“And they say that the girl did not care for him at all, but was actually going to run off with Pedro, when he stopped her and sent for Mrs. Peyton.”
To her surprise, Jim's face flushed violently.
“It's all a dod-blasted lie,” he said, in a thick stage whisper. “It's only the hogwash them Greasers and Pike County galoots ladle out to each other around the stove in a county grocery. But,” recalling himself loftily, and with a tolerant wave of his be-diamonded hand, “wot kin you expect from one of them cow counties? They ain't satisfied till they drive every gentleman out of the darned gopher-holes they call their 'kentry.'”
In her admiration of what she believed to be a loyal outburst for his friend, Phoebe overlooked the implied sneer at her provincial home. But her father went on with a perfunctory, exasperating, dusty aridity:—
“That mebbee ez mebbee, Mr. Hooker, but the story down in our precinct goes that she gave Mrs. Peyton the slip,—chucked up her situation as adopted darter, and went off with a queer sort of a cirkiss woman,—one of her own KIN, and I reckon one of her own KIND.”
To this Mr. Hooker offered no further reply than a withering rebuke of the waiter, a genteel abstraction, and a lofty change of subject. He pressed upon them two tickets for the performance, of which he seemed to have a number neatly clasped in an india-rubber band, and advised them to come early. They would see him after the performance and sup together. He must leave them now, as he had to be punctually at the theatre, and if he lingered he should be pestered by interviewers. He withdrew under a dazzling display of cuff and white handkerchief, and with that inward swing of the arm and slight bowiness of the leg generally recognized in his profession as the lounging exit of high comedy.
The mingling of awe and an uneasy sense of changed relations which that meeting with Jim had brought to Phoebe was not lessened when she entered the theatre with her father that evening, and even Mr. Hopkins seemed to share her feelings. The theatre was large, and brilliant in decoration, the seats were well filled with the same heterogeneous mingling she had seen in the dining-room at the Placer Hotel, but in the parquet were some fashionable costumes and cultivated faces. Mr. Hopkins was not altogether so sure that Jim had been “only gassing.” But the gorgeous drop curtain, representing an allegory of Californian prosperity and abundance, presently uprolled upon a scene of Western life almost as striking in its glaring unreality. From a rose-clad English cottage in a subtropical landscape skipped “Rosalie, the Prairie Flower.” The briefest of skirts, the most unsullied of stockings, the tiniest of slippers, and the few diamonds that glittered on her fair neck and fingers, revealed at once the simple and unpretending daughter of the American backwoodsman. A tumult of delighted greeting broke from the audience. The bright color came to the pink, girlish cheeks, gratified vanity danced in her violet eyes, and as she piquantly bowed her acknowledgments, this great breath of praise seemed to transfigure and possess her. A very young actor who represented the giddy world in a straw hat and with an effeminate manner was alternately petted and girded at by her during the opening exposition of the plot, until the statement that a “dark destiny” obliged her to follow her uncle in an emigrant train across the plains closed the act, apparently extinguished him, and left HER the central figure. So far, she evidently was the favorite. A singular aversion to her crept into the heart of Phoebe.
But the second act brought an Indian attack upon the emigrant train, and here “Rosalie” displayed the archest heroism and the pinkest and most distracting self-possession, in marked contrast to the giddy worldling who, having accompanied her apparently for comic purposes best known to himself, cowered abjectly under wagons, and was pulled ignominiously out of straw, until Red Dick swept out of the wings with a chosen band and a burst of revolvers and turned the tide of victory. Attired as a picturesque combination of the Neapolitan smuggler, river-bar miner, and Mexican vacquero, Jim Hooker instantly began to justify the plaudits that greeted him and the most sanguinary hopes of the audience. A gloomy but fascinating cloud of gunpowder and dark intrigue from that moment hung about the stage.
Yet in this sombre obscuration Rosalie had passed a happy six months, coming out with her character and stockings equally unchanged and unblemished, to be rewarded with the hand of Red Dick and the discovery of her father, the governor of New Mexico, as a white-haired, but objectionable vacquero, at the fall of the curtain.
Through this exciting performance Phoebe sat with a vague and increasing sense of loneliness and distrust. She did not know that Hooker had added to his ordinary inventive exaggeration the form of dramatic composition. But she had early detected the singular fact that such shadowy outlines of plot as the piece possessed were evidently based on his previous narrative of his OWN experiences, and the saving of Susy Peyton—by himself! There was the episode of their being lost on the plains, as he had already related it to her, with the addition of a few years to Susy's age and some vivid picturesqueness to himself as Red Dick. She was not, of course, aware that the part of the giddy worldling was Jim's own conception of the character of Clarence. But what, even to her provincial taste, seemed the extravagance of the piece, she felt, in some way, reflected upon the truthfulness of the story she had heard. It seemed to be a parody on himself, and in the laughter which some of the most thrilling points produced in certain of the audience, she heard an echo of her own doubts. But even this she could have borne if Jim's confidence had not been given to the general public; it was no longer HERS alone, she shared it with them. And this strange, bold girl, who acted with him,—the “Blanche Belville” of the bills,—how often he must have told HER the story, and yet how badly she had learned it! It was not her own idea of it, nor of HIM. In the last extravagant scene she turned her weary and half-shamed eyes from the stage and looked around the theatre. Among a group of loungers by the wall a face that seemed familiar was turned towards her own with a look of kindly and sympathetic recognition. It was the face of Clarence Brant. When the curtain fell, and she and her father rose to go, he was at their side. He seemed older and more superior looking than she had ever thought him before, and there was a gentle yet sad wisdom in his eyes and voice that comforted her even while it made her feel like crying.