diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 1824-0.txt | 1200 | ||||
| -rw-r--r-- | 1824-0.zip | bin | 0 -> 22098 bytes | |||
| -rw-r--r-- | 1824-h.zip | bin | 0 -> 23524 bytes | |||
| -rw-r--r-- | 1824-h/1824-h.htm | 1461 | ||||
| -rw-r--r-- | 1824.txt | 1199 | ||||
| -rw-r--r-- | 1824.zip | bin | 0 -> 21905 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/pcmnv10.txt | 1149 | ||||
| -rw-r--r-- | old/pcmnv10.zip | bin | 0 -> 20155 bytes |
11 files changed, 5025 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/1824-0.txt b/1824-0.txt new file mode 100644 index 0000000..a7c39be --- /dev/null +++ b/1824-0.txt @@ -0,0 +1,1200 @@ +The Project Gutenberg EBook of Peace Manoeuvres, by Richard Harding Davis + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Peace Manoeuvres + +Author: Richard Harding Davis + +Release Date: May 12, 2006 [EBook #1824] +Last Updated: September 26, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES *** + + + + +Produced by Don Lainson + + + + + +PEACE MANOEUVRES + +By Richard Harding Davis + + + + +The scout stood where three roads cut three green tunnels in the pine +woods, and met at his feet. Above his head an aged sign-post pointed +impartially to East Carver, South Carver, and Carver Centre, and left +the choice to him. + +The scout scowled and bit nervously at his gauntlet. The choice was +difficult, and there was no one with whom he could take counsel. The +three sun-shot roads lay empty, and the other scouts, who, with him, +had left the main column at sunrise, he had ordered back. They were to +report that on the right flank, so far, at least, as Middleboro, there +was no sign of the enemy. What lay beyond, it now was his duty to +discover. The three empty roads spread before him like a picture +puzzle, smiling at his predicament. Whichever one he followed left two +unguarded. Should he creep upon for choice Carver Centre, the enemy, +masked by a mile of fir trees, might advance from Carver or South +Carver, and obviously he could not follow three roads at the same time. +He considered the better strategy would be to wait where he was, +where the three roads met, and allow the enemy himself to disclose his +position. To the scout this course was most distasteful. He assured +himself that this was so because, while it were the safer course, it +wasted time and lacked initiative. But in his heart he knew that was not +the reason, and to his heart his head answered that when one’s country +is at war, when fields and fire-sides are trampled by the iron heels +of the invader, a scout should act not according to the dictates of +his heart, but in the service of his native land. In the case of this +particular patriot, the man and scout were at odds. As one of the +Bicycle Squad of the Boston Corps of Cadets, the scout knew what, at +this momentous crisis in her history, the commonwealth of Massachusetts +demanded of him. It was that he sit tight and wait for the hated +foreigners from New York City, New Jersey, and Connecticut to show +themselves. But the man knew, and had known for several years, that +on the road to Carver was the summer home of one Beatrice Farrar. As +Private Lathrop it was no part of his duty to know that. As a man and +a lover, and a rejected lover at that, he could not think of anything +else. Struggling between love and duty the scout basely decided to leave +the momentous question to chance. In the front tire of his bicycle was +a puncture, temporarily effaced by a plug. Laying the bicycle on the +ground, Lathrop spun the front wheel swiftly. + +“If,” he decided, “the wheel stops with the puncture pointing at Carver +Centre, I’ll advance upon Carver Centre. Should it point to either of +the two other villages, I’ll stop here. + +“It’s a two to one shot against me, any way,” he growled. + +Kneeling in the road he spun the wheel, and as intently as at Monte +Carlo and Palm Beach he had waited for other wheels to determine his +fortune, he watched it come to rest. It stopped with the plug pointing +back to Middleboro. + +The scout told himself he was entitled to another trial. Again he spun +the wheel. Again the spokes flashed in the sun. Again the puncture +rested on the road to Middleboro. + +“If it does that once more,” thought the scout, “it’s a warning that +there is trouble ahead for me at Carver, and all the little Carvers.” + +For the third time the wheel flashed, but as he waited for the impetus +to die, the sound of galloping hoofs broke sharply on the silence. The +scout threw himself and his bicycle over the nearest stone wall, and, +unlimbering his rifle, pointed it down the road. + +He saw approaching a small boy, in a white apron, seated in a white +wagon, on which was painted, “Pies and Pastry. East Wareham.” The boy +dragged his horse to an abrupt halt. + +“Don’t point that at me!” shouted the boy. + +“Where do you come from?” demanded the scout. + +“Wareham,” said the baker. + +“Are you carrying any one concealed in that wagon?” + +As though to make sure the baker’s boy glanced apprehensively into +the depths of his cart, and then answered that in the wagon he carried +nothing but fresh-baked bread. To the trained nostrils of the scout this +already was evident. Before sunrise he had breakfasted on hard tack +and muddy coffee, and the odor of crullers and mince pie, still warm, +assailed him cruelly. He assumed a fierce and terrible aspect. + +“Where are you going?” he challenged. + +“To Carver Centre,” said the boy. + +To chance Lathrop had left the decision. He believed the fates had +answered. + +Dragging his bicycle over the stone wall, he fell into the road. + +“Go on,” he commanded. “I’ll use your cart for a screen. I’ll creep +behind the enemy before he sees me.” + +The baker’s boy frowned unhappily. + +“But supposing,” he argued, “they see you first, will they shoot?” + +The scout waved his hand carelessly. + +“Of course,” he cried. + +“Then,” said the baker, “my horse will run away!” + +“What of it?” demanded the scout. “Are Middleboro, South Middleboro, +Rock, Brockton, and Boston to fall? Are they to be captured because +you’re afraid of your own horse? They won’t shoot REAL bullets! This is +not a real war. Don’t you know that?” + +The baker’s boy flushed with indignation. + +“Sure, I know that,” he protested; “but my horse--HE don’t know that!” + +Lathrop slung his rifle over his shoulder and his leg over his bicycle. + +“If the Reds catch you,” he warned, in parting, “they’ll take everything +you’ve got.” + +“The Blues have took most of it already,” wailed the boy. “And just as +they were paying me the battle begun, and this horse run away, and I +couldn’t get him to come back for my money.” + +“War,” exclaimed Lathrop morosely, “is always cruel to the innocent.” He +sped toward Carver Centre. In his motor car, he had travelled the road +many times, and as always his goal had been the home of Miss Beatrice +Farrar, he had covered it at a speed unrecognized by law. But now he +advanced with stealth and caution. In every clump of bushes he saw an +ambush. Behind each rock he beheld the enemy. + +In a clearing was a group of Portuguese cranberry pickers, dressed as +though for a holiday. When they saw the man in uniform, one of the women +hailed him anxiously. + +“Is the parade coming?” she called. + +“Have you seen any of the Reds?” Lathrop returned. + +“No,” complained the woman. “And we been waiting all morning. When will +the parade come?” + +“It’s not a parade,” said Lathrop, severely. “It’s a war!” + +The summer home of Miss Farrar stood close to the road. It had been so +placed by the farmer who built it, in order that the women folk might +sit at the window and watch the passing of the stage-coach and the +peddler. Great elms hung over it, and a white fence separated the road +from the narrow lawn. At a distance of a hundred yards a turn brought +the house into view, and at this turn, as had been his manoeuvre at +every other possible ambush, Lathrop dismounted and advanced on foot. Up +to this moment the road had been empty, but now, in front of the Farrar +cottage, it was blocked by a touring-car and a station wagon. In the +occupants of the car he recognized all the members of the Farrar +family, except Miss Farrar. In the station wagon were all of the Farrar +servants. Miss Farrar herself was leaning upon the gate and waving them +a farewell. The touring-car moved off down the road; the station wagon +followed; Miss Farrar was alone. Lathrop scorched toward her, and when +he was opposite the gate, dug his toes in the dust and halted. When he +lifted his broad-brimmed campaign hat, Miss Farrar exclaimed both with +surprise and displeasure. Drawing back from the gate she held herself +erect. Her attitude was that of one prepared for instant retreat. When +she spoke it was in tones of extreme disapproval. + +“You promised,” said the girl, “you would not come to see me.” + +Lathrop, straddling his bicycle, peered anxiously down the road. + +“This is not a social call,” he said. “I’m on duty. Have you seen the +Reds?” + +His tone was brisk and alert, his manner preoccupied. The ungraciousness +of his reception did not seem in the least to disconcert him. + +But Miss Farrar was not deceived. She knew him, not only as a persistent +and irrepressible lover, but as one full of guile, adroit in tricks, +fertile in expedients. He was one who could not take “No” for an +answer--at least not from her. When she repulsed him she seemed to grow +in his eyes only the more attractive. + +“It is not the lover who comes to woo,” he was constantly explaining, +“but the lover’s WAY of wooing.” + +Miss Farrar had assured him she did not like his way. She objected +to being regarded and treated as a castle that could be taken only by +assault. Whether she wished time to consider, or whether he and his +proposal were really obnoxious to her, he could not find out. His policy +of campaign was that she, also, should not have time to find out. Again +and again she had agreed to see him only on the condition that he would +not make love to her. He had promised again and again, and had failed +to keep that promise. Only a week before he had been banished from her +presence, to remain an exile until she gave him permission to see her +at her home in New York. It was not her purpose to return there for two +weeks, and yet here he was, a beggar at her gate. It might be that he +was there, as he said, “on duty,” but her knowledge of him and of the +doctrine of chances caused her to doubt it. + +“Mr. Lathrop!” she began, severely. + +As though to see to whom she had spoken Lathrop glanced anxiously over +his shoulder. Apparently pained and surprised to find that it was to him +she had addressed herself, he regarded her with deep reproach. His eyes +were very beautiful. It was a fact which had often caused Miss Farrar +extreme annoyance. + +He shook his head sadly. + +“‘Mr. Lathrop?’” he protested. “You know that to you I am always +‘Charles--Charles the Bold,’ because I am bold to love you; but never +‘Mr. Lathrop,’ unless,” he went on briskly, “you are referring to a +future state, when, as Mrs. Lathrop, you will make me--” + +Miss Farrar had turned her back on him, and was walking rapidly up the +path. + +“Beatrice,” he called. “I am coming after you!” + +Miss Farrar instantly returned and placed both hands firmly upon the +gate. + +“I cannot understand you!” she said. “Don’t you see that when you act +as you do now, I can’t even respect you? How do you think I could ever +care, when you offend me so? You jest at what you pretend is the most +serious thing in your life. You play with it--laugh at it!” + +The young man interrupted her sharply. + +“It’s like this,” he said. “When I am with you I am so happy I can’t be +serious. When I am NOT with you, it is SO serious that I am utterly and +completely wretched. You say my love offends you, bores you! I am sorry, +but what, in heaven’s name, do you think your NOT loving me is doing to +ME? I am a wreck! I am a skeleton! Look at me!” + +He let his bicycle fall, and stood with his hands open at his sides, as +though inviting her to gaze upon the ruin she had caused. + +Four days of sun and rain, astride of a bicycle, without food or sleep, +had drawn his face into fine, hard lines, had bronzed it with a healthy +tan. His uniform, made by the same tailor that fitted him with polo +breeches, clung to him like a jersey. The spectacle he presented was +that of an extremely picturesque, handsome, manly youth, and of that +fact no one was better aware than himself. + +“Look at me,” he begged, sadly. + +Miss Farrar was entirely unimpressed. + +“I am!” she returned, coldly. “I never saw you looking so well--and you +know it.” She gave a gasp of comprehension. “You came here because you +knew your uniform was becoming!” + +Lathrop regarded himself complacently. + +“Yes, isn’t it?” he assented. “I brought on this war in order to wear +it. If you don’t mind,” he added, “I think I’ll accept your invitation +and come inside. I’ve had nothing to eat in four days.” + +Miss Farrar’s eyes flashed indignantly. + +“You’re NOT coming inside,” she declared; “but if you’ll only promise to +go away at once, I’ll bring you everything in the house.” + +“In that house,” exclaimed Lathrop, dramatically, “there’s only one +thing that I desire, and I want that so badly that ‘life holds no charm +without you.’” + +Miss Farrar regarded him steadily. + +“Do you intend to drive me away from my own door, or will you go?” + +Lathrop picked his wheel out of the dust. + +“Good-by,” he said. “I’ll come back when you have made up your mind.” + +In vexation Miss Farrar stamped her foot upon the path. + +“I HAVE made up my mind!” she protested. + +“Then,” returned Lathrop, “I’ll come back when you have changed it.” + +He made a movement as though to ride away, but much to Miss Farrar’s +dismay, hastily dismounted. “On second thoughts,” he said, “it isn’t +right for me to leave you. The woods are full of tramps and hangers-on +of the army. You’re not safe. I can watch this road from here as well as +from anywhere else, and at the same time I can guard you.” + +To the consternation of Miss Farrar he placed his bicycle against the +fence, and, as though preparing for a visit, leaned his elbows upon it. + +“I do not wish to be rude,” said Miss Farrar, “but you are annoying me. +I have spent fifteen summers in Massachusetts, and I have never seen a +tramp. I need no one to guard me.” + +“If not you,” said Lathrop easily, “then the family silver. And think +of your jewels, and your mother’s jewels. Think of yourself in a house +filled with jewels, and entirely surrounded by hostile armies! My duty +is to remain with you.” + +Miss Farrar was so long in answering, that Lathrop lifted his head +and turned to look. He found her frowning and gazing intently into the +shadow of the woods, across the road. When she felt his eyes upon her +she turned her own guiltily upon him. Her cheeks were flushed and her +face glowed with some unusual excitement. + +“I wish,” she exclaimed breathlessly--“I wish,” she repeated, “the Reds +would take you prisoner!” + +“Take me where?” asked Lathrop. + +“Take you anywhere!” cried Miss Farrar. “You should be ashamed to talk +to me when you should be looking for the enemy!” + +“I am WAITING for the enemy,” explained Lathrop. “It’s the same thing.” + +Miss Farrar smiled vindictively. Her eyes shone. “You need not wait +long,” she said. There was a crash of a falling stone wall, and of +parting bushes, but not in time to give Lathrop warning. As though from +the branches of the trees opposite two soldiers fell into the road; +around his hat each wore the red band of the invader; each pointed his +rifle at Lathrop. + +“Hands up!” shouted one. “You’re my prisoner!” cried the other. + +Mechanically Lathrop raised his hands, but his eyes turned to Miss +Farrar. + +“Did you know?” he asked. + +“I have been watching them,” she said, “creeping up on you for the last +ten minutes.” + +Lathrop turned to the two soldiers, and made an effort to smile. + +“That was very clever,” he said, “but I have twenty men up the road, and +behind them a regiment. You had better get away while you can.” + +The two Reds laughed derisively. One, who wore the stripes of a +sergeant, answered: “That won’t do! We been a mile up the road, and you +and us are the only soldiers on it. Gimme the gun!” + +Lathrop knew he had no right to refuse. He had been fairly surprised, +but he hesitated. When Miss Farrar was not in his mind his amateur +soldiering was to him a most serious proposition. The war game was a +serious proposition, and that, through his failure for ten minutes to +regard it seriously, he had been made a prisoner, mortified him keenly. +That his humiliation had taken place in the presence of Beatrice Farrar +did not lessen his discomfort, nor did the explanation he must later +make to his captain afford him any satisfaction. Already he saw himself +playing the star part in a court-martial. He shrugged his shoulders and +surrendered his gun. + +As he did so he gloomily scrutinized the insignia of his captors. + +“Who took me?” he asked. + +“WE took you,” exclaimed the sergeant. + +“What regiment?” demanded Lathrop, sharply. “I have to report who took +me; and you probably don’t know it, but your collar ornaments are upside +down.” With genuine exasperation he turned to Miss Farrar. + +“Lord!” he exclaimed, “isn’t it bad enough to be taken prisoner, without +being taken by raw recruits that can’t put on their uniforms?” + +The Reds flushed, and the younger, a sandy-haired, rat-faced youth, +retorted angrily: “Mebbe we ain’t strong on uniforms, beau,” he snarled, +“but you’ve got nothing on us yet, that I can see. You look pretty with +your hands in the air, don’t you?” + +“Shut up,” commanded the other Red. He was the older man, heavily built, +with a strong, hard mouth and chin, on which latter sprouted a three +days’ iron-gray beard. “Don’t you see he’s an officer? Officers don’t +like being took by two-spot privates.” + +Lathrop gave a sudden start. “Why,” he laughed, incredulously, “don’t +you know--” He stopped, and his eyes glanced quickly up and down the +road. + +“Don’t we know what?” demanded the older Red, suspiciously. + +“I forgot,” said Lathrop. “I--I must not give information to the +enemy--” + +For an instant there was a pause, while the two Reds stood irresolute. +Then the older nodded the other to the side of the road, and in whispers +they consulted eagerly. + +Miss Farrar laughed, and Lathrop moved toward her. + +“I deserve worse than being laughed at,” he said. “I made a strategic +mistake. I should not have tried to capture you and an army corps at the +same time.” + +“You,” she taunted, “who were always so keen on soldiering, to be taken +prisoner,” she lowered her voice, “and by men like that! Aren’t they +funny?” she whispered, “and East Side and Tenderloin! It made me +homesick to hear them! I think when not in uniform the little one drives +a taxicab, and the big one is a guard on the elevated.” + +“They certainly are very ‘New York,’” assented Lathrop, “and very +tough.” + +“I thought,” whispered Miss Farrar, “those from New York with the Red +Army were picked men.” + +“What does it matter?” exclaimed Lathrop. “It’s just as humiliating to +be captured by a ballroom boy as by a mere millionaire! I can’t insist +on the invading army being entirely recruited from Harvard graduates.” + +The two Reds either had reached a decision, or agreed that they could +not agree, for they ceased whispering, and crossed to where Lathrop +stood. + +“We been talking over your case,” explained the sergeant, “and we see +we are in wrong. We see we made a mistake in taking you prisoner. We had +ought to shot you dead. So now we’re going to shoot you dead.” + +“You can’t!” objected Lathrop. “It’s