At dusk of the third day a lively party was returning to the town in a wagon from a search for nuts. The full moon was rising and the merrymakers were singing. One of the girls was thirsty. When she saw the shanty in the rugged field, she asked a young man to get her a glass of water at the hut. The wagon stopped and the youth climbed astride the rail fence. Suddenly an unnaturally shrill and excited voice was heard:
“Hyah, you, doan' come no farder! Dese yer's my premises!”
From behind the empty shanty appeared the thin old negro, bareheaded, his shotgun at his shoulder, a striking figure against the rising moon.
The young man descended from the fence into the field. There came a flash and a crack from Pop Thornberry's gun. The youth felt the sting of a piece of birdshot in his leg. Howling and limping, he turned quickly over the fence into the wagon, which made a hasty flight.
The next morning some idlers went out from the town to the scene of the adventure. They found the old man lying hatless in the middle of the field, face downwards, upon the shotgun. He had died of sheer exhaustion, on guard—and on his own land, as befit an honest citizen who had never intruded upon the peace of other men.
XXI. — AT THE STAGE DOOR
[Footnote: Courtesy of Lippincott's Magazine.Copyright, 1892, by J. B. Lippincott Company.]
First let me explain how I came to be sitting in so unsavoury a place as Gorson's “fifteen cent oyster and chop house” that night. Most newspaper men—the rank and file—receive remuneration by the week. Those not given over to domesticity, those who enjoy that alluring regularity identical with liberty, fare sumptuously, as a rule, on “pay-day.” Thereafter the quantity and quality of the good things of life that they enjoy diminish daily until the next pay-day.