to her waist as her arms went up and around his neck and they remained this way even after they had kissed, after his lips had brushed her cheek and whispered close to her ear.
"See?"
"It didn't sound funny."
"What's your ma and dad going to say?"
"They'll say it's awful sudden."
"Will they object?"
"Mr. Brady, are you proposing?"
He smiled, leaning back to look at her. "That's what you call the natural thing, when you're proposing and don't even know you're doing it."
"Then you are."
"1 guess so."
"Can you be sure," she said seriously, "knowing a person just a few hours?"
"We could wait if you want. Say about a week."
"Now you're fooling."
"Not very much."
Catherine Mary smiled now. "I think this has been the fastest moving day of my life."
"But the longest," Brady said. "And it's not even over yet." He saw her smile fade and again he remembered Ed Moak and the other man; he pictured them in the darkness, waiting and not speaking.
He thought angrily: Why does he have to be here? Why should a man who you've seen once before in your life have a chance to ruin your life? He felt restless and suddenly anxious for Moak to come. He wanted this over with; but he made himself think about it calmly because there was nothing he could do but wait.
ALL NIGHT HE remained at the window, occasionally rising, stretching, moving about when the restlessness would return, though most of the time he sat at the table staring out at the darkness, now and again turning to look at the girl who was asleep, covered with a blanket and curled in a canvas-bottomed chair she had moved close to the table. (He had told her to go to bed, but she argued that she wouldn't be able to sleep and she sat in the canvas chair as a compromise. After some time she fell asleep.) Brady waited and the hours dragged.
But to the girl, the night was over suddenly. Something awakened her. She opened her eyes, saw Brady bending over her, felt his hand on her shoulder and beyond him saw the tabletop and the window glistening coldly in the early morning sunlight.
His expression was calm, though grave and quietly determined and when he spoke his words brought her up in the chair and instantly awake. "They're coming now," Brady said.
"Where?"
"From across. Riding over like it's a social call." He watched her as she leaned close to the table, looking out and seeing them already approaching the aspen stand. "Catherine Mary, I want you to stay inside with the shotgun."
"What're you going to do?"
"Listen to me now--hold the shotgun on Russell. Then I won't have to worry about him." He hesitated uncertainly. "Are you afraid to use it?"
"No--"
"All right, and the Winchester's here on the table."
Facing the window he felt her hand on his arm, but now he moved to the door, not looking at her, and stepped outside before she could say anything more. He watched them coming through the aspen stand, walking their horses into the yard where, perhaps thirty feet from Brady, they stopped.
"Well, you sure must've had plenty of business," Ed Moak said easily.
He swung down and still holding the reins moved a few steps ahead of his horse. "We didn't figure to see you still here."
Moak's words came unexpectedly, catching Brady off guard. He had pictured the bearded man calling bluntly for a fight; but this was something else. "It got late," Brady said. "I thought I might as well stay here."
"I can't say's I blame you," Moak said.
"What do you mean by that?"
Moak shrugged, almost smiling. "Not important. What we came for was to ask if you've seen young Albie hereabouts."
Talk to him, Brady thought hesitantly, in this one moment trying to see through Moak's intention; and said, "Haven't seen him."
"He rode out last night not saying for where and never come back."
"I can't help you," Brady said.
"Maybe Miss Glennan saw him."
"She would've said something about it."
"I suppose." Moak shifted his weight from one foot to the other.
Standing in front of his horse the reins were over his left shoulder and pulled down in front of him with both hands hanging on the leather straps idly just above his belt line. His coat was open.
When you least expect it, Brady was thinking. That's when it'll come. His hands felt awkwardly heavy and he wanted to do something with them, but he let them hang, picturing now in his mind his right hand coming up with the Colt, cocking it, firing it. Then swinging it on Russell. Aim, he thought. You have to take your time. You have to hurry and take your time.