too late. You should have thought +of that sooner.” + +“I know,” admitted the sergeant, “but a prisoner is a hell of a +nuisance. If you got a prisoner to look after you can’t do your own +work; you got to keep tabs on him. And there ain’t nothing in it for the +prisoner, neither. If we take you, you’ll have to tramp all the way to +our army, and all the way back. But, if you’re dead, how different! You +ain’t no bother to anybody. You got a half holiday all to yourself, and +you can loaf around the camp, so dead that they can’t make you work, but +not so dead you can’t smoke or eat.” The sergeant smiled ingratiatingly. +In a tempting manner he exhibited his rifle. “Better be dead,” he urged. + +“I’d like to oblige you,” said Lathrop, “but it’s against the rules. You +CAN’T shoot a prisoner.” + +The rat-faced soldier uttered an angry exclamation. “To hell with the +rules!” he cried. “We can’t waste time on him. Turn him loose!” + +The older man rounded on the little one savagely. The tone in which he +addressed him was cold, menacing, sinister. His words were simple, but +his eyes and face were heavy with warning. + +“Who is running this?” he asked. + +The little soldier muttered, and shuffled away. From under the brim of +his campaign hat, his eyes cast furtive glances up and down the road. +As though anxious to wipe out the effect of his comrade’s words, the +sergeant addressed Lathrop suavely and in a tone of conciliation. + +“You see,” he explained, “him and me are scouts. We’re not supposed to +waste time taking prisoners. So, we’ll set you free.” He waved his hand +invitingly toward the bicycle. “You can go!” he said. + +To Miss Farrar’s indignation Lathrop, instead of accepting his freedom, +remained motionless. + +“I can’t!” he said. “I’m on post. My captain ordered me to stay in front +of this house until I was relieved.” + +Miss Farrar, amazed at such duplicity, exclaimed aloud: + +“He is NOT on post!” she protested. “He’s a scout! He wants to stop +here, because--because--he’s hungry. I wouldn’t have let you take him +prisoner, if I had not thought you would take him away with you.” She +appealed to the sergeant. “PLEASE take him away,” she begged. + +The sergeant turned sharply upon his prisoner. + +“Why don’t you do what the lady wants?” he demanded. + +“Because I’ve got to do what my captain wants,” returned Lathrop, “and +he put me on sentry-go, in front of this house.” + +With the back of his hand, the sergeant fretfully scraped the three +days’ growth on his chin. “There’s nothing to it,” he exclaimed, “but +for to take him with us. When we meet some more Reds we’ll turn him +over. Fall in!” he commanded. + +“No!” protested Lathrop. “I don’t want to be turned over. I’ve got a +much better plan. YOU don’t want to be bothered with a prisoner. I don’t +want to be a prisoner. As you say, I am better dead. You can’t shoot +a prisoner, but if he tries to escape you can. I’ll try to escape. You +shoot me. Then I return to my own army, and report myself dead. That +ends your difficulty and saves me from a court-martial. They can’t +court-martial a corpse.” + +The face of the sergeant flashed with relief and satisfaction. In his +anxiety to rid himself of his prisoner, he lifted the bicycle into the +road and held it in readiness. + +“You’re all right!” he said, heartily. “You can make your getaway as +quick as you like.” + +But to the conspiracy Miss Farrar refused to lend herself. + +“How do you know,” she demanded, “that he will keep his promise? He +may not go back to his own army. He can be just as dead on my lawn as +anywhere else!” + +Lathrop shook his head at her sadly. + +“How you wrong me!” he protested. “How dare you doubt the promise of a +dying man? These are really my last words, and I wish I could think of +something to say suited to the occasion, but the presence of strangers +prevents.” + +He mounted his bicycle. “‘If I had a thousand lives to give,’” he +quoted with fervor, “‘I’d give them all to--’” he hesitated, and smiled +mournfully on Miss Farrar. Seeing her flushed and indignant countenance, +he added, with haste, “to the Commonwealth of Massachusetts!” + +As he started on his wheel slowly down the path, he turned to the +sergeant. + +“I’m escaping,” he explained. The Reds, with an enthusiasm undoubtedly +genuine, raised their rifles, and the calm of the Indian summer was +shattered by two sharp reports. Lathrop, looking back over his shoulder, +waved one hand reassuringly. + +“Death was instantaneous,” he called. He bent his body over the +handle-bar, and they watched him disappear rapidly around the turn in +the road. + +Miss Farrar sighed with relief. + +“Thank you very much,” she said. + +As though signifying that to oblige a woman he would shoot any number of +prisoners, the sergeant raised his hat. + +“Don’t mention it, lady,” he said. “I seen he was annoying you, and +that’s why I got rid of him. Some of them amateur soldiers, as soon as +they get into uniform, are too fresh. He took advantage of you because +your folks were away from home. But don’t you worry about that. I’ll +guard this house until your folks get back.” + +Miss Farrar protested warmly. + +“Really!” she exclaimed; “I need no one to guard me.” + +But the soldier was obdurate. He motioned his comrade down the road. + +“Watch at the turn,” he ordered; “he may come back or send some of the +Blues to take us. I’ll stay here and protect the lady.” + +Again Miss Farrar protested, but the sergeant, in a benign and fatherly +manner, smiled approvingly. Seating himself on the grass outside the +fence, he leaned his back against the gatepost, apparently settling +himself for conversation. + +“Now, how long might it have been,” he asked, “before we showed up, that +you seen us?” + +“I saw you,” Miss Farrar said, “when Mr.--when that bicycle scout was +talking to me. I saw the red bands on your hats among the bushes.” + +The sergeant appeared interested. + +“But why didn’t you let on to him?” + +Miss Farrar laughed evasively. + +“Maybe because I am from New York, too,” she said. “Perhaps I wanted to +see soldiers from my city take a prisoner.” + +They were interrupted by the sudden appearance of the smaller soldier. +On his rat-like countenance was written deep concern. + +“When I got to the turn,” he began, breathlessly, “I couldn’t see him. +Where did he go? Did he double back through the woods, or did he have +time to ride out of sight before I got there?” + +The reappearance of his comrade affected the sergeant strangely. He +sprang to his feet, his under jaw protruding truculently, his eyes +flashing with anger. + +“Get back,” he snarled. “Do what I told you!” + +Under his breath he muttered words that, to Miss Farrar, were +unintelligible. The little rat-like man nodded, and ran from them down +the road. The sergeant made an awkward gesture of apology. + +“Excuse me, lady,” he begged, “but it makes me hot when them rookies +won’t obey orders. You see,” he ran on glibly, “I’m a reg’lar; served +three years in the Philippines, and I can’t get used to not having my +men do what I say.” + +Miss Farrar nodded, and started toward the house. The sergeant sprang +quickly across the road. + +“Have you ever been in the Philippines, Miss?” he called. “It’s a great +country.” + +Miss Farrar halted and shook her head. She was considering how far +politeness required of her to entertain unshaven militiamen, who +insisted on making sentries of themselves at her front gate. + +The sergeant had plunged garrulously into a confusing description of the +Far East. He was clasping the pickets of the fence with his hands, +and his eyes were fastened on hers. He lacked neither confidence nor +vocabulary, and not for an instant did his tongue hesitate or his eyes +wander, and yet in his manner there was nothing at which she could take +offence. He appeared only amiably vain that he had seen much of the +world, and anxious to impress that fact upon another. Miss Farrar was +bored, but the man gave her no opportunity to escape. In consequence she +was relieved when the noisy approach of an automobile brought him to +an abrupt pause. Coming rapidly down the road was a large touring-car, +filled with men in khaki. The sergeant gave one glance at it, and leaped +across the road, taking cover behind the stone wall. Instantly he raised +his head above it and shook his fist at Miss Farrar. + +“Don’t tell,” he commanded. “They’re Blues in that car! Don’t tell!” + Again he sank from sight. + +Miss Farrar now was more than bored, she was annoyed. Why grown men +should play at war so seriously she could not understand. It was absurd! +She no longer would remain a party to it; and, lest the men in the car +might involve her still further, she retreated hastily toward the house. +As she opened the door the car halted at the gate, and voices called to +her, but she pretended not to hear them, and continued up the stairs. +Behind her the car passed noisily on its way. + +She mounted the stairs, and crossing a landing moved down a long hall, +at the further end of which was her bedroom. The hall was uncarpeted, +but the tennis shoes she wore made no sound, nor did the door of her +bedroom when she pushed it open. + +On the threshold Miss Farrar stood quite still. A swift, sinking nausea +held her in a vice. Her instinct was to scream and run, but her throat +had tightened and gone dry, and her limbs trembled. Opposite the door +was her dressing-table, and reflected in its mirror were the features +and figure of the rat-like soldier. His back was toward her. With one +hand he swept the dressing-table. The other, hanging at his side, held +a revolver. In a moment the panic into which Miss Farrar had been thrown +passed. Her breath and blood returned, and, intent only on flight, she +softly turned. On the instant the rat-faced one raised his eyes, saw her +reflected in the mirror, and with an oath, swung toward her. He drew the +revolver close to his cheek, and looked at her down the barrel. “Don’t +move!” he whispered; “don’t scream! Where are the jewels?” + +Miss Farrar was not afraid of the revolver or of the man. She did not +believe either would do her harm. The idea of both the presence of the +man in her room, and that any one should dare to threaten her was what +filled her with repugnance. As the warm blood flowed again through her +body her spirit returned. She was no longer afraid. She was, instead, +indignant, furious. + +With one step she was in the room, leaving the road to the door open. + +“Get out of here,” she commanded. + +The little man snarled, and stamped the floor. He shoved the gun nearer +to her. + +“The jewels, damn you!” he whispered. “Do you want me to blow your fool +head off? Where are the jewels?” + +“Jewels?” repeated Miss Farrar. “I have no jewels!” + +“You lie!” shrieked the little man. “He said the house was full of +jewels. We heard him. He said he would stay to guard the jewels.” + +Miss Farrar recognized his error. She remembered Lathrop’s jest, and +that it had been made while the two men were within hearing, behind the +stone wall. + +“It was a joke!” she cried. “Leave at once!” She backed swiftly toward +the open window that looked upon the road. “Or I’ll call your sergeant!” + +“If you go near that window or scream,” whispered the rat-like one, +“I’ll shoot!” + +A heavy voice, speaking suddenly from the doorway, shook Miss Farrar’s +jangled nerves into fresh panic. + +“She won’t scream,” said the voice. + +In the door Miss Farrar saw the bulky form of the sergeant, blocking her +escape. + +Without shifting his eyes from Miss Farrar, the man with the gun cursed +breathlessly at the other. “Why didn’t you keep her away?” he panted. + +“An automobile stopped in front of the gate,” explained the sergeant. +“Have you got them?” he demanded. + +“No!” returned the other. “Nothing! She won’t tell where they are.” + +The older man laughed. “Oh, yes, she’ll tell,” he whispered. His voice +was still low and suave, but it carried with it the weight of a threat, +and the threat, although unspoken, filled Miss Farrar with alarm. Her +eyes, wide with concern, turned fearfully from one man to the other. + +The sergeant stretched his hands toward her, the fingers working and +making clutches in the air. The look in his eyes was quite terrifying. + +“If you don’t tell,” he said slowly, “I’ll choke it out of you!” + +If his intention was to frighten the girl, he succeeded admirably. With +her hands clasped to her throat, Miss Farrar sank against the wall. She +saw no chance of escape. The way to the door was barred, and should she +drop to the garden below, from the window, before she could reach the +road the men would overtake her. Even should she reach the road, the +house nearest was a half mile distant. + +The sergeant came close, his fingers opening and closing in front of her +eyes. He raised his voice to a harsh, bellowing roar. “I’m going to make +you tell!” he shouted. “I’m going to choke it out of you!” + +Although she was alone in the house, although on every side the pine +woods encompassed her, Miss Farrar threw all her strength into one long, +piercing cry for help. And upon the instant it was answered. From the +hall came the swift rush of feet. The rat-like one swung toward it. From +his revolver came a report that shook the room, a flash and a burst of +smoke, and through it Miss Farrar saw Lathrop hurl himself. He dived at +the rat-like one, and as on the foot-ball field he had been taught to +stop a runner, flung his arms around the other’s knees. The legs of the +man shot from under him, his body cut a half circle through the air, and +the part of his anatomy to first touch the floor was his head. The +floor was of oak, and the impact gave forth a crash like the smash of a +base-ball bat, when it drives the ball to centre field. The man did not +move. He did not even groan. In his relaxed fingers the revolver lay, +within reach of Lathrop’s hand. He fell upon it and, still on his knees, +pointed it at the sergeant. + +“You’re MY prisoner, now!” he shouted cheerfully. “Hands up!” + +The man raised his arms slowly, as if he were lifting heavy dumb-bells. + +“The lady called for help,” he said. “I came to help her.” + +“No! No!” protested the girl. “He did NOT help me! He said he would +choke me if I didn’t--” + +“He said he would--what!” bellowed Lathrop. He leaped to his feet, and +sent the gun spinning through the window. He stepped toward the man +gingerly, on the balls of his feet, like one walking on ice. The man +seemed to know what that form of approach threatened, for he threw his +arms into a position of defence. + +“You bully!” whispered Lathrop. “You coward! You choke women, do you?” + +He shifted from one foot to the other, his body balancing forward, +his arms swinging limply in front of him. With his eyes, he seemed to +undress the man, as though choosing a place to strike. + +“I made the same mistake you did,” he taunted. “I should have killed you +first. Now I am going to do it!” + +He sprang at the man, his chin still sunk on his chest, but with his +arms swinging like the spokes of a wheel. His opponent struck back +heavily, violently, but each move of his arm seemed only to open up +some vulnerable spot. Blows beat upon his chin, upon his nose, his eyes; +blows jabbed him in the ribs, drove his breath from his stomach, ground +his teeth together, cut the flesh from his cheeks. He sank to his knees, +with his arms clasping his head. + +“Get up!” roared Lathrop. “Stand up to it, you coward!” + +But the man had no idea of standing up to it. Howling with pain, he +scrambled toward the door, and fled staggering down the hall. + +At the same moment the automobile that a few minutes before had passed +up the road came limping to the gate, and a half-dozen men in uniform +sprang out of it. From the window Lathrop saw them spread across the +lawn and surround the house. + +“They’ve got him!” he said. He pointed to the prostrate figure on the +floor. “He and the other one,” he explained, breathlessly, “are New York +crooks! They have been looting in the wake of the Reds, disguised as +soldiers. I knew they weren’t even amateur soldiers by the mistakes in +their make-up, and I made that bluff of riding away so as to give them +time to show what the game was. Then, that provost guard in the motor +car stopped me, and when they said who they were after, I ordered them +back here. But they had a flat tire, and my bicycle beat them.” + +In his excitement he did not notice that the girl was not listening, +that she was very pale, that she was breathing quickly, and trembling. + +“I’ll go tell them,” he added, “that the other one they want is up +here.” + +Miss Farrar’s strength instantly returned. + +With a look of terror at the now groaning figure on the floor, she +sprang toward Lathrop, with both hands clutching him by his sleeves. + +“You will NOT!” she commanded. “You will not leave me alone!” + +Appealingly she raised her face to his startled countenance. With +a burst of tears she threw herself into his arms. “I’m afraid!” she +sobbed. “Don’t leave me. Please, no matter what I say, never leave me +again!” + +Between bewilderment and joy, the face of Lathrop was unrecognizable. As +her words reached him, as he felt the touch of her body in his arms, and +her warm, wet cheek against his own, he drew a deep sigh of content, and +then, fearfully and tenderly, held her close. + +After a pause, in which peace came to all the world, he raised his head. + +“Don’t worry!” he said. “You can BET I won’t leave you!” + + + + + +End of Project Gutenberg’s Peace Manoeuvres, by Richard Harding Davis + +*** END OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES *** + +***** This file should be named 1824-0.txt or 1824-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/8/2/1824/ + +Produced by Don Lainson + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. “Project Gutenberg” is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” + or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +“Defects,” such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right +of Replacement or Refund” described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm’s +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/1824-0.zip b/1824-0.zip Binary files differnew file mode 100644 index 0000000..370a145 --- /dev/null +++ b/1824-0.zip diff --git a/1824-h.zip b/1824-h.zip Binary files differnew file mode 100644 index 0000000..643722a --- /dev/null +++ b/1824-h.zip diff --git a/1824-h/1824-h.htm b/1824-h/1824-h.htm new file mode 100644 index 0000000..d23e708 --- /dev/null +++ b/1824-h/1824-h.htm @@ -0,0 +1,1461 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Peace Manoeuvres, by Richard Harding Davis + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Peace Manoeuvres, by Richard Harding Davis + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Peace Manoeuvres + +Author: Richard Harding Davis + +Release Date: May 12, 2006 [EBook #1824] +Last Updated: September 26, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES *** + + + + +Produced by Don Lainson; David Widger + + + + + +</pre> + <p> + <br /> <br /> + </p> + <h1> + PEACE MANOEUVRES + </h1> + <p> + <br /> + </p> + <h2> + By Richard Harding Davis + </h2> + <p> + <br /> <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <p> + The scout stood where three roads cut three green tunnels in the pine + woods, and met at his feet. Above his head an aged sign-post pointed + impartially to East Carver, South Carver, and Carver Centre, and left the + choice to him. + </p> + <p> + The scout scowled and bit nervously at his gauntlet. The choice was + difficult, and there was no one with whom he could take counsel. The three + sun-shot roads lay empty, and the other scouts, who, with him, had left + the main column at sunrise, he had ordered