It had crushed the heart in him and some upholding principle of hope and resolution broke. He found a place for Pancha with Maria Lopez, the Mexican woman who ran the Buon Gusto restaurant at Bakersfield and agreed to look after the girl for pay. Then he went back to the open, not caring much, the springs of his soul gone dry. He had no energy for the old life and did other things, anything to make his own food and Pancha's keep—herded sheep, helped on the cattle ranges, tended store, hung on the fringes of the wilderness, saw men turn to savages and turned himself.
At long intervals he went down to the settlements and saw Pancha, growing into a gawky girl, headstrong, and with the wildness of her mother's people cropping out. She hated Maria Lopez and the work in the restaurant and wanted him to take her to the mountains. When she was sixteen a spell of illness laid him up and after that he had difficulty in getting work. Two months passed without a payment and when he finally got down to Bakersfield he found that Pancha had gone, run away with a traveling company of actors. Maria Lopez and he had a fight, raged at one another in mutual fury, and then he started out to find his girl, not knowing when he did what he would do with her.
She solved that problem; she insisted on staying with the actors. She liked the life, she could sing, they told her she had a future. She had fixed and settled everything, even to her name; she would retain that of Lopez, which she was already known by in Bakersfield. There was nothing for it but to let her have her way; a man without home, money or prospects has no authority. But the sense of his own failure, of the hopelessness of his desire to shelter and enrich her, fell on his conscience like a foot on a spark and crushed it out. He returned to the mountains, his hand against all men, already an outlaw, love for his own all that was left of the original man. That governed him, gave him the will to act, stimulated his brain, and lent his mind an unfailing cunning. The meeting with Knapp crystallized into a partnership, but when Garland the bandit rose on the horizon, no one, least of all Pancha, knew he was Michaels the miner.
He stood up in the boat and again reconnoitered; he was near the shore. The country slept under the stars, gray rollings of hills and black blotches of trees, very still in its somber repose. Dropping back to the seat, he plied the paddle with extraordinary softness, wary, listening, alert. Soon, in a week or two, if he could settle the sale, he would be on his way to San Francisco to tell Pancha he had sold his claim at last and had bought the ranch. Under his caution the pleasure of this thought pervaded him with an exquisite satisfaction. He could not forbear its indulgence and, leaning on the paddle, allowed himself a last, delightful vision—the ranch house piazza with Pancha—her make-up off—sitting on the steps at his feet.
That night he slept in the cowshed of an abandoned ranch. A billet of wood under his head, his repose was deep and dreamless, but in the dawn's light he woke, suddenly called out of slumber by a thought. It floated on the surface of his conciousness, vaguely disturbing, then took slow shape and he sat up feeling in the pockets of his coat. The paper was gone; Knapp saying he had taken it was not a dream. For a space he sat, coming to clearer recollection, his partner's voice calling, vaguely heard, its request unheeded in his preoccupation. He gave a mutter of relief, and dropping back settled himself into comfort. The paper was as safe there as in his own pocket and he'd have it again inside of a week. With the first light in his eyes, he lapsed off again for another hour.
CHAPTER III
MARQUIS DE LAFAYETTE
A few miles below where the stage was held up a branch road breaks from the main highway and cuts off at right angles across the plain. This is a ranchers' road. If you follow it southward you come to the region of vast holdings, acres of trees in parallel lines as straight as if laid with a tape measure, great, fawn-colored fields, avenues of palm and oleander leading to white houses where the balconies have striped awnings and people sit in cushioned wicker chairs.
The other end of it runs through lands of decreasing cultivation till—after it passes Tito Murano's cottage—it dips to the tules and that's the end of it. To be sure, a trail—a horse path—breaks away and makes a detour round the head of the marshes, but this is seldom used, a bog in winter and in summer riven with dried water-courses and overgrown with brambles. To get around the tules comfortably you have to strike farther in and that's a long way.
The last house before you get to Tito Murano's, which doesn't count, is the Burrage Ranch. In the white mansions among the fruit trees the Burrage Ranch doesn't count much either. It is old and small, fifty acres, a postage stamp of a ranch. There is no avenue to the house, which is close to the road behind a picket fence, and instead of encircling balconies and striped awnings, it has one small porch with a sagging top, over which climbs a rose that stretches long festoons to the gable. In its yard grow two majestic live oaks, hoary giants with silvered limbs reaching out in a thick-leaved canopy and casting a great spread of shade.