Moak shifted his feet again. "Russell, we might as well go on." The mounted man said nothing, but he nodded, glancing from Brady to Moak. "What about it?" Moak said to Brady again. "Does it suit your complexion to ride with us?"
"I've business with Mr. Glennan," Brady said. "He's coming along directly."
Moak grinned, glancing at Russell again. "Brady still don't want our company. . . . Well, we'll have to just go on without him."
N ow, Brady thought.
He watched Moak turn, looping the right rein over the horse's head. He moved to the saddle, his left hand holding the reins and now reaching for the saddle horn. He stood close to the horse, about to step into the stirrup. And then was turning, pushing away the saddle as his right hand came out of his coat-.
And as he had practiced it in his mind Brady drew the Colt, thumbed the hammer, brought it to arm's length, saw the shocked surprise of Moak's face over the front sight, saw the flash of metal in his hand, saw him falling away as the metal came up, shifted the front sight inches, all this in one deliberate nerve-straining motion--and pulled the trigger.
Russell saw the Colt pointed at him then. He shook his head. "Not me, sonny, this was just Ed's do." He dismounted and the Colt followed him to where Moak lay sprawled on his back.
"You can still see the surprise," Russell said. "He's dead, but he still don't believe it." He looked at Brady then. "I warned him. I said you'd be ready and wouldn't get caught on one foot. But all night long he sat rubbing his bad arm and saying what he was going to do to you. Said you'd break up in little pieces with the wait and he'd get you when the right time came.
"Then Albie stole off and come back dead in his saddle. Ed didn't talk for a while. Then he said how he'd ride in at daylight like we didn't know anything about Albie and take you by surprise. I told him again you'd be wide awake, but he wouldn't listen and now he's lying there." Brady said, "You were planning to hold up a mine payroll, weren't you?"
"You can't prove anything like that," Russell answered.
"Well, it doesn't matter now anyway."
"Listen, I wasn't with him on this. You can't prove that either."
"No, now you're on our side, now it's over."
"I'm not on anybody's side."
"All right, just get out of here."
"We'll bury him first," Russell said. "Back in the trees there."
"I'm telling you to get out! Take him and get out of here right now--you hear me!"
Russell stared at him, then shrugged and said, "All right," quietly.
He lifted Moak's body, straining, pushing him belly-down up
over the saddle; then looked at Brady again and said, "Why don't you go buy yourself a drink."
"I'm all right."
"Sure you are. But it wouldn't do no harm." Russell mounted and rode out of the yard leading Moak's horse.
Brady watched them until they were out of sight. He closed his eyes and he could still see Moak's legs hanging stiffly and his arms swinging and bouncing with the slow jogging motion of the horse--and he thought: God have mercy on him. And on Albie.
He holstered the Colt then raised his arm and rubbed his sleeve over his forehead, feeling tired and sweaty and feeling a fullness in his stomach that made him swallow and swallow again. And God help me, he thought.
He heard the girl behind him before he turned and saw her--not smiling, but looking at him seriously, with her lips parted, almost frowning, her gaze worried and not moving from his face.
"Are you all right?"
"I guess so."
Looking at the girl he knew that if he wasn't all right now, at least he would be. In time.
Chapter 26 The Nagual.
Original Title: The Accident at John Stam's.
2-Gun Western, November 1956.
OFELIO OSO--WHO had been a vaquero most of his seventy years, but who now mended fences and drove a wagon for John Stam--looked down the slope through the jack pines seeing the man with his arms about the woman. They were in front of the shack which stood near the edge of the deep ravine bordering the west end of the meadow; and now Ofelio watched them separate lingeringly, the woman moving off, looking back as she passed the corral, going diagonally across the pasture to the trees on the far side, where she disappeared.
Now Mrs. Stam goes home, Ofelio thought, to wait for her husband.
The old man had seen them like this before, sometimes in the evening, sometimes at dawn as it was now with the first distant sun streak off beyond the Organ Mountains, and always when John Stam was away.