back. They were to report that + on the right flank, so far, at least, as Middleboro, there was no sign of + the enemy. What lay beyond, it now was his duty to discover. The three + empty roads spread before him like a picture puzzle, smiling at his + predicament. Whichever one he followed left two unguarded. Should he creep + upon for choice Carver Centre, the enemy, masked by a mile of fir trees, + might advance from Carver or South Carver, and obviously he could not + follow three roads at the same time. He considered the better strategy + would be to wait where he was, where the three roads met, and allow the + enemy himself to disclose his position. To the scout this course was most + distasteful. He assured himself that this was so because, while it were + the safer course, it wasted time and lacked initiative. But in his heart + he knew that was not the reason, and to his heart his head answered that + when one’s country is at war, when fields and fire-sides are trampled by + the iron heels of the invader, a scout should act not according to the + dictates of his heart, but in the service of his native land. In the case + of this particular patriot, the man and scout were at odds. As one of the + Bicycle Squad of the Boston Corps of Cadets, the scout knew what, at this + momentous crisis in her history, the commonwealth of Massachusetts + demanded of him. It was that he sit tight and wait for the hated + foreigners from New York City, New Jersey, and Connecticut to show + themselves. But the man knew, and had known for several years, that on the + road to Carver was the summer home of one Beatrice Farrar. As Private + Lathrop it was no part of his duty to know that. As a man and a lover, and + a rejected lover at that, he could not think of anything else. Struggling + between love and duty the scout basely decided to leave the momentous + question to chance. In the front tire of his bicycle was a puncture, + temporarily effaced by a plug. Laying the bicycle on the ground, Lathrop + spun the front wheel swiftly. + </p> + <p> + “If,” he decided, “the wheel stops with the puncture pointing at Carver + Centre, I’ll advance upon Carver Centre. Should it point to either of the + two other villages, I’ll stop here. + </p> + <p> + “It’s a two to one shot against me, any way,” he growled. + </p> + <p> + Kneeling in the road he spun the wheel, and as intently as at Monte Carlo + and Palm Beach he had waited for other wheels to determine his fortune, he + watched it come to rest. It stopped with the plug pointing back to + Middleboro. + </p> + <p> + The scout told himself he was entitled to another trial. Again he spun the + wheel. Again the spokes flashed in the sun. Again the puncture rested on + the road to Middleboro. + </p> + <p> + “If it does that once more,” thought the scout, “it’s a warning that there + is trouble ahead for me at Carver, and all the little Carvers.” + </p> + <p> + For the third time the wheel flashed, but as he waited for the impetus to + die, the sound of galloping hoofs broke sharply on the silence. The scout + threw himself and his bicycle over the nearest stone wall, and, + unlimbering his rifle, pointed it down the road. + </p> + <p> + He saw approaching a small boy, in a white apron, seated in a white wagon, + on which was painted, “Pies and Pastry. East Wareham.” The boy dragged his + horse to an abrupt halt. + </p> + <p> + “Don’t point that at me!” shouted the boy. + </p> + <p> + “Where do you come from?” demanded the scout. + </p> + <p> + “Wareham,” said the baker. + </p> + <p> + “Are you carrying any one concealed in that wagon?” + </p> + <p> + As though to make sure the baker’s boy glanced apprehensively into the + depths of his cart, and then answered that in the wagon he carried nothing + but fresh-baked bread. To the trained nostrils of the scout this already + was evident. Before sunrise he had breakfasted on hard tack and muddy + coffee, and the odor of crullers and mince pie, still warm, assailed him + cruelly. He assumed a fierce and terrible aspect. + </p> + <p> + “Where are you going?” he challenged. + </p> + <p> + “To Carver Centre,” said the boy. + </p> + <p> + To chance Lathrop had left the decision. He believed the fates had + answered. + </p> + <p> + Dragging his bicycle over the stone wall, he fell into the road. + </p> + <p> + “Go on,” he commanded. “I’ll use your cart for a screen. I’ll creep behind + the enemy before he sees me.” + </p> + <p> + The baker’s boy frowned unhappily. + </p> + <p> + “But supposing,” he argued, “they see you first, will they shoot?” + </p> + <p> + The scout waved his hand carelessly. + </p> + <p> + “Of course,” he cried. + </p> + <p> + “Then,” said the baker, “my horse will run away!” + </p> + <p> + “What of it?” demanded the scout. “Are Middleboro, South Middleboro, Rock, + Brockton, and Boston to fall? Are they to be captured because you’re + afraid of your own horse? They won’t shoot REAL bullets! This is not a + real war. Don’t you know that?” + </p> + <p> + The baker’s boy flushed with indignation. + </p> + <p> + “Sure, I know that,” he protested; “but my horse—HE don’t know + that!” + </p> + <p> + Lathrop slung his rifle over his shoulder and his leg over his bicycle. + </p> + <p> + “If the Reds catch you,” he warned, in parting, “they’ll take everything + you’ve got.” + </p> + <p> + “The Blues have took most of it already,” wailed the boy. “And just as + they were paying me the battle begun, and this horse run away, and I + couldn’t get him to come back for my money.” + </p> + <p> + “War,” exclaimed Lathrop morosely, “is always cruel to the innocent.” He + sped toward Carver Centre. In his motor car, he had travelled the road + many times, and as always his goal had been the home of Miss Beatrice + Farrar, he had covered it at a speed unrecognized by law. But now he + advanced with stealth and caution. In every clump of bushes he saw an + ambush. Behind each rock he beheld the enemy. + </p> + <p> + In a clearing was a group of Portuguese cranberry pickers, dressed as + though for a holiday. When they saw the man in uniform, one of the women + hailed him anxiously. + </p> + <p> + “Is the parade coming?” she called. + </p> + <p> + “Have you seen any of the Reds?” Lathrop returned. + </p> + <p> + “No,” complained the woman. “And we been waiting all morning. When will + the parade come?” + </p> + <p> + “It’s not a parade,” said Lathrop, severely. “It’s a war!” + </p> + <p> + The summer home of Miss Farrar stood close to the road. It had been so + placed by the farmer who built it, in order that the women folk might sit + at the window and watch the passing of the stage-coach and the peddler. + Great elms hung over it, and a white fence separated the road from the + narrow lawn. At a distance of a hundred yards a turn brought the house + into view, and at this turn, as had been his manoeuvre at every other + possible ambush, Lathrop dismounted and advanced on foot. Up to this + moment the road had been empty, but now, in front of the Farrar cottage, + it was blocked by a touring-car and a station wagon. In the occupants of + the car he recognized all the members of the Farrar family, except Miss + Farrar. In the station wagon were all of the Farrar servants. Miss Farrar + herself was leaning upon the gate and waving them a farewell. The + touring-car moved off down the road; the station wagon followed; Miss + Farrar was alone. Lathrop scorched toward her, and when he was opposite + the gate, dug his toes in the dust and halted. When he lifted his + broad-brimmed campaign hat, Miss Farrar exclaimed both with surprise and + displeasure. Drawing back from the gate she held herself erect. Her + attitude was that of one prepared for instant retreat. When she spoke it + was in tones of extreme disapproval. + </p> + <p> + “You promised,” said the girl, “you would not come to see me.” + </p> + <p> + Lathrop, straddling his bicycle, peered anxiously down the road. + </p> + <p> + “This is not a social call,” he said. “I’m on duty. Have you seen the + Reds?” + </p> + <p> + His tone was brisk and alert, his manner preoccupied. The ungraciousness + of his reception did not seem in the least to disconcert him. + </p> + <p> + But Miss Farrar was not deceived. She knew him, not only as a persistent + and irrepressible lover, but as one full of guile, adroit in tricks, + fertile in expedients. He was one who could not take “No” for an answer—at + least not from her. When she repulsed him she seemed to grow in his eyes + only the more attractive. + </p> + <p> + “It is not the lover who comes to woo,” he was constantly explaining, “but + the lover’s WAY of wooing.” + </p> + <p> + Miss Farrar had assured him she did not like his way. She objected to + being regarded and treated as a castle that could be taken only by + assault. Whether she wished time to consider, or whether he and his + proposal were really obnoxious to her, he could not find out. His policy + of campaign was that she, also, should not have time to find out. Again + and again she had agreed to see him only on the condition that he would + not make love to her. He had promised again and again, and had failed to + keep that promise. Only a week before he had been banished from her + presence, to remain an exile until she gave him permission to see her at + her home in New York. It was not her purpose to return there for two + weeks, and yet here he was, a beggar at her gate. It might be that he was + there, as he said, “on duty,” but her knowledge of him and of the doctrine + of chances caused her to doubt it. + </p> + <p> + “Mr. Lathrop!” she began, severely. + </p> + <p> + As though to see to whom she had spoken Lathrop glanced anxiously over his + shoulder. Apparently pained and surprised to find that it was to him she + had addressed herself, he regarded her with deep reproach. His eyes were + very beautiful. It was a fact which had often caused Miss Farrar extreme + annoyance. + </p> + <p> + He shook his head sadly. + </p> + <p> + “‘Mr. Lathrop?’” he protested. “You know that to you I am always ‘Charles—Charles + the Bold,’ because I am bold to love you; but never ‘Mr. Lathrop,’ + unless,” he went on briskly, “you are referring to a future state, when, + as Mrs. Lathrop, you will make me—” + </p> + <p> + Miss Farrar had turned her back on him, and was walking rapidly up the + path. + </p> + <p> + “Beatrice,” he called. “I am coming after you!” + </p> + <p> + Miss Farrar instantly returned and placed both hands firmly upon the gate. + </p> + <p> + “I cannot understand you!” she said. “Don’t you see that when you act as + you do now, I can’t even respect you? How do you think I could ever care, + when you offend me so? You jest at what you pretend is the most serious + thing in your life. You play with it—laugh at it!” + </p> + <p> + The young man interrupted her sharply. + </p> + <p> + “It’s like this,” he said. “When I am with you I am so happy I can’t be + serious. When I am NOT with you, it is SO serious that I am utterly and + completely wretched. You say my love offends you, bores you! I am sorry, + but what, in heaven’s name, do you think your NOT loving me is doing to + ME? I am a wreck! I am a skeleton! Look at me!” + </p> + <p> + He let his bicycle fall, and stood with his hands open at his sides, as + though inviting her to gaze upon the ruin she had caused. + </p> + <p> + Four days of sun and rain, astride of a bicycle, without food or sleep, + had drawn his face into fine, hard lines, had bronzed it with a healthy + tan. His uniform, made by the same tailor that fitted him with polo + breeches, clung to him like a jersey. The spectacle he presented was that + of an extremely picturesque, handsome, manly youth, and of that fact no + one was better aware than himself. + </p> + <p> + “Look at me,” he begged, sadly. + </p> + <p> + Miss Farrar was entirely unimpressed. + </p> + <p> + “I am!” she returned, coldly. “I never saw you looking so well—and + you know it.” She gave a gasp of comprehension. “You came here because you + knew your uniform was becoming!” + </p> + <p> + Lathrop regarded himself complacently. + </p> + <p> + “Yes, isn’t it?” he assented. “I brought on this war in order to wear it. + If you don’t mind,” he added, “I think I’ll accept your invitation and + come inside. I’ve had nothing to eat in four days.” + </p> + <p> + Miss Farrar’s eyes flashed indignantly. + </p> + <p> + “You’re NOT coming inside,” she declared; “but if you’ll only promise to + go away at once, I’ll bring you everything in the house.” + </p> + <p> + “In that house,” exclaimed Lathrop, dramatically, “there’s only one thing + that I desire, and I want that so badly that ‘life holds no charm without + you.’” + </p> + <p> + Miss Farrar regarded him steadily. + </p> + <p> + “Do you intend to drive me away from my own door, or will you go?” + </p> + <p> + Lathrop picked his wheel out of the dust. + </p> + <p> + “Good-by,” he said. “I’ll come back when you have made up your mind.” + </p> + <p> + In vexation Miss Farrar stamped her foot upon the path. + </p> + <p> + “I HAVE made up my mind!” she protested. + </p> + <p> + “Then,” returned Lathrop, “I’ll come back when you have changed it.” + </p> + <p> + He made a movement as though to ride away, but much to Miss Farrar’s + dismay, hastily dismounted. “On second thoughts,” he said, “it isn’t right + for me to leave you. The woods are full of tramps and hangers-on of the + army. You’re not safe. I can watch this road from here as well as from + anywhere else, and at the same time I can guard you.” + </p> + <p> + To the consternation of Miss Farrar he placed his bicycle against the + fence, and, as though preparing for a visit, leaned his elbows upon it. + </p> + <p> + “I do not wish to be rude,” said Miss Farrar, “but you are annoying me. I + have spent fifteen summers in Massachusetts, and I have never seen a + tramp. I need no one to guard me.” + </p> + <p> + “If not you,” said Lathrop easily, “then the family silver. And think of + your jewels, and your mother’s jewels. Think of yourself in a house filled + with jewels, and entirely surrounded by hostile armies! My duty is to + remain with you.” + </p> + <p> + Miss Farrar was so long in answering, that Lathrop lifted his head and + turned to look. He found her frowning and gazing intently into the shadow + of the woods, across the road. When she felt his eyes upon her she turned + her own guiltily upon him. Her cheeks were flushed and her face glowed + with some unusual excitement. + </p> + <p> + “I wish,” she exclaimed breathlessly—“I wish,” she repeated, “the + Reds would take you prisoner!” + </p> + <p> + “Take me where?” asked Lathrop. + </p> + <p> + “Take you anywhere!” cried Miss Farrar. “You should be ashamed to talk to + me when you should be looking for the enemy!” + </p> + <p> + “I am WAITING for the enemy,” explained Lathrop. “It’s the same thing.” + </p> + <p> + Miss Farrar smiled vindictively. Her eyes shone. “You need not wait long,” + she said. There was a crash of a falling stone wall, and of parting + bushes, but not in time to give Lathrop warning. As though from the + branches of the trees opposite two soldiers fell into the road; around his + hat each wore the red band of the invader; each pointed his rifle at + Lathrop. + </p> + <p> + “Hands up!” shouted one. “You’re my prisoner!” cried the other. + </p> + <p> + Mechanically Lathrop raised his hands, but his eyes turned to Miss Farrar. + </p> + <p> + “Did you know?” he asked. + </p> + <p> + “I have been watching them,” she said, “creeping up on you for the last + ten minutes.” + </p> + <p> + Lathrop turned to the two soldiers, and made an effort to smile. + </p> + <p> + “That was very clever,” he said, “but I have twenty men up the road, and + behind them a regiment. You had better get away while you can.” + </p> + <p> + The two Reds laughed derisively. One, who wore the stripes of a sergeant, + answered: “That won’t do! We been a mile up the road, and you and us are + the only soldiers on it. Gimme the gun!” + </p> + <p> + Lathrop knew he had no right to refuse. He had been fairly surprised, but + he hesitated. When Miss Farrar was not in his mind his amateur soldiering + was to him a most serious proposition. The war game was a serious + proposition, and that, through his failure for ten minutes to regard it + seriously, he had been made a prisoner, mortified him keenly. That his + humiliation had taken place in the presence of Beatrice Farrar did not + lessen his discomfort, nor did the explanation he must later make to his + captain afford him any satisfaction. Already he saw himself playing the + star part in a court-martial. He shrugged his shoulders and surrendered + his gun. + </p> + <p> + As he did so he gloomily scrutinized the insignia of his captors. + </p> + <p> + “Who took me?” he asked. + </p> + <p> + “WE took you,” exclaimed the sergeant. + </p> + <p> + “What regiment?” demanded Lathrop, sharply. “I have to report who took me; + and you probably don’t know it, but your collar ornaments are upside + down.” With genuine exasperation he turned to Miss Farrar. + </p> + <p> + “Lord!” he exclaimed, “isn’t it bad enough to be taken prisoner, without + being taken by raw recruits that can’t put on their uniforms?” + </p> + <p> + The Reds flushed, and the younger, a sandy-haired, rat-faced youth, + retorted angrily: “Mebbe we ain’t strong on uniforms, beau,” he snarled, + “but you’ve got nothing on us yet, that I can see. You look pretty with + your hands in the air, don’t you?” + </p> + <p> + “Shut up,” commanded the other Red. He was the older man, heavily built, + with a strong, hard mouth and chin, on which latter sprouted a three days’ + iron-gray beard. “Don’t you see he’s an officer? Officers don’t like being + took by two-spot privates.” + </p> + <p> + Lathrop gave a sudden start. “Why,” he laughed, incredulously, “don’t you + know—” He stopped, and his eyes glanced quickly up and down the + road. + </p> + <p> + “Don’t we know what?” demanded the older Red, suspiciously. + </p> + <p> + “I forgot,” said Lathrop. “I—I must not give information to the + enemy—” + </p> + <p> + For an instant there was a pause, while the two Reds stood irresolute. + Then the older nodded the other to the side of the road, and in whispers + they consulted eagerly. + </p> + <p> + Miss Farrar laughed, and Lathrop moved toward her. + </p> + <p> + “I deserve worse than being laughed at,” he said. “I made a strategic + mistake. I should not have tried to capture you and an army corps at the + same time.” + </p> + <p> + “You,” she taunted, “who were always so keen on soldiering, to be taken + prisoner,” she lowered her voice, “and by men like that! Aren’t they + funny?” she whispered, “and East Side and Tenderloin! It made me homesick + to hear them! I think when not in uniform the little one drives a taxicab, + and the big one is a guard on the elevated.” + </p> + <p> + “They certainly are very ‘New York,’” assented Lathrop, “and very tough.” + </p> + <p> + “I thought,” whispered Miss Farrar, “those from New York with the Red Army + were picked men.” + </p> + <p> + “What does it matter?” exclaimed Lathrop. “It’s just as humiliating to be + captured by a ballroom boy as by a mere millionaire! I can’t insist on the + invading army being entirely recruited from Harvard graduates.” + </p> + <p> + The two Reds either had reached a decision, or agreed that they could not + agree, for they ceased whispering, and crossed to where Lathrop stood. + </p> + <p> + “We been talking over your case,” explained the sergeant, “and we see we + are in wrong. We see we made a mistake in taking you prisoner. We had + ought to shot you dead. So now we’re going to shoot you dead.” + </p> + <p> + “You can’t!” objected Lathrop. “It’s too late. You should have thought of + that sooner.” + </p> + <p> + “I know,” admitted the sergeant, “but