“Poor fellow! so he should n't be left behind. He shall be conductor of the train,” she said, with a bewitching laugh. His response was not verbal.
“How cold the wind is!” she said.
“Shall I build you another wigwam?”
“No; let us exercise a little. You whistle 'The Beautiful Blue Danube,' and we'll waltz. This desert is the biggest, jolliest ball-room floor that ever was, and I dare say we shall be the first to waltz on it since the creation of the world. That will be something to boast of when we get home. Come, let's dedicate the Great American Desert to Terpsichore.”
They stepped out from among the ruins of their sagebrush booth upon a patch of hard, bare earth close to the railroad track. Lombard puckered his lips and struck up the air, and off they went with as much enthusiasm as if inspired by a first-class orchestra. Round and round, to and fro, they swept until, laughing, flushed, and panting, they came to a stop.
It was then that they first perceived that they were not without a circle of appreciative spectators. Sitting like statues on their sniffing, pawing ponies, a dozen Piute Indians encircled them. Engrossed with the dance and with each other, they had not noticed them as they rode up, attracted from their route by this marvelous spectacle of a pale-face squaw and brave engaged in a solitary war dance in the midst of the desert.
At sight of the grim circle of centaurs around them Miss Dwyer would have fainted but for Lombard's firm hold.
“Pretend not to see them; keep on dancing,” he hissed in her ear. He had no distinct plan in what he said, but spoke merely from an instinct of self-preservation, which told him that when they stopped, the Indians would be upon them. But as she mechanically, and really more dead than alive, obeyed his direction and resumed the dance, and he in his excitement was treading on her feet at every step, the thought flashed upon him that there was a bare chance of escaping violence, if they could keep the Indians interested without appearing to notice their presence. In successive whispers he communicated his idea to Miss Dyer: “Don't act as if you saw them at all, but do everything as if we were alone. That will puzzle them, and make them think us supernatural beings, or perhaps crazy: Indians have great respect for crazy people. It's our only chance. We will stop dancing now, and sing awhile. Give them a burlesque of opera. I 'll give you the cues and show you how. Don't be frightened. I don't believe they 'll touch us so long as we act as if we did n't see them. Do you understand? Can you do your part?”
“I understand; I 'll try,” she whispered.
“Now,” he said, and as they separated, he threw his hat on the ground, and, assuming an extravagantly languishing attitude, burst forth in a most poignant burlesque of a lovelorn tenor's part, rolling his eyes, clasping his hands, striking his breast, and gyrating about Miss Dwyer-in the most approved operatic style. He had a fine voice and knew a good deal of music; so that, barring a certain nervousness in the performer, the exhibition was really not bad. In his singing he had used a meaningless gibberish varied with the syllables of the scale, but he closed by singing the words, “Are you ready now? Go ahead, then.”