This had been going on for months now, at least since Ofelio first began going up into the hills at night.
It was a strange feeling that caused the old man to do this; more an urgency, for he had come to a realization that there was little time left for him. In the hills at night a man can think clearly, and when a man believes his end is approaching there are things to think about.
They watched the darkness creep in long shadows down out of the trees and across the meadow. It came dingy and dark gray over the yard bringing with it a deep silence and only occasional night sounds. When the room was dim the girl rose and brought a lamp to the table, but Brady shook his head and she sat down again without lighting it.
Now neither of them spoke and after a time Brady's hand moved to hers on the table. His fingers touched her fingers lightly. His hand covered hers and held it. They sat this way for a long time, at first selfconsciously aware of their hands together, then gradually relaxing, still not speaking, but feeling the nearness of one another and experiencing in the touch of their hands a strange warm intimate feeling, as if they had known each other for years and not just hours.
They sat this way as Brady's fingers moved and rubbed the back of her hand lightly, feeling the small bones and the smoothness of her skin, and when her hand turned their palms came together and held firmly. They sat this way until the faraway sound of a falling bucket clanged abruptly out of the darkness.
Brady came to his feet. He heard the girl gasp and he said, "Hold on to yourself. Remember now, you stay in here. You don't open the door unless you hear my voice."
He went out the front door, closing it quietly, now moving along the front of the house. At the corner he drew his Colt, eased back the hammer, hesitated only a brief moment before crouching and running along the fence to the front of the stable. He stopped to listen, then moved again, around the stable and along its adobe side to the back corner and now he went down to one knee.
Less than forty feet away directly across from him, the door of the barn came slowly open. Someone hesitated in the black square of the opening before coming out cautiously, keeping close to the front of the barn until he reached the corner. Brady waited, his eyes going from the dark figure to the open doorway, but no one followed.
You know who it is, Brady thought, raising, aiming the Colt. You know blame well who it is. He's alone because he ran out of patience.
Too young and full of fire to sit and wait. All right. That's fine. Albie, you're digging your own hole and that's just fine.
He watched the figure leave the barn: side-stepping cautiously out of the deep shadow, facing the house with his drawn gun, but edging one step at a time toward the dim outline of the corn crib.
Don't give him a chance, Brady thought. But as his hand tightened on the trigger he called out, "Albie--"
Albie fired. There was no hesitation, no indecision. With the sound of his name, his gun hand swung across his body and fired and with the movement he was running, going down as he reached the corn crib.
Silence.
So you learn, Brady thought. But you don't make the same mistake twice. He stepped out past the corner of the stable bringing up the Colt and lining the barrel on the empty corn crib.
Three times in quick succession he aimed and fired, moving the Colt from right to left across the shape of the crib. The sounds clashed in the darkness: the heavy ring of the Colt, the ripping, whining of the bullets splintering the slats and with the third shot a howl of pain.
Brady moved quickly across the yard to the corner of the barn. He loaded the Colt, listening, watching the crib, then edged around the corner, dropped to his hands and knees and crept toward the crib. Albie was on his knees doubled over holding his arms tight to his stomach when Brady pressed the Colt into his back.
"Get up, Albie."
"I can't move." The words came out in short grunts.
"You're going to move one more time," Brady said.
He took Albie's gun then went quickly across to the house and called the girl's name. The door opened and he saw the relief in her eyes and saw her about to speak, but he said, "Albie's not going to last." "Oh--" He saw her bite her lower lip.
"Listen--but maybe we can still use him." Brady spoke hurriedly, but quietly, telling her what to do: to hold Albie's gun on him and not move it even though he was doubled over with a bullet through his middle. And after that Brady ran to the barn. He went through it seeing only the cow, then out the rear door and across the wagon ruts into the trees. A dozen yards back in the pines he found their horses picketed with Albie's. He led them back to the barn and came out the front leading only Albie's.