a prisoner is a hell of a nuisance. + If you got a prisoner to look after you can’t do your own work; you got to + keep tabs on him. And there ain’t nothing in it for the prisoner, neither. + If we take you, you’ll have to tramp all the way to our army, and all the + way back. But, if you’re dead, how different! You ain’t no bother to + anybody. You got a half holiday all to yourself, and you can loaf around + the camp, so dead that they can’t make you work, but not so dead you can’t + smoke or eat.” The sergeant smiled ingratiatingly. In a tempting manner he + exhibited his rifle. “Better be dead,” he urged. + </p> + <p> + “I’d like to oblige you,” said Lathrop, “but it’s against the rules. You + CAN’T shoot a prisoner.” + </p> + <p> + The rat-faced soldier uttered an angry exclamation. “To hell with the + rules!” he cried. “We can’t waste time on him. Turn him loose!” + </p> + <p> + The older man rounded on the little one savagely. The tone in which he + addressed him was cold, menacing, sinister. His words were simple, but his + eyes and face were heavy with warning. + </p> + <p> + “Who is running this?” he asked. + </p> + <p> + The little soldier muttered, and shuffled away. From under the brim of his + campaign hat, his eyes cast furtive glances up and down the road. As + though anxious to wipe out the effect of his comrade’s words, the sergeant + addressed Lathrop suavely and in a tone of conciliation. + </p> + <p> + “You see,” he explained, “him and me are scouts. We’re not supposed to + waste time taking prisoners. So, we’ll set you free.” He waved his hand + invitingly toward the bicycle. “You can go!” he said. + </p> + <p> + To Miss Farrar’s indignation Lathrop, instead of accepting his freedom, + remained motionless. + </p> + <p> + “I can’t!” he said. “I’m on post. My captain ordered me to stay in front + of this house until I was relieved.” + </p> + <p> + Miss Farrar, amazed at such duplicity, exclaimed aloud: + </p> + <p> + “He is NOT on post!” she protested. “He’s a scout! He wants to stop here, + because—because—he’s hungry. I wouldn’t have let you take him + prisoner, if I had not thought you would take him away with you.” She + appealed to the sergeant. “PLEASE take him away,” she begged. + </p> + <p> + The sergeant turned sharply upon his prisoner. + </p> + <p> + “Why don’t you do what the lady wants?” he demanded. + </p> + <p> + “Because I’ve got to do what my captain wants,” returned Lathrop, “and he + put me on sentry-go, in front of this house.” + </p> + <p> + With the back of his hand, the sergeant fretfully scraped the three days’ + growth on his chin. “There’s nothing to it,” he exclaimed, “but for to + take him with us. When we meet some more Reds we’ll turn him over. Fall + in!” he commanded. + </p> + <p> + “No!” protested Lathrop. “I don’t want to be turned over. I’ve got a much + better plan. YOU don’t want to be bothered with a prisoner. I don’t want + to be a prisoner. As you say, I am better dead. You can’t shoot a + prisoner, but if he tries to escape you can. I’ll try to escape. You shoot + me. Then I return to my own army, and report myself dead. That ends your + difficulty and saves me from a court-martial. They can’t court-martial a + corpse.” + </p> + <p> + The face of the sergeant flashed with relief and satisfaction. In his + anxiety to rid himself of his prisoner, he lifted the bicycle into the + road and held it in readiness. + </p> + <p> + “You’re all right!” he said, heartily. “You can make your getaway as quick + as you like.” + </p> + <p> + But to the conspiracy Miss Farrar refused to lend herself. + </p> + <p> + “How do you know,” she demanded, “that he will keep his promise? He may + not go back to his own army. He can be just as dead on my lawn as anywhere + else!” + </p> + <p> + Lathrop shook his head at her sadly. + </p> + <p> + “How you wrong me!” he protested. “How dare you doubt the promise of a + dying man? These are really my last words, and I wish I could think of + something to say suited to the occasion, but the presence of strangers + prevents.” + </p> + <p> + He mounted his bicycle. “‘If I had a thousand lives to give,’” he quoted + with fervor, “‘I’d give them all to—‘” he hesitated, and smiled + mournfully on Miss Farrar. Seeing her flushed and indignant countenance, + he added, with haste, “to the Commonwealth of Massachusetts!” + </p> + <p> + As he started on his wheel slowly down the path, he turned to the + sergeant. + </p> + <p> + “I’m escaping,” he explained. The Reds, with an enthusiasm undoubtedly + genuine, raised their rifles, and the calm of the Indian summer was + shattered by two sharp reports. Lathrop, looking back over his shoulder, + waved one hand reassuringly. + </p> + <p> + “Death was instantaneous,” he called. He bent his body over the + handle-bar, and they watched him disappear rapidly around the turn in the + road. + </p> + <p> + Miss Farrar sighed with relief. + </p> + <p> + “Thank you very much,” she said. + </p> + <p> + As though signifying that to oblige a woman he would shoot any number of + prisoners, the sergeant raised his hat. + </p> + <p> + “Don’t mention it, lady,” he said. “I seen he was annoying you, and that’s + why I got rid of him. Some of them amateur soldiers, as soon as they get + into uniform, are too fresh. He took advantage of you because your folks + were away from home. But don’t you worry about that. I’ll guard this house + until your folks get back.” + </p> + <p> + Miss Farrar protested warmly. + </p> + <p> + “Really!” she exclaimed; “I need no one to guard me.” + </p> + <p> + But the soldier was obdurate. He motioned his comrade down the road. + </p> + <p> + “Watch at the turn,” he ordered; “he may come back or send some of the + Blues to take us. I’ll stay here and protect the lady.” + </p> + <p> + Again Miss Farrar protested, but the sergeant, in a benign and fatherly + manner, smiled approvingly. Seating himself on the grass outside the + fence, he leaned his back against the gatepost, apparently settling + himself for conversation. + </p> + <p> + “Now, how long might it have been,” he asked, “before we showed up, that + you seen us?” + </p> + <p> + “I saw you,” Miss Farrar said, “when Mr.—when that bicycle scout was + talking to me. I saw the red bands on your hats among the bushes.” + </p> + <p> + The sergeant appeared interested. + </p> + <p> + “But why didn’t you let on to him?” + </p> + <p> + Miss Farrar laughed evasively. + </p> + <p> + “Maybe because I am from New York, too,” she said. “Perhaps I wanted to + see soldiers from my city take a prisoner.” + </p> + <p> + They were interrupted by the sudden appearance of the smaller soldier. On + his rat-like countenance was written deep concern. + </p> + <p> + “When I got to the turn,” he began, breathlessly, “I couldn’t see him. + Where did he go? Did he double back through the woods, or did he have time + to ride out of sight before I got there?” + </p> + <p> + The reappearance of his comrade affected the sergeant strangely. He sprang + to his feet, his under jaw protruding truculently, his eyes flashing with + anger. + </p> + <p> + “Get back,” he snarled. “Do what I told you!” + </p> + <p> + Under his breath he muttered words that, to Miss Farrar, were + unintelligible. The little rat-like man nodded, and ran from them down the + road. The sergeant made an awkward gesture of apology. + </p> + <p> + “Excuse me, lady,” he begged, “but it makes me hot when them rookies won’t + obey orders. You see,” he ran on glibly, “I’m a reg’lar; served three + years in the Philippines, and I can’t get used to not having my men do + what I say.” + </p> + <p> + Miss Farrar nodded, and started toward the house. The sergeant sprang + quickly across the road. + </p> + <p> + “Have you ever been in the Philippines, Miss?” he called. “It’s a great + country.” + </p> + <p> + Miss Farrar halted and shook her head. She was considering how far + politeness required of her to entertain unshaven militiamen, who insisted + on making sentries of themselves at her front gate. + </p> + <p> + The sergeant had plunged garrulously into a confusing description of the + Far East. He was clasping the pickets of the fence with his hands, and his + eyes were fastened on hers. He lacked neither confidence nor vocabulary, + and not for an instant did his tongue hesitate or his eyes wander, and yet + in his manner there was nothing at which she could take offence. He + appeared only amiably vain that he had seen much of the world, and anxious + to impress that fact upon another. Miss Farrar was bored, but the man gave + her no opportunity to escape. In consequence she was relieved when the + noisy approach of an automobile brought him to an abrupt pause. Coming + rapidly down the road was a large touring-car, filled with men in khaki. + The sergeant gave one glance at it, and leaped across the road, taking + cover behind the stone wall. Instantly he raised his head above it and + shook his fist at Miss Farrar. + </p> + <p> + “Don’t tell,” he commanded. “They’re Blues in that car! Don’t tell!” Again + he sank from sight. + </p> + <p> + Miss Farrar now was more than bored, she was annoyed. Why grown men should + play at war so seriously she could not understand. It was absurd! She no + longer would remain a party to it; and, lest the men in the car might + involve her still further, she retreated hastily toward the house. As she + opened the door the car halted at the gate, and voices called to her, but + she pretended not to hear them, and continued up the stairs. Behind her + the car passed noisily on its way. + </p> + <p> + She mounted the stairs, and crossing a landing moved down a long hall, at + the further end of which was her bedroom. The hall was uncarpeted, but the + tennis shoes she wore made no sound, nor did the door of her bedroom when + she pushed it open. + </p> + <p> + On the threshold Miss Farrar stood quite still. A swift, sinking nausea + held her in a vice. Her instinct was to scream and run, but her throat had + tightened and gone dry, and her limbs trembled. Opposite the door was her + dressing-table, and reflected in its mirror were the features and figure + of the rat-like soldier. His back was toward her. With one hand he swept + the dressing-table. The other, hanging at his side, held a revolver. In a + moment the panic into which Miss Farrar had been thrown passed. Her breath + and blood returned, and, intent only on flight, she softly turned. On the + instant the rat-faced one raised his eyes, saw her reflected in the + mirror, and with an oath, swung toward her. He drew the revolver close to + his cheek, and looked at her down the barrel. “Don’t move!” he whispered; + “don’t scream! Where are the jewels?” + </p> + <p> + Miss Farrar was not afraid of the revolver or of the man. She did not + believe either would do her harm. The idea of both the presence of the man + in her room, and that any one should dare to threaten her was what filled + her with repugnance. As the warm blood flowed again through her body her + spirit returned. She was no longer afraid. She was, instead, indignant, + furious. + </p> + <p> + With one step she was in the room, leaving the road to the door open. + </p> + <p> + “Get out of here,” she commanded. + </p> + <p> + The little man snarled, and stamped the floor. He shoved the gun nearer to + her. + </p> + <p> + “The jewels, damn you!” he whispered. “Do you want me to blow your fool + head off? Where are the jewels?” + </p> + <p> + “Jewels?” repeated Miss Farrar. “I have no jewels!” + </p> + <p> + “You lie!” shrieked the little man. “He said the house was full of jewels. + We heard him. He said he would stay to guard the jewels.” + </p> + <p> + Miss Farrar recognized his error. She remembered Lathrop’s jest, and that + it had been made while the two men were within hearing, behind the stone + wall. + </p> + <p> + “It was a joke!” she cried. “Leave at once!” She backed swiftly toward the + open window that looked upon the road. “Or I’ll call your sergeant!” + </p> + <p> + “If you go near that window or scream,” whispered the rat-like one, “I’ll + shoot!” + </p> + <p> + A heavy voice, speaking suddenly from the doorway, shook Miss Farrar’s + jangled nerves into fresh panic. + </p> + <p> + “She won’t scream,” said the voice. + </p> + <p> + In the door Miss Farrar saw the bulky form of the sergeant, blocking her + escape. + </p> + <p> + Without shifting his eyes from Miss Farrar, the man with the gun cursed + breathlessly at the other. “Why didn’t you keep her away?” he panted. + </p> + <p> + “An automobile stopped in front of the gate,” explained the sergeant. + “Have you got them?” he demanded. + </p> + <p> + “No!” returned the other. “Nothing! She won’t tell where they are.” + </p> + <p> + The older man laughed. “Oh, yes, she’ll tell,” he whispered. His voice was + still low and suave, but it carried with it the weight of a threat, and + the threat, although unspoken, filled Miss Farrar with alarm. Her eyes, + wide with concern, turned fearfully from one man to the other. + </p> + <p> + The sergeant stretched his hands toward her, the fingers working and + making clutches in the air. The look in his eyes was quite terrifying. + </p> + <p> + “If you don’t tell,” he said slowly, “I’ll choke it out of you!” + </p> + <p> + If his intention was to frighten the girl, he succeeded admirably. With + her hands clasped to her throat, Miss Farrar sank against the wall. She + saw no chance of escape. The way to the door was barred, and should she + drop to the garden below, from the window, before she could reach the road + the men would overtake her. Even should she reach the road, the house + nearest was a half mile distant. + </p> + <p> + The sergeant came close, his fingers opening and closing in front of her + eyes. He raised his voice to a harsh, bellowing roar. “I’m going to make + you tell!” he shouted. “I’m going to choke it out of you!” + </p> + <p> + Although she was alone in the house, although on every side the pine woods + encompassed her, Miss Farrar threw all her strength into one long, + piercing cry for help. And upon the instant it was answered. From the hall + came the swift rush of feet. The rat-like one swung toward it. From his + revolver came a report that shook the room, a flash and a burst of smoke, + and through it Miss Farrar saw Lathrop hurl himself. He dived at the + rat-like one, and as on the foot-ball field he had been taught to stop a + runner, flung his arms around the other’s knees. The legs of the man shot + from under him, his body cut a half circle through the air, and the part + of his anatomy to first touch the floor was his head. The floor was of + oak, and the impact gave forth a crash like the smash of a base-ball bat, + when it drives the ball to centre field. The man did not move. He did not + even groan. In his relaxed fingers the revolver lay, within reach of + Lathrop’s hand. He fell upon it and, still on his knees, pointed it at the + sergeant. + </p> + <p> + “You’re MY prisoner, now!” he shouted cheerfully. “Hands up!” + </p> + <p> + The man raised his arms slowly, as if he were lifting heavy dumb-bells. + </p> + <p> + “The lady called for help,” he said. “I came to help her.” + </p> + <p> + “No! No!” protested the girl. “He did NOT help me! He said he would choke + me if I didn’t—” + </p> + <p> + “He said he would—what!” bellowed Lathrop. He leaped to his feet, + and sent the gun spinning through the window. He stepped toward the man + gingerly, on the balls of his feet, like one walking on ice. The man + seemed to know what that form of approach threatened, for he threw his + arms into a position of defence. + </p> + <p> + “You bully!” whispered Lathrop. “You coward! You choke women, do you?” + </p> + <p> + He shifted from one foot to the other, his body balancing forward, his + arms swinging limply in front of him. With his eyes, he seemed to undress + the man, as though choosing a place to strike. + </p> + <p> + “I made the same mistake you did,” he taunted. “I should have killed you + first. Now I am going to do it!” + </p> + <p> + He sprang at the man, his chin still sunk on his chest, but with his arms + swinging like the spokes of a wheel. His opponent struck back heavily, + violently, but each move of his arm seemed only to open up some vulnerable + spot. Blows beat upon his chin, upon his nose, his eyes; blows jabbed him + in the ribs, drove his breath from his stomach, ground his teeth together, + cut the flesh from his cheeks. He sank to his knees, with his arms + clasping his head. + </p> + <p> + “Get up!” roared Lathrop. “Stand up to it, you coward!” + </p> + <p> + But the man had no idea of standing up to it. Howling with pain, he + scrambled toward the door, and fled staggering down the hall. + </p> + <p> + At the same moment the automobile that a few minutes before had passed up + the road came limping to the gate, and a half-dozen men in uniform sprang + out of it. From the window Lathrop saw them spread across the lawn and + surround the house. + </p> + <p> + “They’ve got him!” he said. He pointed to the prostrate figure on the + floor. “He and the other one,” he explained, breathlessly, “are New York + crooks! They have been looting in the wake of the Reds, disguised as + soldiers. I knew they weren’t even amateur soldiers by the mistakes in + their make-up, and I made that bluff of riding away so as to give them + time to show what the game was. Then, that provost guard in the motor car + stopped me, and when they said who they were after, I ordered them back + here. But they had a flat tire, and my bicycle beat them.” + </p> + <p> + In his excitement he did not notice that the girl was not listening, that + she was very pale, that she was breathing quickly, and trembling. + </p> + <p> + “I’ll go tell them,” he added, “that the other one they want is up here.” + </p> + <p> + Miss Farrar’s strength instantly returned. + </p> + <p> + With a look of terror at the now groaning figure on the floor, she sprang + toward Lathrop, with both hands clutching him by his sleeves. + </p> + <p> + “You will NOT!” she commanded. “You will not leave me alone!” + </p> + <p> + Appealingly she raised her face to his startled countenance. With a burst + of tears she threw herself into his arms. “I’m afraid!” she sobbed. “Don’t + leave me. Please, no matter what I say, never leave me again!” + </p> + <p> + Between bewilderment and joy, the face of Lathrop was unrecognizable. As + her words reached him, as he felt the touch of her body in his arms, and + her warm, wet cheek against his own, he drew a deep sigh of content, and + then, fearfully and tenderly, held her close. + </p> + <p> + After a pause, in which peace came to all the world, he raised his head. + </p> + <p> + “Don’t worry!” he said. “You can BET I won’t leave you!” + </p> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of Project Gutenberg’s Peace Manoeuvres, by Richard Harding Davis + +*** END OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES *** + +***** This file should be named 1824-h.htm or 1824-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/8/2/1824/ + +Produced by Don Lainson; David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. “Project Gutenberg” is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” + or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +“Defects,” such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right +of Replacement or Refund” described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm’s +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> diff --git a/1824.txt b/1824.txt new file mode 100644 index 0000000..e27dc0c --- /dev/null +++ b/1824.txt @@ -0,0 +1,1199 @@ +The Project Gutenberg EBook of Peace Manoeuvres, by Richard Harding Davis + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Peace Manoeuvres + +Author: Richard Harding Davis + +Release Date: May 12, 2006 [EBook #1824] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES *** + + + + +Produced by Don Lainson + + + + + +PEACE MANOEUVRES + +By Richard Harding Davis + + + + +The scout stood where three roads cut three green tunnels in the pine +woods, and met at his feet. Above his head an aged sign-post pointed +impartially to East Carver, South Carver, and Carver Centre, and left +the choice to him. + +The scout scowled and bit nervously at his gauntlet. The choice was +difficult, and there was no one with whom he could take counsel. The +three sun-shot roads lay empty, and the other scouts, who, with him, +had left the main column at sunrise, he had ordered back. They were to +report that on the right flank, so far, at least, as Middleboro, there +was no sign of the enemy. What lay beyond, it now was his duty to +discover. The three empty roads spread before him like a picture +puzzle, smiling at his predicament. Whichever one he followed left two +unguarded. Should he creep upon for choice Carver Centre, the enemy, +masked by a mile of fir trees, might advance from Carver or South +Carver, and obviously he could not follow three roads at the same time. +He considered the better strategy would be to wait where he was, +where the three roads met, and allow the enemy himself to disclose his +position. To the scout this course was most distasteful. He assured +himself that this was so because, while it were the safer course, it +wasted time and lacked initiative. But in his heart he knew that was not +the reason, and to his heart his head answered that when one's country +is at war, when fields and fire-sides are trampled by the iron heels +of the invader, a scout should act not according to the dictates of +his heart, but in the service of his native land. In the case of this +particular patriot, the man and scout were at odds. As one of the +Bicycle Squad of the Boston Corps of Cadets, the scout knew what, at +this momentous crisis in her history, the commonwealth of Massachusetts +demanded of him. It was that he sit tight and wait for the hated +foreigners from New York City, New Jersey, and Connecticut to show +themselves. But the man knew, and had known for several years, that +on the road to Carver was the summer home of one Beatrice Farrar. As +Private Lathrop it was no part of his duty to know that. As a man and +a lover, and a rejected lover at that, he could not think of anything +else. Struggling between love and duty the scout basely decided to leave +the momentous question to chance. In the front tire of his bicycle was +a puncture, temporarily effaced by a plug. Laying the bicycle on the +ground, Lathrop spun the front wheel swiftly. + +"If," he decided, "the wheel stops with the puncture pointing at Carver +Centre, I'll advance upon Carver Centre. Should it point to either of +the two other villages, I'll stop here. + +"It's a two to one shot against me, any way," he growled. + +Kneeling in the road he spun the wheel, and as intently as at Monte +Carlo and Palm Beach he had waited for other wheels to determine his +fortune, he watched it come to rest. It stopped with the plug pointing +back to Middleboro. + +The scout told himself he was entitled to another trial. Again he spun +the wheel. Again the spokes flashed in the sun. Again the puncture +rested on the road to Middleboro. + +"If it does that once more," thought the scout, "it's a warning that +there is trouble ahead for me at Carver, and all the little Carvers." + +For the third time the wheel flashed, but as he waited for the impetus +to die, the sound of galloping hoofs broke sharply on the silence. The +scout threw himself and his bicycle over the nearest stone wall, and, +unlimbering his rifle, pointed it down the road. + +He saw approaching a small boy, in a white apron, seated in a white +wagon, on which was painted, "Pies and Pastry. East Wareham." The boy +dragged his horse to an abrupt halt. + +"Don't point that at me!" shouted the boy. + +"Where do you come from?" demanded the scout. + +"Wareham," said the baker. + +"Are you carrying any one concealed in that wagon?" + +As though to make sure the baker's boy glanced apprehensively into +the depths of his cart, and then answered that in the wagon he carried +nothing but fresh-baked bread. To the trained nostrils of the scout this +already was evident. Before sunrise he had breakfasted on hard tack +and muddy coffee, and the odor of crullers and mince pie, still warm, +assailed him cruelly. He assumed a fierce and terrible aspect. + +"Where are you going?" he challenged. + +"To Carver Centre," said the boy. + +To chance Lathrop had left the decision. He believed the fates had +answered. + +Dragging his bicycle over the stone wall, he fell into the road. + +"Go on," he commanded. "I'll use your cart for a screen. I'll creep +behind the enemy before he sees me." + +The baker's boy frowned unhappily. + +"But supposing," he argued, "they see you first, will they shoot?" + +The scout waved his hand carelessly. + +"Of course," he cried. + +"Then," said the baker, "my horse will run away!" + +"What of it?" demanded the scout. "Are Middleboro, South Middleboro, +Rock, Brockton, and Boston to fall? Are they to be captured because +you're afraid of your own horse? They won't shoot REAL bullets! This is +not a real war. Don't you know that?" + +The baker's boy flushed with indignation. + +"Sure, I know that," he protested; "but my horse--HE don't know that!" + +Lathrop slung his rifle over his shoulder and his leg over his bicycle. + +"If the Reds catch you," he warned, in parting, "they'll take everything +you've got." + +"The Blues have took most of it already," wailed the boy. "And just as +they were paying me the battle begun, and this horse run away, and I +couldn't get him to come back for my money." + +"War," exclaimed Lathrop morosely, "is always cruel to the innocent." He +sped toward Carver Centre. In his motor car, he had travelled the road +many times, and as always his goal had been the home of Miss Beatrice +Farrar, he had covered it at a speed unrecognized by law. But now he +advanced with stealth and caution. In every clump of bushes he saw an +ambush. Behind each rock he beheld the enemy. + +In a clearing was a group of Portuguese cranberry pickers, dressed as +though for a holiday. When they saw the man in uniform, one of the women +hailed him anxiously. + +"Is the parade coming?" she called. + +"Have you seen any of the Reds?" Lathrop returned. + +"No," complained the woman. "And we been waiting all morning. When will +the parade come?" + +"It's not a parade," said Lathrop, severely. "It's a war!" + +The summer home of Miss Farrar stood close to the road. It had been so +placed by the farmer who built it, in order that the women folk might +sit at the window and watch the passing of the stage-coach and the +peddler. Great elms hung over it, and a white fence separated the road +from the narrow lawn. At a distance of a hundred yards a turn brought +the house into view, and at this turn, as had been his manoeuvre at +every other possible ambush, Lathrop dismounted and advanced on foot. Up +to this moment the road had been empty, but now, in front of the Farrar +cottage, it was blocked by a touring-car and a station wagon. In the +occupants of the car he recognized all the members of the Farrar +family, except Miss Farrar. In the station wagon were all of the Farrar +servants. Miss Farrar herself was leaning upon the gate and waving them +a farewell. The touring-car moved off down the road; the station wagon +followed; Miss Farrar was alone. Lathrop scorched toward her, and when +he was opposite the gate, dug his toes in the dust and halted. When he +lifted his broad-brimmed campaign hat, Miss Farrar exclaimed both with +surprise and displeasure. Drawing back from the gate she held herself +erect. Her attitude was that of one prepared for instant retreat. When +she spoke it was in tones of extreme disapproval. + +"You promised," said the girl, "you would not come to see me." + +Lathrop, straddling his bicycle, peered anxiously down the road. + +"This is not a social call," he said. "I'm on duty. Have you seen the +Reds?" + +His tone was brisk and alert, his manner preoccupied. The ungraciousness +of his reception did not seem in the least to disconcert him. + +But Miss Farrar was not deceived. She knew him, not only as a persistent +and irrepressible lover, but as one full of guile, adroit in tricks, +fertile in expedients. He was one who could not take "No" for an +answer--at least not from her. When she repulsed him she seemed to grow +in his eyes only the more attractive. + +"It is not the lover who comes to woo," he was constantly explaining, +"but the lover's WAY of wooing." + +Miss Farrar had assured him she did not like his way. She objected +to being regarded and treated as a castle that could be taken only by +assault. Whether she wished time to consider, or whether he and his +proposal were really obnoxious to her, he could not find out. His policy +of campaign was that she, also, should not have time to find out. Again +and again she had agreed to see him only on the condition that he would +not make love to her. He had promised again and again, and had failed +to keep that promise. Only a week before he had been banished from her +presence, to remain an exile until she gave him permission to see her +at her home in New York. It was not her purpose to return there for two +weeks, and yet here he was, a beggar at her gate. It might be that he +was there, as he said, "on duty," but her knowledge of him and of the +doctrine of chances caused her to doubt it. + +"Mr. Lathrop!" she began, severely. + +As though to see to whom she had spoken Lathrop glanced anxiously over +his shoulder. Apparently pained and surprised to find that it was to him +she had addressed herself, he regarded her with deep reproach. His eyes +were very beautiful. It was a fact which had often caused Miss Farrar +extreme annoyance. + +He shook his head sadly. + +"'Mr. Lathrop?'" he protested. "You know that to you I am always +'Charles--Charles the Bold,' because I am bold to love you; but never +'Mr. Lathrop,' unless," he went on briskly, "you are referring to a +future state, when, as Mrs. Lathrop, you will make me--" + +Miss Farrar had turned her back on him, and was walking rapidly up the +path. + +"Beatrice," he called. "I am coming after you!" + +Miss Farrar instantly returned and placed both hands firmly upon the +gate. + +"I cannot understand you!" she said. "Don't you see that when you act +as you do now, I can't even respect you? How do you think I could ever +care, when you offend me so? You jest at what you pretend is the most +serious thing in your life. You play with it--laugh at it!" + +The young man interrupted her sharply. + +"It's like this," he said. "When I am with you I am so happy I can't be +serious. When I am NOT with you, it is SO serious that I am utterly and +completely wretched. You say my love offends you, bores you! I am sorry, +but what, in heaven's name, do you think your NOT loving me is doing to +ME? I am a wreck! I am a skeleton! Look at me!" + +He let his bicycle fall, and stood with his hands open at his sides, as +though inviting her to gaze upon the ruin she had caused. + +Four days of sun and rain, astride of a bicycle, without food or sleep, +had drawn his face into fine, hard lines, had bronzed it with a healthy +tan. His uniform, made by the same tailor that fitted him with polo +breeches, clung to him like a jersey. The spectacle he presented was +that of an extremely picturesque, handsome, manly youth, and of that +fact no one was better aware than himself. + +"Look at me," he begged, sadly. + +Miss Farrar was entirely unimpressed. + +"I am!" she returned, coldly. "I never saw you looking so well--and you +know it." She gave a gasp of comprehension. "You came here because you +knew your uniform was becoming!" + +Lathrop regarded himself complacently. + +"Yes, isn't it?" he assented. "I brought on this war in order to wear +it. If you don't mind," he added, "I think I'll accept your invitation +and come inside. I've had nothing to eat in four days." + +Miss Farrar's eyes flashed indignantly. + +"You're NOT coming inside," she declared; "but if you'll only promise to +go away at once, I'll bring you everything in the house." + +"In that house," exclaimed Lathrop, dramatically, "there's only one +thing that I desire, and I want that so badly that 'life holds no charm +without you.'" + +Miss Farrar regarded him steadily. + +"Do you intend to drive me away from my own door, or will you go?" + +Lathrop picked his wheel out of the dust. + +"Good-by," he said. "I'll come back when you have made up your mind." + +In vexation Miss Farrar stamped her foot upon the path. + +"I HAVE made up my mind!" she protested. + +"Then," returned Lathrop, "I'll come back when you have changed it." + +He made a movement as though to ride away, but much to Miss Farrar's +dismay, hastily dismounted. "On second thoughts," he said, "it isn't +right for me to leave you. The woods are full of tramps and hangers-on +of the army. You're not safe. I can watch this road from here as well as +from anywhere else, and at the same time I can guard you." + +To the consternation of Miss Farrar he placed his bicycle against the +fence, and, as though preparing for a visit, leaned his elbows upon it. + +"I do not wish to be rude," said Miss Farrar, "but you are annoying me. +I have spent fifteen summers in Massachusetts, and I have never seen a +tramp. I need no one to guard me." + +"If not you," said Lathrop easily, "then the family silver. And think +of your jewels, and your mother's jewels. Think of yourself in a house +filled with jewels, and entirely surrounded by hostile armies! My duty +is to remain with you." + +Miss Farrar was so long in answering, that Lathrop lifted his head +and turned to look. He found her frowning and gazing intently into the +shadow of the woods, across the road. When she felt his eyes upon her +she turned her own guiltily upon him. Her cheeks were flushed and her +face glowed with some unusual excitement. + +"I wish," she exclaimed breathlessly--"I wish," she repeated, "the Reds +would take you prisoner!" + +"Take me where?" asked Lathrop. + +"Take you anywhere!" cried Miss Farrar. "You should be ashamed to talk +to me when you should be looking for the enemy!" + +"I am WAITING for the enemy," explained Lathrop. "It's the same thing." + +Miss Farrar smiled vindictively. Her eyes shone. "You need not wait +long," she said. There was a crash of a falling stone wall, and of +parting bushes, but not in time to give Lathrop warning. As though from +the branches of the trees opposite two soldiers fell into the road; +around his hat each wore the red band of the invader; each pointed his +rifle at Lathrop. + +"Hands up!" shouted one. "You're my prisoner!" cried the other. + +Mechanically Lathrop raised his hands, but his eyes turned to Miss +Farrar. + +"Did you know?" he asked. + +"I have been watching them," she said, "creeping up on you for the last +ten minutes." + +Lathrop turned to the two soldiers, and made an effort to smile. + +"That was very clever," he said, "but I have twenty men up the road, and +behind them a regiment. You had better get away while you can." + +The two Reds laughed derisively. One, who wore the stripes of a +sergeant, answered: "That won't do! We been a mile up the road, and you +and us are the only soldiers on it. Gimme the gun!" + +Lathrop knew he had no right to refuse. He had been fairly surprised, +but he hesitated. When Miss Farrar was not in his mind his amateur +soldiering was to him a most serious proposition. The war game was a +serious proposition, and that, through his failure for ten minutes to +regard it seriously, he had been made a prisoner, mortified him keenly. +That his humiliation had taken place in the presence of Beatrice Farrar +did not lessen his discomfort, nor did the explanation he must later +make to his captain afford him any satisfaction. Already he saw himself +playing the star part in a court-martial. He shrugged his shoulders and +surrendered his gun. + +As he did so he gloomily scrutinized the insignia of his captors. + +"Who took me?" he asked. + +"WE took you," exclaimed the sergeant. + +"What regiment?" demanded Lathrop, sharply. "I have to report who took +me; and you probably don't know it, but your collar ornaments are upside +down." With genuine exasperation he turned to Miss Farrar. + +"Lord!" he exclaimed, "isn't it bad enough to be taken prisoner, without +being taken by raw recruits that can't put on their uniforms?" + +The Reds flushed, and the younger, a sandy-haired, rat-faced youth, +retorted angrily: "Mebbe we ain't strong on uniforms, beau," he snarled, +"but you've got nothing on us yet, that I can see. You look pretty with +your hands in the air, don't you?" + +"Shut up," commanded the other Red. He was the older man, heavily built, +with a strong, hard mouth and chin, on which latter sprouted a three +days' iron-gray beard. "Don't you see he's an officer? Officers don't +like being took by two-spot privates." + +Lathrop gave a sudden start. "Why," he laughed, incredulously, "don't +you know--" He stopped, and his eyes glanced quickly up and down the +road. + +"Don't we know what?" demanded the older Red, suspiciously. + +"I forgot," said Lathrop. "I--I must not give information to the +enemy--" + +For an instant there was a pause, while the two Reds stood irresolute. +Then the older nodded the other to the side of the road, and in whispers +they consulted eagerly. + +Miss Farrar laughed, and Lathrop moved toward her. + +"I deserve worse than being laughed at," he said. "I made a strategic +mistake. I should not have tried to capture you and an army corps at the +same time." + +"You," she taunted, "who were always so keen on soldiering, to be taken +prisoner," she lowered her voice, "and by men like that! Aren't they +funny?" she whispered, "and East Side and Tenderloin! It made me +homesick to hear them! I think when not in uniform the little one drives +a taxicab, and the big one is a guard on the elevated." + +"They certainly are very 'New York,'" assented Lathrop, "and very +tough." + +"I thought," whispered Miss Farrar, "those from New York with the Red +Army were picked men." + +"What does it matter?" exclaimed Lathrop. "It's just as humiliating to +be captured by a ballroom boy as by a mere millionaire! I can't insist +on the invading army being entirely recruited from Harvard graduates." + +The two Reds either had reached a decision, or agreed that they could +not agree, for they ceased whispering, and crossed to where Lathrop +stood. + +"We been talking over your case," explained the sergeant, "and we see +we are in wrong. We see we made a mistake in taking you prisoner. We had +ought to shot you dead. So now we're going to shoot you dead." + +"You can't!" objected Lathrop. "It's too late. You should have thought +of that sooner." + +"I know," admitted the sergeant, "but a prisoner is a hell of a +nuisance. If you got a prisoner to look after you can't do your own +work; you got to keep tabs on him. And there ain't nothing in it for the +prisoner, neither. If we take you, you'll have to tramp all the way to +our army, and all the way back. But, if you're dead, how different! You +ain't no bother to anybody. You got a half holiday all to yourself, and +you can loaf around the camp, so dead that they can't make you work, but +not so dead you can't smoke or eat." The sergeant smiled ingratiatingly. +In a tempting manner he exhibited his rifle. "Better be dead," he urged. + +"I'd like to oblige you," said Lathrop, "but it's against the rules. You +CAN'T shoot a prisoner." + +The rat-faced soldier uttered an angry exclamation. "To