The girl's eyes were open wide. "He's hurt terribly bad."
Brady said nothing. Albie screamed as Brady stooped and pulled him to his feet and made him mount the horse. Brady said then, "Listen to me. We're giving you a chance. Go get some help. You hear me, go get Ed to take care of you." He slapped the horse's rump, jumped after it and slapped again and the horse broke into a gallop--with Albie doubled over, his hands gripping the saddle horn--and rounded the corner of the stable.
Taking the girl's hand, Brady led her through the house, opened the front door then stood in the doorway, his hand holding her arm.
"I don't understand," she said.
"Listen a minute." They could still hear Albie's horse, though faintly now in the distance. "Going straight across," Brady said. "Telling us where Mr. Moak's waiting."
Chapter Six.
Two to One Odds NOW THINK about it some more, Brady thought. He was by the window again staring out at the masked, unmoving shapes in the darkness and hearing the small sounds of the girl who was in the kitchen, beyond the blanket that draped the doorway. Kitty. No--Catherine Mary. Brady said Catherine Mary again to himself, listening to the sound of it in his mind.
All right, and what're the odds on calling her that tomorrow?
Two to one now. Getting better. But now what will they do? You know what you'll do, but what about them? Was Albie on his own?
Maybe. Or part of a plan. Maybe. One of them is back in the trees and the other one's in front, across the meadow. Maybe. Could you run for it now, both of you? Maybe. Or will Ed Moak run for it? Hell no. One, two, three, four maybe's and a hell no--so the changing of the odds doesn't change your situation any. You still sit and wait. But now he knows you're not asleep.
He moved around the table to the side of the window and looked diagonally out across the yard. The aspen stand showed ghostly gray lines and a mass of branches and beyond it, in the smoked light of part of a moon, the meadow was mist gray and had no end as it stretched to nothing.
"Will he die?" the girl asked. She had made no sound coming to stand close to him.
"I think he will," Brady said. The girl did not speak and he said then, "I didn't want to kill him. I wanted to shoot him. I mean I was trying to shoot him because I had to, but killing him or seeing him dead wasn't in my mind."
His eyes moved to her face. She was staring out at the night and Brady said, "You feel sorry for him now."
"I can't help it." Her voice was low and with little tone.
"Listen, I felt sorry for him when I put him on the horse. He was just a poor kid going to die and I didn't like it one bit--but all the time I kept thinking, we're still in it. There's no time out for burying the dead and saying Our Fathers because Ed Moak is still here and knowing it is the only thing in the whole world that's important."
"Unless he's gone," the girl said.
"I just finished adding up the maybe's," Brady said. "You want to know how many there are?"
"I'm sorry."
"No, I shouldn't have said that."
She turned to him. "You remind me a lot of my older brother."
"I hope that's good."
She smiled. "I believe everybody likes Paul. He's never put on or anything." "Yeah?" There was a silence before Brady said, "You know, I was thinking, you haven't once cried or carried on or--you know, like you'd think a girl would."
"All girls don't act like that."
"I guess not." Brady said then, "You can learn a lot in a few hours, can't you?"
"Things that might've taken months," the girl said.
"Or years."
"It's funny, isn't it?"
"It's strange--"
"That's
Brady said, "I've been thinking about you more than about Ed Moak."
HER FACE WAS CLOSE to his, but now she looked out the window not knowing what to say.
"I didn't have any trouble telling you that," Brady said. "Which is something, for me."
She looked at him again, her face upturned calmly now and again close to his. "What is it you're telling me, Mr. Brady?"
"You know."
"I want to hear it."
"It would sound funny."
"That's all right."
He leaned closer and kissed her, holding her face gently between his hands. He kissed her again, hearing the soft sound of it and feeling the clinging response of her lips. His hands dropped to her waist as her arms went up and around his neck and they remained this way even after they had kissed, after his lips had brushed her cheek and whispered close to her ear.
"See?"
"It didn't sound funny."