hell with the +rules!" he cried. "We can't waste time on him. Turn him loose!" + +The older man rounded on the little one savagely. The tone in which he +addressed him was cold, menacing, sinister. His words were simple, but +his eyes and face were heavy with warning. + +"Who is running this?" he asked. + +The little soldier muttered, and shuffled away. From under the brim of +his campaign hat, his eyes cast furtive glances up and down the road. +As though anxious to wipe out the effect of his comrade's words, the +sergeant addressed Lathrop suavely and in a tone of conciliation. + +"You see," he explained, "him and me are scouts. We're not supposed to +waste time taking prisoners. So, we'll set you free." He waved his hand +invitingly toward the bicycle. "You can go!" he said. + +To Miss Farrar's indignation Lathrop, instead of accepting his freedom, +remained motionless. + +"I can't!" he said. "I'm on post. My captain ordered me to stay in front +of this house until I was relieved." + +Miss Farrar, amazed at such duplicity, exclaimed aloud: + +"He is NOT on post!" she protested. "He's a scout! He wants to stop +here, because--because--he's hungry. I wouldn't have let you take him +prisoner, if I had not thought you would take him away with you." She +appealed to the sergeant. "PLEASE take him away," she begged. + +The sergeant turned sharply upon his prisoner. + +"Why don't you do what the lady wants?" he demanded. + +"Because I've got to do what my captain wants," returned Lathrop, "and +he put me on sentry-go, in front of this house." + +With the back of his hand, the sergeant fretfully scraped the three +days' growth on his chin. "There's nothing to it," he exclaimed, "but +for to take him with us. When we meet some more Reds we'll turn him +over. Fall in!" he commanded. + +"No!" protested Lathrop. "I don't want to be turned over. I've got a +much better plan. YOU don't want to be bothered with a prisoner. I don't +want to be a prisoner. As you say, I am better dead. You can't shoot +a prisoner, but if he tries to escape you can. I'll try to escape. You +shoot me. Then I return to my own army, and report myself dead. That +ends your difficulty and saves me from a court-martial. They can't +court-martial a corpse." + +The face of the sergeant flashed with relief and satisfaction. In his +anxiety to rid himself of his prisoner, he lifted the bicycle into the +road and held it in readiness. + +"You're all right!" he said, heartily. "You can make your getaway as +quick as you like." + +But to the conspiracy Miss Farrar refused to lend herself. + +"How do you know," she demanded, "that he will keep his promise? He +may not go back to his own army. He can be just as dead on my lawn as +anywhere else!" + +Lathrop shook his head at her sadly. + +"How you wrong me!" he protested. "How dare you doubt the promise of a +dying man? These are really my last words, and I wish I could think of +something to say suited to the occasion, but the presence of strangers +prevents." + +He mounted his bicycle. "'If I had a thousand lives to give,'" he +quoted with fervor, "'I'd give them all to--'" he hesitated, and smiled +mournfully on Miss Farrar. Seeing her flushed and indignant countenance, +he added, with haste, "to the Commonwealth of Massachusetts!" + +As he started on his wheel slowly down the path, he turned to the +sergeant. + +"I'm escaping," he explained. The Reds, with an enthusiasm undoubtedly +genuine, raised their rifles, and the calm of the Indian summer was +shattered by two sharp reports. Lathrop, looking back over his shoulder, +waved one hand reassuringly. + +"Death was instantaneous," he called. He bent his body over the +handle-bar, and they watched him disappear rapidly around the turn in +the road. + +Miss Farrar sighed with relief. + +"Thank you very much," she said. + +As though signifying that to oblige a woman he would shoot any number of +prisoners, the sergeant raised his hat. + +"Don't mention it, lady," he said. "I seen he was annoying you, and +that's why I got rid of him. Some of them amateur soldiers, as soon as +they get into uniform, are too fresh. He took advantage of you because +your folks were away from home. But don't you worry about that. I'll +guard this house until your folks get back." + +Miss Farrar protested warmly. + +"Really!" she exclaimed; "I need no one to guard me." + +But the soldier was obdurate. He motioned his comrade down the road. + +"Watch at the turn," he ordered; "he may come back or send some of the +Blues to take us. I'll stay here and protect the lady." + +Again Miss Farrar protested, but the sergeant, in a benign and fatherly +manner, smiled approvingly. Seating himself on the grass outside the +fence, he leaned his back against the gatepost, apparently settling +himself for conversation. + +"Now, how long might it have been," he asked, "before we showed up, that +you seen us?" + +"I saw you," Miss Farrar said, "when Mr.--when that bicycle scout was +talking to me. I saw the red bands on your hats among the bushes." + +The sergeant appeared interested. + +"But why didn't you let on to him?" + +Miss Farrar laughed evasively. + +"Maybe because I am from New York, too," she said. "Perhaps I wanted to +see soldiers from my city take a prisoner." + +They were interrupted by the sudden appearance of the smaller soldier. +On his rat-like countenance was written deep concern. + +"When I got to the turn," he began, breathlessly, "I couldn't see him. +Where did he go? Did he double back through the woods, or did he have +time to ride out of sight before I got there?" + +The reappearance of his comrade affected the sergeant strangely. He +sprang to his feet, his under jaw protruding truculently, his eyes +flashing with anger. + +"Get back," he snarled. "Do what I told you!" + +Under his breath he muttered words that, to Miss Farrar, were +unintelligible. The little rat-like man nodded, and ran from them down +the road. The sergeant made an awkward gesture of apology. + +"Excuse me, lady," he begged, "but it makes me hot when them rookies +won't obey orders. You see," he ran on glibly, "I'm a reg'lar; served +three years in the Philippines, and I can't get used to not having my +men do what I say." + +Miss Farrar nodded, and started toward the house. The sergeant sprang +quickly across the road. + +"Have you ever been in the Philippines, Miss?" he called. "It's a great +country." + +Miss Farrar halted and shook her head. She was considering how far +politeness required of her to entertain unshaven militiamen, who +insisted on making sentries of themselves at her front gate. + +The sergeant had plunged garrulously into a confusing description of the +Far East. He was clasping the pickets of the fence with his hands, +and his eyes were fastened on hers. He lacked neither confidence nor +vocabulary, and not for an instant did his tongue hesitate or his eyes +wander, and yet in his manner there was nothing at which she could take +offence. He appeared only amiably vain that he had seen much of the +world, and anxious to impress that fact upon another. Miss Farrar was +bored, but the man gave her no opportunity to escape. In consequence she +was relieved when the noisy approach of an automobile brought him to +an abrupt pause. Coming rapidly down the road was a large touring-car, +filled with men in khaki. The sergeant gave one glance at it, and leaped +across the road, taking cover behind the stone wall. Instantly he raised +his head above it and shook his fist at Miss Farrar. + +"Don't tell," he commanded. "They're Blues in that car! Don't tell!" +Again he sank from sight. + +Miss Farrar now was more than bored, she was annoyed. Why grown men +should play at war so seriously she could not understand. It was absurd! +She no longer would remain a party to it; and, lest the men in the car +might involve her still further, she retreated hastily toward the house. +As she opened the door the car halted at the gate, and voices called to +her, but she pretended not to hear them, and continued up the stairs. +Behind her the car passed noisily on its way. + +She mounted the stairs, and crossing a landing moved down a long hall, +at the further end of which was her bedroom. The hall was uncarpeted, +but the tennis shoes she wore made no sound, nor did the door of her +bedroom when she pushed it open. + +On the threshold Miss Farrar stood quite still. A swift, sinking nausea +held her in a vice. Her instinct was to scream and run, but her throat +had tightened and gone dry, and her limbs trembled. Opposite the door +was her dressing-table, and reflected in its mirror were the features +and figure of the rat-like soldier. His back was toward her. With one +hand he swept the dressing-table. The other, hanging at his side, held +a revolver. In a moment the panic into which Miss Farrar had been thrown +passed. Her breath and blood returned, and, intent only on flight, she +softly turned. On the instant the rat-faced one raised his eyes, saw her +reflected in the mirror, and with an oath, swung toward her. He drew the +revolver close to his cheek, and looked at her down the barrel. "Don't +move!" he whispered; "don't scream! Where are the jewels?" + +Miss Farrar was not afraid of the revolver or of the man. She did not +believe either would do her harm. The idea of both the presence of the +man in her room, and that any one should dare to threaten her was what +filled her with repugnance. As the warm blood flowed again through her +body her spirit returned. She was no longer afraid. She was, instead, +indignant, furious. + +With one step she was in the room, leaving the road to the door open. + +"Get out of here," she commanded. + +The little man snarled, and stamped the floor. He shoved the gun nearer +to her. + +"The jewels, damn you!" he whispered. "Do you want me to blow your fool +head off? Where are the jewels?" + +"Jewels?" repeated Miss Farrar. "I have no jewels!" + +"You lie!" shrieked the little man. "He said the house was full of +jewels. We heard him. He said he would stay to guard the jewels." + +Miss Farrar recognized his error. She remembered Lathrop's jest, and +that it had been made while the two men were within hearing, behind the +stone wall. + +"It was a joke!" she cried. "Leave at once!" She backed swiftly toward +the open window that looked upon the road. "Or I'll call your sergeant!" + +"If you go near that window or scream," whispered the rat-like one, +"I'll shoot!" + +A heavy voice, speaking suddenly from the doorway, shook Miss Farrar's +jangled nerves into fresh panic. + +"She won't scream," said the voice. + +In the door Miss Farrar saw the bulky form of the sergeant, blocking her +escape. + +Without shifting his eyes from Miss Farrar, the man with the gun cursed +breathlessly at the other. "Why didn't you keep her away?" he panted. + +"An automobile stopped in front of the gate," explained the sergeant. +"Have you got them?" he demanded. + +"No!" returned the other. "Nothing! She won't tell where they are." + +The older man laughed. "Oh, yes, she'll tell," he whispered. His voice +was still low and suave, but it carried with it the weight of a threat, +and the threat, although unspoken, filled Miss Farrar with alarm. Her +eyes, wide with concern, turned fearfully from one man to the other. + +The sergeant stretched his hands toward her, the fingers working and +making clutches in the air. The look in his eyes was quite terrifying. + +"If you don't tell," he said slowly, "I'll choke it out of you!" + +If his intention was to frighten the girl, he succeeded admirably. With +her hands clasped to her throat, Miss Farrar sank against the wall. She +saw no chance of escape. The way to the door was barred, and should she +drop to the garden below, from the window, before she could reach the +road the men would overtake her. Even should she reach the road, the +house nearest was a half mile distant. + +The sergeant came close, his fingers opening and closing in front of her +eyes. He raised his voice to a harsh, bellowing roar. "I'm going to make +you tell!" he shouted. "I'm going to choke it out of you!" + +Although she was alone in the house, although on every side the pine +woods encompassed her, Miss Farrar threw all her strength into one long, +piercing cry for help. And upon the instant it was answered. From the +hall came the swift rush of feet. The rat-like one swung toward it. From +his revolver came a report that shook the room, a flash and a burst of +smoke, and through it Miss Farrar saw Lathrop hurl himself. He dived at +the rat-like one, and as on the foot-ball field he had been taught to +stop a runner, flung his arms around the other's knees. The legs of the +man shot from under him, his body cut a half circle through the air, and +the part of his anatomy to first touch the floor was his head. The +floor was of oak, and the impact gave forth a crash like the smash of a +base-ball bat, when it drives the ball to centre field. The man did not +move. He did not even groan. In his relaxed fingers the revolver lay, +within reach of Lathrop's hand. He fell upon it and, still on his knees, +pointed it at the sergeant. + +"You're MY prisoner, now!" he shouted cheerfully. "Hands up!" + +The man raised his arms slowly, as if he were lifting heavy dumb-bells. + +"The lady called for help," he said. "I came to help her." + +"No! No!" protested the girl. "He did NOT help me! He said he would +choke me if I didn't--" + +"He said he would--what!" bellowed Lathrop. He leaped to his feet, and +sent the gun spinning through the window. He stepped toward the man +gingerly, on the balls of his feet, like one walking on ice. The man +seemed to know what that form of approach threatened, for he threw his +arms into a position of defence. + +"You bully!" whispered Lathrop. "You coward! You choke women, do you?" + +He shifted from one foot to the other, his body balancing forward, +his arms swinging limply in front of him. With his eyes, he seemed to +undress the man, as though choosing a place to strike. + +"I made the same mistake you did," he taunted. "I should have killed you +first. Now I am going to do it!" + +He sprang at the man, his chin still sunk on his chest, but with his +arms swinging like the spokes of a wheel. His opponent struck back +heavily, violently, but each move of his arm seemed only to open up +some vulnerable spot. Blows beat upon his chin, upon his nose, his eyes; +blows jabbed him in the ribs, drove his breath from his stomach, ground +his teeth together, cut the flesh from his cheeks. He sank to his knees, +with his arms clasping his head. + +"Get up!" roared Lathrop. "Stand up to it, you coward!" + +But the man had no idea of standing up to it. Howling with pain, he +scrambled toward the door, and fled staggering down the hall. + +At the same moment the automobile that a few minutes before had passed +up the road came limping to the gate, and a half-dozen men in uniform +sprang out of it. From the window Lathrop saw them spread across the +lawn and surround the house. + +"They've got him!" he said. He pointed to the prostrate figure on the +floor. "He and the other one," he explained, breathlessly, "are New York +crooks! They have been looting in the wake of the Reds, disguised as +soldiers. I knew they weren't even amateur soldiers by the mistakes in +their make-up, and I made that bluff of riding away so as to give them +time to show what the game was. Then, that provost guard in the motor +car stopped me, and when they said who they were after, I ordered them +back here. But they had a flat tire, and my bicycle beat them." + +In his excitement he did not notice that the girl was not listening, +that she was very pale, that she was breathing quickly, and trembling. + +"I'll go tell them," he added, "that the other one they want is up +here." + +Miss Farrar's strength instantly returned. + +With a look of terror at the now groaning figure on the floor, she +sprang toward Lathrop, with both hands clutching him by his sleeves. + +"You will NOT!" she commanded. "You will not leave me alone!" + +Appealingly she raised her face to his startled countenance. With +a burst of tears she threw herself into his arms. "I'm afraid!" she +sobbed. "Don't leave me. Please, no matter what I say, never leave me +again!" + +Between bewilderment and joy, the face of Lathrop was unrecognizable. As +her words reached him, as he felt the touch of her body in his arms, and +her warm, wet cheek against his own, he drew a deep sigh of content, and +then, fearfully and tenderly, held her close. + +After a pause, in which peace came to all the world, he raised his head. + +"Don't worry!" he said. "You can BET I won't leave you!" + + + + + +End of Project Gutenberg's Peace Manoeuvres, by Richard Harding Davis + +*** END OF THIS PROJECT GUTENBERG EBOOK PEACE MANOEUVRES *** + +***** This file should be named 1824.txt or 1824.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/8/2/1824/ + +Produced by Don Lainson + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/1824.zip b/1824.zip Binary files differnew file mode 100644 index 0000000..60e8aee --- /dev/null +++ b/1824.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f690481 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #1824 (https://www.gutenberg.org/ebooks/1824) diff --git a/old/pcmnv10.txt b/old/pcmnv10.txt new file mode 100644 index 0000000..c5e9dba --- /dev/null +++ b/old/pcmnv10.txt @@ -0,0 +1,1149 @@ +The Project Gutenberg Etext of Peace Manoeuvres, by H. H. Davis +#28 in our series by Richard Harding Davis + + +Copyright laws are changing all over the world, be sure to check +the copyright laws for your country before posting these files!! + +Please take a look at the important information in this header. +We encourage you to keep this file on your own disk, keeping an +electronic path open for the next readers. Do not remove this. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**Etexts Readable By Both Humans and By Computers, Since 1971** + +*These Etexts Prepared By Hundreds of Volunteers and Donations* + +Information on contacting Project Gutenberg to get Etexts, and +further information is included below. We need your donations. + + +Peace Manoeuvres + +by Richard Harding Davis + +July, 1999 [Etext #1824] + + +The Project Gutenberg Etext of Peace Manoeuvres, by H. H. Davis +******This file should be named pcmnv10.txt or pcmnv10.zip****** + +Corrected EDITIONS of our etexts get a new NUMBER, pcmnv11.txt +VERSIONS based on separate sources get new LETTER, pcmnv10a.txt + +Prepared by Don Lainson + +Project Gutenberg Etexts are usually created from multiple editions, +all of which are in the Public Domain in the United States, unless a +copyright notice is included. Therefore, we usually do NOT keep any +of these books in compliance with any particular paper edition. + + +We are now trying to release all our books one month in advance +of the official release dates, leaving time for better editing. + +Please note: neither this list nor its contents are final till +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg Etexts is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. To be sure you have an +up to date first edition [xxxxx10x.xxx] please check file sizes +in the first week of the next month. Since our ftp program has +a bug in it that scrambles the date [tried to fix and failed] a +look at the file size will have to do, but we will try to see a +new copy has at least one byte more or less. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +time it takes us, a rather conservative estimate, is fifty hours +to get any etext selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. This +projected audience is one hundred million readers. If our value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour this year as we release thirty-six text +files per month, or 432 more Etexts in 1999 for a total of 2000+ +If these reach just 10% of the computerized population, then the +total should reach over 200 billion Etexts given away this year. + +The Goal of Project Gutenberg is to Give Away One Trillion Etext +Files by December 31, 2001. [10,000 x 100,000,000 = 1 Trillion] +This is ten thousand titles each to one hundred million readers, +which is only ~5% of the present number of computer users. + +At our revised rates of production, we will reach only one-third +of that goal by the end of 2001, or about 3,333 Etexts unless we +manage to get some real funding; currently our funding is mostly +from Michael Hart's salary at Carnegie-Mellon University, and an +assortment of sporadic gifts; this salary is only good for a few +more years, so we are looking for something to replace it, as we +don't want Project Gutenberg to be so dependent on one person. + +We need your donations more than ever! + + +All donations should be made to "Project Gutenberg/CMU": and are +tax deductible to the extent allowable by law. (CMU = Carnegie- +Mellon University). + +For these and other matters, please mail to: + +Project Gutenberg +P. O. Box 2782 +Champaign, IL 61825 + +When all other email fails. . .try our Executive Director: +Michael S. Hart <hart@pobox.com> +hart@pobox.com forwards to hart@prairienet.org and archive.org +if your mail bounces from archive.org, I will still see it, if +it bounces from prairienet.org, better resend later on. . . . + +We would prefer to send you this information by email. + +****** + +To access Project Gutenberg etexts, use any Web browser +to view http://promo.net/pg. This site lists Etexts by +author and by title, and includes information about how +to get involved with Project Gutenberg. You could also +download our past Newsletters, or subscribe here. This +is one of our major sites, please email hart@pobox.com, +for a more complete list of our various sites. + +To go directly to the etext collections, use FTP or any +Web browser to visit a Project Gutenberg mirror (mirror +sites are available on 7 continents; mirrors are listed +at http://promo.net/pg). + +Mac users, do NOT point and click, typing works better. + +Example FTP session: + +ftp sunsite.unc.edu +login: anonymous +password: your@login +cd pub/docs/books/gutenberg +cd etext90 through etext99 +dir [to see files] +get or mget [to get files. . .set bin for zip files] +GET GUTINDEX.?? [to get a year's listing of books, e.g., GUTINDEX.99] +GET GUTINDEX.ALL [to get a listing of ALL books] + +*** + +**Information prepared by the Project Gutenberg legal advisor** + +(Three Pages) + + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this etext, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you can distribute copies of this etext if you want to. + +*BEFORE!* YOU USE OR READ THIS ETEXT +By using or reading any part of this PROJECT GUTENBERG-tm +etext, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this etext by +sending a request within 30 days of receiving it to the person +you got it from. If you received this etext on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM ETEXTS +This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG- +tm etexts, is a "public domain" work distributed by Professor +Michael S. Hart through the Project Gutenberg Association at +Carnegie-Mellon University (the "Project"). Among other +things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this etext +under the Project's "PROJECT GUTENBERG" trademark. + +To create these etexts, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's etexts and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other etext medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] the Project (and any other party you may receive this +etext from as a PROJECT GUTENBERG-tm etext) disclaims all +liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this etext within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold the Project, its directors, +officers, members and agents harmless from all liability, cost +and expense, including legal fees, that arise directly or +indirectly from any of the following that you do or cause: +[1] distribution of this etext, [2] alteration, modification, +or addition to the etext, or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this etext electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + etext or this "small print!" statement. You may however, + if you wish, distribute this etext in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word pro- + cessing or hypertext software, but only so long as + *EITHER*: + + [*] The etext, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The etext may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the etext (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + etext in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the etext refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Project of 20% of the + net profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Association/Carnegie-Mellon + University" within the 60 days following each + date you prepare (or were legally required to prepare) + your annual (or equivalent periodic) tax return. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +The Project gratefully accepts contributions in money, time, +scanning machines, OCR software, public domain etexts, royalty +free copyright licenses, and every other sort of contribution +you can think of. Money should be paid to "Project Gutenberg +Association / Carnegie-Mellon University". + +*END*THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.04.29.93*END* + + + + + +Prepared by Don Lainson + + + + + +PEACE MANOEUVRES + + +The scout stood where three roads cut three green tunnels in the +pine woods, and met at his feet. Above his head an aged sign-post +pointed impartially to East Carver, South Carver, and Carver +Centre, and left the choice to him. + +The scout scowled and bit nervously at his gauntlet. The choice +was difficult, and there was no one with whom he could take +counsel. The three sun-shot roads lay empty, and the other scouts, +who, with him, had left the main column at sunrise, he had ordered +back. They were to report that on the right flank, so far, at +least, as Middleboro, there was no sign of the enemy. What lay +beyond, it now was his duty to discover. The three empty roads +spread before him like a picture puzzle, smiling at his +predicament. Whichever one he followed left two unguarded. Should +he creep upon for choice Carver Centre, the enemy, masked by a mile +of fir trees, might advance from Carver or South Carver, and +obviously he could not follow three roads at the same time. He +considered the better strategy would be to wait where he was, where +the three roads met, and allow the enemy himself to disclose his +position. To the scout this course was most distasteful. He +assured himself that this was so because, while it were the safer +course, it wasted time and lacked initiative. But in his heart he +knew that was not the reason, and to his heart his head answered +that when one's country is at war, when fields and fire-sides are +trampled by the iron heels of the invader, a scout should act not +according to the dictates of his heart, but in the service of his +native land. In the case of this particular patriot, the man and +scout were at odds. As one of the Bicycle Squad of the Boston +Corps of Cadets, the scout knew what, at this momentous crisis in +her history, the commonwealth of Massachusetts demanded of him. It +was that he sit tight and wait for the hated foreigners from New +York City, New Jersey, and Connecticut to show themselves. But the +man knew, and had known for several years, that on the road to +Carver was the summer home of one Beatrice Farrar. As Private +Lathrop it was no part of his duty to know that. As a man and a +lover, and a rejected lover at that, he could not think of anything +else. Struggling between love and duty the scout basely decided to +leave the momentous question to chance. In the front tire of his +bicycle was a puncture, temporarily effaced by a plug. Laying the +bicycle on the ground, Lathrop spun the front wheel swiftly. + +"If," he decided, "the wheel stops with the puncture pointing at +Carver Centre, I'll advance upon Carver Centre. Should it point to +either of the two other villages, I'll stop here. + +"It's a two to one shot against me, any way," he growled. + +Kneeling in the road he spun the wheel, and as intently as at Monte +Carlo and Palm Beach he had waited for other wheels to determine +his fortune, he watched it come to rest. It stopped with the plug +pointing back to Middleboro. + +The scout told himself he was entitled to another trial. Again he +spun the wheel. Again the spokes flashed in the sun. Again the +puncture rested on the road to Middleboro. + +"If it does that once more," thought the scout, "it's a warning +that there is trouble ahead for me at Carver, and all the little +Carvers." + +For the third time the wheel flashed, but as he waited for the +impetus to die, the sound of galloping hoofs broke sharply on the +silence. The scout threw himself and his bicycle over the nearest +stone wall, and, unlimbering his rifle, pointed it down the road. + +He saw approaching a small boy, in a white apron, seated in a white +wagon, on which was painted, "Pies and Pastry. East Wareham." The +boy dragged his horse to an abrupt halt. + +"Don't point that at me!" shouted the boy. + +"Where do you come from?" demanded the scout. + +"Wareham," said the baker. + +"Are you carrying any one concealed in that wagon?" + +As though to make sure the baker's boy glanced apprehensively into +the depths of his cart, and then answered that in the wagon he +carried nothing but fresh-baked bread. To the trained nostrils of +the scout this already was evident. Before sunrise he had +breakfasted on hard tack and muddy coffee, and the odor of crullers +and mince pie, still warm, assailed him cruelly. He assumed a +fierce and terrible aspect. + +"Where are you going?" he challenged. + +"To Carver Centre," said the boy. + +To chance Lathrop had left the decision. He believed the fates had +answered. + +Dragging his bicycle over the stone wall, he fell into the road. + +"Go on," he commanded. "I'll use your cart for a screen. I'll +creep behind the enemy before he sees me." + +The baker's boy frowned unhappily. + +"But supposing," he argued, "they see you first, will they shoot?" + +The scout waved his hand carelessly. + +"Of course," he cried. + +"Then," said the baker, "my horse will run away!" + +"What of it?" demanded the scout. "Are Middleboro, South +Middleboro, Rock, Brockton, and Boston to fall? Are they to be +captured because you're afraid of your own horse? They won't shoot +REAL bullets! This is not a real war. Don't you know that?" + +The baker's boy flushed with indignation. + +"Sure, I know that," he protested; "but my horse--HE don't know +that!" + +Lathrop slung his rifle over his shoulder and his leg over his +bicycle. + +"If the Reds catch you," he warned, in parting, "they'll take +everything you've got." + +"The Blues have took most of it already," wailed the boy. "And +just as they were paying me the battle begun, and this horse run +away, and I couldn't get him to come back for my money." + +"War," exclaimed Lathrop morosely, "is always cruel to the +innocent." He sped toward Carver Centre. In his motor car, he had +travelled the road many times, and as always his goal had been the +home of Miss Beatrice Farrar, he had covered it at a speed +unrecognized by law. But now he advanced with stealth and caution. +In every clump of bushes he saw an ambush. Behind each rock he +beheld the enemy. + +In a clearing was a group of Portuguese cranberry pickers, dressed +as though for a holiday. When they saw the man in uniform, one of +the women hailed him anxiously. + +"Is the parade coming?" she called. + +"Have you seen any of the Reds?" Lathrop returned. + +"No," complained the woman. "And we been waiting all morning. +When will the parade come?" + +"It's not a parade," said Lathrop, severely. "It's a war!" + +The summer home of Miss Farrar stood close to the road. It had +been so placed by the farmer who built it, in order that the women +folk might sit at the window and watch the passing of the stage- +coach and the peddler. Great elms hung over it, and a white fence +separated the road from the narrow lawn. At a distance of a +hundred yards a turn brought the house into view, and at this turn, +as had been his manoeuvre at every other possible ambush, Lathrop +dismounted and advanced on foot. Up to this moment the road had +been empty, but now, in front of the Farrar cottage, it was blocked +by a touring-car and a station wagon. In the occupants of the car +he recognized all the members of the Farrar family, except Miss +Farrar. In the station wagon were all of the Farrar servants. +Miss Farrar herself was leaning upon the gate and waving them a +farewell. The touring-car moved off down the road; the station +wagon followed; Miss Farrar was alone. Lathrop scorched toward +her, and when he was opposite the gate, dug his toes in the dust +and halted. When he lifted his broad-brimmed campaign hat, Miss +Farrar exclaimed both with surprise and displeasure. Drawing back +from the gate she held herself erect. Her attitude was that of one +prepared for instant retreat. When she spoke it was in tones of +extreme disapproval. + +"You promised," said the girl, "you would not come to see me." + +Lathrop, straddling his bicycle, peered anxiously down the road. + +"This is not a social call," he said. "I'm on duty. Have you seen +the Reds?" + +His tone was brisk and alert, his manner preoccupied. The +ungraciousness of his reception did not seem in the least to +disconcert him. + +But Miss Farrar was not deceived. She knew him, not only as a +persistent and irrepressible lover, but as one full of guile, +adroit in tricks, fertile in expedients. He was one who could not +take "No" for an answer--at least not from her. When she repulsed +him she seemed to grow in his eyes only the more attractive. + +"It is not the lover who comes to woo," he was constantly +explaining, "but the lover's WAY of wooing." + +Miss Farrar had assured him she did not like his way. She objected +to being regarded and treated as a castle that could be taken only +by assault. Whether she wished time to consider, or whether he and +his proposal were really obnoxious to her, he could not find out. +His policy of campaign was that she, also, should not have time to +find out. Again and again she had agreed to see him only on the +condition that he would not make love to her. He had promised +again and again, and had failed to keep that promise. Only a week +before he had been banished from her presence, to remain an exile +until she gave him permission to see her at her home in New York. +It was not her purpose to return there for two weeks, and yet here +he was, a beggar at her gate. It might be that he was there, as he +said, "on duty," but her knowledge of him and of the doctrine of +chances caused her to doubt it. + +"Mr. Lathrop!" she began, severely. + +As though to see to whom she had spoken Lathrop glanced anxiously +over his shoulder. Apparently pained and surprised to find that it +was to him she had addressed herself, he regarded her with deep +reproach. His eyes were very beautiful. It was a fact which had +often caused Miss Farrar extreme annoyance. + +He shook his head sadly. + +"'Mr. Lathrop?'" he protested. "You know that to you I am always +'Charles--Charles the Bold,' because I am bold to love you; but +never 'Mr. Lathrop,' unless," he went on briskly, "you are +referring to a future state, when, as Mrs. Lathrop, you will make +me--" + +Miss Farrar had turned her back on him, and was walking rapidly up +the path. + +"Beatrice," he called. "I am coming after you!" + +Miss Farrar instantly returned and placed both hands firmly upon +the gate. + +"I cannot understand you!" she said. "Don't you see that when you +act as you do now, I can't even respect you? How do you think I +could ever care, when you offend me so? You jest at what you +pretend is the most serious thing in your life. You play with it-- +laugh at it!" + +The young man interrupted her sharply. + +"It's like this," he said. "When I am with you I am so happy I +can't be serious. When I am NOT with you, it is SO serious that I +am utterly and completely wretched. You say my love offends you, +bores you! I am sorry, but what, in heaven's name, do you think +your NOT loving me is doing to ME? I am a wreck! I am a skeleton! +Look at me!" + +He let his bicycle fall, and stood with his hands open at his +sides, as though inviting her to gaze upon the ruin she had caused. + +Four days of sun and rain, astride of a bicycle, without food or +sleep, had drawn his face into fine, hard lines, had bronzed it +with a healthy tan. His uniform, made by the same tailor that +fitted him with polo breeches, clung to him like a jersey. The +spectacle he presented was that of an extremely picturesque, +handsome, manly youth, and of that fact no one was better aware +than himself. + +"Look at me," he begged, sadly. + +Miss Farrar was entirely unimpressed. + +"I am!" she returned, coldly. "I never saw you looking so well-- +and you know it." She gave a gasp of comprehension. "You came +here because you knew your uniform was becoming!" + +Lathrop regarded himself complacently. + +"Yes, isn't it?" he assented. "I brought on this war in order to +wear it. If you don't mind," he added, "I think I'll accept your +invitation and come inside. I've had nothing to eat in four days." + +Miss Farrar's eyes flashed indignantly. + +"You're NOT coming inside," she declared; "but if you'll only +promise to go away at once, I'll bring you everything in the +house." + +"In that house," exclaimed Lathrop, dramatically, "there's only one +thing that I desire, and I want that so badly that 'life holds no +charm without you.'" + +Miss Farrar regarded him steadily. + +"Do you intend to drive me away from my own door, or will you go?" + +Lathrop picked his wheel out of the dust. + +"Good-by," he said. "I'll come back when you have made up your +mind." + +In vexation Miss Farrar stamped her foot upon the path. + +"I HAVE made up my mind!" she protested. + +"Then," returned Lathrop, "I'll come back when you have changed +it." + +He made a movement as though to ride away, but much to Miss +Farrar's dismay, hastily dismounted. "On second thoughts," he +said, "it isn't right for me to leave you. The woods are full of +tramps and hangers-on of the army. You're not safe. I can watch +this road from here as well as from anywhere else, and at the same +time I can guard you." + +To the consternation of Miss Farrar he placed his bicycle against +the fence, and, as though preparing for a visit, leaned his elbows +upon it. + +"I do not wish to be rude," said Miss Farrar, "but you are annoying +me. I have spent fifteen summers in Massachusetts, and I have +never seen a tramp. I need no one to guard me." + +"If not you," said Lathrop easily, "then the family silver. And +think of your jewels, and your mother's jewels. Think of yourself +in a house filled with jewels, and entirely surrounded by hostile +armies! My duty is to remain with you." + +Miss Farrar was so long in answering, that Lathrop lifted his head +and turned to look. He found her frowning and gazing intently into +the shadow of the woods, across the road. When she felt his eyes +upon her she turned her own guiltily upon him. Her cheeks were +flushed and her face glowed with some unusual excitement. + +"I wish," she exclaimed breathlessly--"I wish," she repeated, "the +Reds would take you prisoner!" + +"Take me where?" asked Lathrop. + +"Take you