"What's your ma and dad going to say?"
"They'll say it's awful sudden."
"Will they object?"
"Mr. Brady, are you proposing?"
He smiled, leaning back to look at her. "That's what you call the natural thing, when you're proposing and don't even know you're doing it."
"Then you are."
"1 guess so."
"Can you be sure," she said seriously, "knowing a person just a few hours?"
"We could wait if you want. Say about a week."
"Now you're fooling."
"Not very much."
Catherine Mary smiled now. "I think this has been the fastest moving day of my life."
"But the longest," Brady said. "And it's not even over yet." He saw her smile fade and again he remembered Ed Moak and the other man; he pictured them in the darkness, waiting and not speaking.
He thought angrily: Why does he have to be here? Why should a man who you've seen once before in your life have a chance to ruin your life? He felt restless and suddenly anxious for Moak to come. He wanted this over with; but he made himself think about it calmly because there was nothing he could do but wait.
ALL NIGHT HE remained at the window, occasionally rising, stretching, moving about when the restlessness would return, though most of the time he sat at the table staring out at the darkness, now and again turning to look at the girl who was asleep, covered with a blanket and curled in a canvas-bottomed chair she had moved close to the table. (He had told her to go to bed, but she argued that she wouldn't be able to sleep and she sat in the canvas chair as a compromise. After some time she fell asleep.) Brady waited and the hours dragged.
But to the girl, the night was over suddenly. Something awakened her. She opened her eyes, saw Brady bending over her, felt his hand on her shoulder and beyond him saw the tabletop and the window glistening coldly in the early morning sunlight.
His expression was calm, though grave and quietly determined and when he spoke his words brought her up in the chair and instantly awake. "They're coming now," Brady said.
"Where?"
"From across. Riding over like it's a social call." He watched her as she leaned close to the table, looking out and seeing them already approaching the aspen stand. "Catherine Mary, I want you to stay inside with the shotgun."
"What're you going to do?"
"Listen to me now--hold the shotgun on Russell. Then I won't have to worry about him." He hesitated uncertainly. "Are you afraid to use it?"
"No--"
"All right, and the Winchester's here on the table."
Facing the window he felt her hand on his arm, but now he moved to the door, not looking at her, and stepped outside before she could say anything more. He watched them coming through the aspen stand, walking their horses into the yard where, perhaps thirty feet from Brady, they stopped.
"Well, you sure must've had plenty of business," Ed Moak said easily.
He swung down and still holding the reins moved a few steps ahead of his horse. "We didn't figure to see you still here."
Moak's words came unexpectedly, catching Brady off guard. He had pictured the bearded man calling bluntly for a fight; but this was something else. "It got late," Brady said. "I thought I might as well stay here."
"I can't say's I blame you," Moak said.
"What do you mean by that?"
Moak shrugged, almost smiling. "Not important. What we came for was to ask if you've seen young Albie hereabouts."
Talk to him, Brady thought hesitantly, in this one moment trying to see through Moak's intention; and said, "Haven't seen him."
"He rode out last night not saying for where and never come back."
"I can't help you," Brady said.
"Maybe Miss Glennan saw him."
"She would've said something about it."
"I suppose." Moak shifted his weight from one foot to the other.
Standing in front of his horse the reins were over his left shoulder and pulled down in front of him with both hands hanging on the leather straps idly just above his belt line. His coat was open.
When you least expect it, Brady was thinking. That's when it'll come. His hands felt awkwardly heavy and he wanted to do something with them, but he let them hang, picturing now in his mind his right hand coming up with the Colt, cocking it, firing it. Then swinging it on Russell. Aim, he thought. You have to take your time. You have to hurry and take your time.
Moak shifted his feet again. "Russell, we might as well go on." The mounted man said nothing, but he nodded, glancing from Brady to Moak. "What about it?" Moak said to Brady again. "Does it suit your complexion to ride with us?"
"I've business with Mr. Glennan," Brady said. "He's coming along directly."
Moak grinned, glancing at Russell again. "Brady still don't want our company. . . . Well, we'll have to just go on without him."
N ow, Brady thought.
He watched Moak turn, looping the right rein over the horse's head. He moved to the saddle, his left hand holding the reins and now reaching for the saddle horn. He stood close to the horse, about to step into the stirrup. And then was turning, pushing away the saddle as his right hand came out of his coat-.
And as he had practiced it in his mind Brady drew the Colt, thumbed the hammer, brought it to arm's length, saw the shocked surprise of Moak's face over the front sight, saw the flash of metal in his hand, saw him falling away as the metal came up, shifted the front sight inches, all this in one deliberate nerve-straining motion--and pulled the trigger.
Russell saw the Colt pointed at him then. He shook his head. "Not me, sonny, this was just Ed's do." He dismounted and the Colt followed him to where Moak lay sprawled on his back.
"You can still see the surprise," Russell said. "He's dead, but he still don't believe it." He looked at Brady then. "I warned him. I said you'd be ready and wouldn't get caught on one foot. But all night long he sat rubbing his bad arm and saying what he was going to do to you. Said you'd break up in little pieces with the wait and he'd get you when the right time came.
"Then Albie stole off and come back dead in his saddle. Ed didn't talk for a while. Then he said how he'd ride in at daylight like we didn't know anything about Albie and take you by surprise. I told him again you'd be wide awake, but he wouldn't listen and now he's lying there." Brady said, "You were planning to hold up a mine payroll, weren't you?"
"You can't prove anything like that," Russell answered.
"Well, it doesn't matter now anyway."
"Listen, I wasn't with him on this. You can't prove that either."
"No, now you're on our side, now it's over."
"I'm not on anybody's side."
"All right, just get out of here."
"We'll bury him first," Russell said. "Back in the trees there."
"I'm telling you to get out! Take him and get out of here right now--you hear me!"
Russell stared at him, then shrugged and said, "All right," quietly.
He lifted Moak's body, straining, pushing him belly-down up
"I'm all right."
"Sure you are. But it wouldn't do no harm." Russell mounted and rode out of the yard leading Moak's horse.
Brady watched them until they were out of sight. He closed his eyes and he could still see Moak's legs hanging stiffly and his arms swinging and bouncing with the slow jogging motion of the horse--and he thought: God have mercy on him. And on Albie.
He holstered the Colt then raised his arm and rubbed his sleeve over his forehead, feeling tired and sweaty and feeling a fullness in his stomach that made him swallow and swallow again. And God help me, he thought.
He heard the girl behind him before he turned and saw her--not smiling, but looking at him seriously, with her lips parted, almost frowning, her gaze worried and not moving from his face.
"Are you all right?"
"I guess so."
Looking at the girl he knew that if he wasn't all right now, at least he would be. In time.
Chapter 26 The Nagual.
Original Title: The Accident at John Stam's.
2-Gun Western, November 1956.
OFELIO OSO--WHO had been a vaquero most of his seventy years, but who now mended fences and drove a wagon for John Stam--looked down the slope through the jack pines seeing the man with his arms about the woman. They were in front of the shack which stood near the edge of the deep ravine bordering the west end of the meadow; and now Ofelio watched them separate lingeringly, the woman moving off, looking back as she passed the corral, going diagonally across the pasture to the trees on the far side, where she disappeared.
Now Mrs. Stam goes home, Ofelio thought, to wait for her husband.
The old man had seen them like this before, sometimes in the evening, sometimes at dawn as it was now with the first distant sun streak off beyond the Organ Mountains, and always when John Stam was away.
This had been going on for months now, at least since Ofelio first began going up into the hills at night.
It was a strange feeling that caused the old man to do this; more an urgency, for he had come to a realization that there was little time left for him. In the hills at night a man can think clearly, and when a man believes his end is approaching there are things to think about.