anywhere!" cried Miss Farrar. "You should be ashamed to +talk to me when you should be looking for the enemy!" + +"I am WAITING for the enemy," explained Lathrop. "It's the same +thing." + +Miss Farrar smiled vindictively. Her eyes shone. "You need not +wait long," she said. There was a crash of a falling stone wall, +and of parting bushes, but not in time to give Lathrop warning. As +though from the branches of the trees opposite two soldiers fell +into the road; around his hat each wore the red band of the +invader; each pointed his rifle at Lathrop. + +"Hands up!" shouted one. "You're my prisoner!" cried the other. + +Mechanically Lathrop raised his hands, but his eyes turned to Miss +Farrar. + +"Did you know?" he asked. + +"I have been watching them," she said, "creeping up on you for the +last ten minutes." + +Lathrop turned to the two soldiers, and made an effort to smile. + +"That was very clever," he said, "but I have twenty men up the +road, and behind them a regiment. You had better get away while +you can." + +The two Reds laughed derisively. One, who wore the stripes of a +sergeant, answered: "That won't do! We been a mile up the road, +and you and us are the only soldiers on it. Gimme the gun!" + +Lathrop knew he had no right to refuse. He had been fairly +surprised, but he hesitated. When Miss Farrar was not in his mind +his amateur soldiering was to him a most serious proposition. The +war game was a serious proposition, and that, through his failure +for ten minutes to regard it seriously, he had been made a +prisoner, mortified him keenly. That his humiliation had taken +place in the presence of Beatrice Farrar did not lessen his +discomfort, nor did the explanation he must later make to his +captain afford him any satisfaction. Already he saw himself +playing the star part in a court-martial. He shrugged his +shoulders and surrendered his gun. + +As he did so he gloomily scrutinized the insignia of his captors. + +"Who took me?" he asked. + +"WE took you," exclaimed the sergeant. + +"What regiment?" demanded Lathrop, sharply. "I have to report who +took me; and you probably don't know it, but your collar ornaments +are upside down." With genuine exasperation he turned to Miss +Farrar. + +"Lord!" he exclaimed, "isn't it bad enough to be taken prisoner, +without being taken by raw recruits that can't put on their +uniforms?" + +The Reds flushed, and the younger, a sandy-haired, rat-faced youth, +retorted angrily: "Mebbe we ain't strong on uniforms, beau," he +snarled, "but you've got nothing on us yet, that I can see. You +look pretty with your hands in the air, don't you?" + +"Shut up," commanded the other Red. He was the older man, heavily +built, with a strong, hard mouth and chin, on which latter sprouted +a three days' iron-gray beard. "Don't you see he's an officer? +Officers don't like being took by two-spot privates." + +Lathrop gave a sudden start. "Why," he laughed, incredulously, +"don't you know--" He stopped, and his eyes glanced quickly up and +down the road. + +"Don't we know what?" demanded the older Red, suspiciously. + +"I forgot," said Lathrop. "I--I must not give information to the +enemy--" + +For an instant there was a pause, while the two Reds stood +irresolute. Then the older nodded the other to the side of the +road, and in whispers they consulted eagerly. + +Miss Farrar laughed, and Lathrop moved toward her. + +"I deserve worse than being laughed at," he said. "I made a +strategic mistake. I should not have tried to capture you and an +army corps at the same time." + +"You," she taunted, "who were always so keen on soldiering, to be +taken prisoner," she lowered her voice, "and by men like that! +Aren't they funny?" she whispered, "and East Side and Tenderloin! +It made me homesick to hear them! I think when not in uniform the +little one drives a taxicab, and the big one is a guard on the +elevated." + +"They certainly are very 'New York,'" assented Lathrop, "and very +tough." + +"I thought," whispered Miss Farrar, "those from New York with the +Red Army were picked men." + +"What does it matter?" exclaimed Lathrop. "It's just as +humiliating to be captured by a ballroom boy as by a mere +millionaire! I can't insist on the invading army being entirely +recruited from Harvard graduates." + +The two Reds either had reached a decision, or agreed that they +could not agree, for they ceased whispering, and crossed to where +Lathrop stood. + +"We been talking over your case," explained the sergeant, "and we +see we are in wrong. We see we made a mistake in taking you +prisoner. We had ought to shot you dead. So now we're going to +shoot you dead." + +"You can't!" objected Lathrop. "It's too late. You should have +thought of that sooner." + +"I know," admitted the sergeant, "but a prisoner is a hell of a +nuisance. If you got a prisoner to look after you can't do your +own work; you got to keep tabs on him. And there ain't nothing in +it for the prisoner, neither. If we take you, you'll have to tramp +all the way to our army, and all the way back. But, if you're +dead, how different! You ain't no bother to anybody. You got a +half holiday all to yourself, and you can loaf around the camp, so +dead that they can't make you work, but not so dead you can't smoke +or eat." The sergeant smiled ingratiatingly. In a tempting manner +he exhibited his rifle. "Better be dead," he urged. + +"I'd like to oblige you," said Lathrop, "but it's against the +rules. You CAN'T shoot a prisoner." + +The rat-faced soldier uttered an angry exclamation. "To hell with +the rules!" he cried. "We can't waste time on him. Turn him +loose!" + +The older man rounded on the little one savagely. The tone in +which he addressed him was cold, menacing, sinister. His words +were simple, but his eyes and face were heavy with warning. + +"Who is running this?" he asked. + +The little soldier muttered, and shuffled away. From under the +brim of his campaign hat, his eyes cast furtive glances up and down +the road. As though anxious to wipe out the effect of his +comrade's words, the sergeant addressed Lathrop suavely and in a +tone of conciliation. + +"You see," he explained, "him and me are scouts. We're not +supposed to waste time taking prisoners. So, we'll set you free." +He waved his hand invitingly toward the bicycle. "You can go!" he +said. + +To Miss Farrar's indignation Lathrop, instead of accepting his +freedom, remained motionless. + +"I can't!" he said. "I'm on post. My captain ordered me to stay +in front of this house until I was relieved." + +Miss Farrar, amazed at such duplicity, exclaimed aloud: + +"He is NOT on post!" she protested. "He's a scout! He wants to +stop here, because--because--he's hungry. I wouldn't have let you +take him prisoner, if I had not thought you would take him away +with you." She appealed to the sergeant. "PLEASE take him away," +she begged. + +The sergeant turned sharply upon his prisoner. + +"Why don't you do what the lady wants?" he demanded. + +"Because I've got to do what my captain wants," returned Lathrop, +"and he put me on sentry-go, in front of this house." + +With the back of his hand, the sergeant fretfully scraped the three +days' growth on his chin. "There's nothing to it," he exclaimed, +"but for to take him with us. When we meet some more Reds we'll +turn him over. Fall in!" he commanded. + +"No!" protested Lathrop. "I don't want to be turned over. I've +got a much better plan. YOU don't want to be bothered with a +prisoner. I don't want to be a prisoner. As you say, I am better +dead. You can't shoot a prisoner, but if he tries to escape you +can. I'll try to escape. You shoot me. Then I return to my own +army, and report myself dead. That ends your difficulty and saves +me from a court-martial. They can't court-martial a corpse." + +The face of the sergeant flashed with relief and satisfaction. In +his anxiety to rid himself of his prisoner, he lifted the bicycle +into the road and held it in readiness. + +"You're all right!" he said, heartily. "You can make your getaway +as quick as you like." + +But to the conspiracy Miss Farrar refused to lend herself. + +"How do you know," she demanded, "that he will keep his promise? +He may not go back to his own army. He can be just as dead on my +lawn as anywhere else!" + +Lathrop shook his head at her sadly. + +"How you wrong me!" he protested. "How dare you doubt the promise +of a dying man? These are really my last words, and I wish I could +think of something to say suited to the occasion, but the presence +of strangers prevents." + +He mounted his bicycle. "'If I had a thousand lives to give,'" he +quoted with fervor, "'I'd give them all to--'" he hesitated, and +smiled mournfully on Miss Farrar. Seeing her flushed and indignant +countenance, he added, with haste, "to the Commonwealth of +Massachusetts!" + +As he started on his wheel slowly down the path, he turned to the +sergeant. + +"I'm escaping," he explained. The Reds, with an enthusiasm +undoubtedly genuine, raised their rifles, and the calm of the +Indian summer was shattered by two sharp reports. Lathrop, looking +back over his shoulder, waved one hand reassuringly. + +"Death was instantaneous," he called. He bent his body over the +handle-bar, and they watched him disappear rapidly around the turn +in the road. + +Miss Farrar sighed with relief. + +"Thank you very much," she said. + +As though signifying that to oblige a woman he would shoot any +number of prisoners, the sergeant raised his hat. + +"Don't mention it, lady," he said. "I seen he was annoying you, +and that's why I got rid of him. Some of them amateur soldiers, as +soon as they get into uniform, are too fresh. He took advantage of +you because your folks were away from home. But don't you worry +about that. I'll guard this house until your folks get back." + +Miss Farrar protested warmly. + +"Really!" she exclaimed; "I need no one to guard me." + +But the soldier was obdurate. He motioned his comrade down the +road. + +"Watch at the turn," he ordered; "he may come back or send some of +the Blues to take us. I'll stay here and protect the lady." + +Again Miss Farrar protested, but the sergeant, in a benign and +fatherly manner, smiled approvingly. Seating himself on the grass +outside the fence, he leaned his back against the gatepost, +apparently settling himself for conversation. + +"Now, how long might it have been," he asked, "before we showed up, +that you seen us?" + +"I saw you," Miss Farrar said, "when Mr.--when that bicycle scout +was talking to me. I saw the red bands on your hats among the +bushes." + +The sergeant appeared interested. + +"But why didn't you let on to him?" + +Miss Farrar laughed evasively. + +"Maybe because I am from New York, too," she said. "Perhaps I +wanted to see soldiers from my city take a prisoner." + +They were interrupted by the sudden appearance of the smaller +soldier. On his rat-like countenance was written deep concern. + +"When I got to the turn," he began, breathlessly, "I couldn't see +him. Where did he go? Did he double back through the woods, or +did he have time to ride out of sight before I got there?" + +The reappearance of his comrade affected the sergeant strangely. +He sprang to his feet, his under jaw protruding truculently, his +eyes flashing with anger. + +"Get back," he snarled. "Do what I told you!" + +Under his breath he muttered words that, to Miss Farrar, were +unintelligible. The little rat-like man nodded, and ran from them +down the road. The sergeant made an awkward gesture of apology. + +"Excuse me, lady," he begged, "but it makes me hot when them +rookies won't obey orders. You see," he ran on glibly, "I'm a +reg'lar; served three years in the Philippines, and I can't get +used to not having my men do what I say." + +Miss Farrar nodded, and started toward the house. The sergeant +sprang quickly across the road. + +"Have you ever been in the Philippines, Miss?" he called. "It's a +great country." + +Miss Farrar halted and shook her head. She was considering how far +politeness required of her to entertain unshaven militiamen, who +insisted on making sentries of themselves at her front gate. + +The sergeant had plunged garrulously into a confusing description +of the Far East. He was clasping the pickets of the fence with his +hands, and his eyes were fastened on hers. He lacked neither +confidence nor vocabulary, and not for an instant did his tongue +hesitate or his eyes wander, and yet in his manner there was +nothing at which she could take offence. He appeared only amiably +vain that he had seen much of the world, and anxious to impress +that fact upon another. Miss Farrar was bored, but the man gave +her no opportunity to escape. In consequence she was relieved when +the noisy approach of an automobile brought him to an abrupt pause. +Coming rapidly down the road was a large touring-car, filled with +men in khaki. The sergeant gave one glance at it, and leaped +across the road, taking cover behind the stone wall. Instantly he +raised his head above it and shook his fist at Miss Farrar. + +"Don't tell," he commanded. "They're Blues in that car! Don't +tell!" Again he sank from sight. + +Miss Farrar now was more than bored, she was annoyed. Why grown +men should play at war so seriously she could not understand. It +was absurd! She no longer would remain a party to it; and, lest +the men in the car might involve her still further, she retreated +hastily toward the house. As she opened the door the car halted at +the gate, and voices called to her, but she pretended not to hear +them, and continued up the stairs. Behind her the car passed +noisily on its way. + +She mounted the stairs, and crossing a landing moved down a long +hall, at the further end of which was her bedroom. The hall was +uncarpeted, but the tennis shoes she wore made no sound, nor did +the door of her bedroom when she pushed it open. + +On the threshold Miss Farrar stood quite still. A swift, sinking +nausea held her in a vice. Her instinct was to scream and run, but +her throat had tightened and gone dry, and her limbs trembled. +Opposite the door was her dressing-table, and reflected in its +mirror were the features and figure of the rat-like soldier. His +back was toward her. With one hand he swept the dressing-table. +The other, hanging at his side, held a revolver. In a moment the +panic into which Miss Farrar had been thrown passed. Her breath +and blood returned, and, intent only on flight, she softly turned. +On the instant the rat-faced one raised his eyes, saw her reflected +in the mirror, and with an oath, swung toward her. He drew the +revolver close to his cheek, and looked at her down the barrel. +"Don't move!" he whispered; "don't scream! Where are the jewels?" + +Miss Farrar was not afraid of the revolver or of the man. She did +not believe either would do her harm. The idea of both the +presence of the man in her room, and that any one should dare to +threaten her was what filled her with repugnance. As the warm +blood flowed again through her body her spirit returned. She was +no longer afraid. She was, instead, indignant, furious. + +With one step she was in the room, leaving the road to the door +open. + +"Get out of here," she commanded. + +The little man snarled, and stamped the floor. He shoved the gun +nearer to her. + +"The jewels, damn you!" he whispered. "Do you want me to blow your +fool head off? Where are the jewels?" + +"Jewels?" repeated Miss Farrar. "I have no jewels!" + +"You lie!" shrieked the little man. "He said the house was full of +jewels. We heard him. He said he would stay to guard the jewels." + +Miss Farrar recognized his error. She remembered Lathrop's jest, +and that it had been made while the two men were within hearing, +behind the stone wall. + +"It was a joke!" she cried. "Leave at once!" She backed swiftly +toward the open window that looked upon the road. "Or I'll call +your sergeant!" + +"If you go near that window or scream," whispered the rat-like one, +"I'll shoot!" + +A heavy voice, speaking suddenly from the doorway, shook Miss +Farrar's jangled nerves into fresh panic. + +"She won't scream," said the voice. + +In the door Miss Farrar saw the bulky form of the sergeant, +blocking her escape. + +Without shifting his eyes from Miss Farrar, the man with the gun +cursed breathlessly at the other. "Why didn't you keep her away?" +he panted. + +"An automobile stopped in front of the gate," explained the +sergeant. "Have you got them?" he demanded. + +"No!" returned the other. "Nothing! She won't tell where they +are." + +The older man laughed. "Oh, yes, she'll tell," he whispered. His +voice was still low and suave, but it carried with it the weight of +a threat, and the threat, although unspoken, filled Miss Farrar +with alarm. Her eyes, wide with concern, turned fearfully from one +man to the other. + +The sergeant stretched his hands toward her, the fingers working +and making clutches in the air. The look in his eyes was quite +terrifying. + +"If you don't tell," he said slowly, "I'll choke it out of you!" + +If his intention was to frighten the girl, he succeeded admirably. +With her hands clasped to her throat, Miss Farrar sank against the +wall. She saw no chance of escape. The way to the door was +barred, and should she drop to the garden below, from the window, +before she could reach the road the men would overtake her. Even +should she reach the road, the house nearest was a half mile +distant. + +The sergeant came close, his fingers opening and closing in front +of her eyes. He raised his voice to a harsh, bellowing roar. "I'm +going to make you tell!" he shouted. "I'm going to choke it out of +you!" + +Although she was alone in the house, although on every side the +pine woods encompassed her, Miss Farrar threw all her strength into +one long, piercing cry for help. And upon the instant it was +answered. From the hall came the swift rush of feet. The rat-like +one swung toward it. From his revolver came a report that shook +the room, a flash and a burst of smoke, and through it Miss Farrar +saw Lathrop hurl himself. He dived at the rat-like one, and as on +the foot-ball field he had been taught to stop a runner, flung his +arms around the other's knees. The legs of the man shot from under +him, his body cut a half circle through the air, and the part of +his anatomy to first touch the floor was his head. The floor was +of oak, and the impact gave forth a crash like the smash of a base- +ball bat, when it drives the ball to centre field. The man did not +move. He did not even groan. In his relaxed fingers the revolver +lay, within reach of Lathrop's hand. He fell upon it and, still on +his knees, pointed it at the sergeant. + +"You're MY prisoner, now!" he shouted cheerfully. "Hands up!" + +The man raised his arms slowly, as if he were lifting heavy dumb- +bells. + +"The lady called for help," he said. "I came to help her." + +"No! No!" protested the girl. "He did NOT help me! He said he +would choke me if I didn't--" + +"He said he would--what!" bellowed Lathrop. He leaped to his feet, +and sent the gun spinning through the window. He stepped toward +the man gingerly, on the balls of his feet, like one walking on +ice. The man seemed to know what that form of approach threatened, +for he threw his arms into a position of defence. + +"You bully!" whispered Lathrop. "You coward! You choke women, do +you?" + +He shifted from one foot to the other, his body balancing forward, +his arms swinging limply in front of him. With his eyes, he seemed +to undress the man, as though choosing a place to strike. + +"I made the same mistake you did," he taunted. "I should have +killed you first. Now I am going to do it!" + +He sprang at the man, his chin still sunk on his chest, but with +his arms swinging like the spokes of a wheel. His opponent struck +back heavily, violently, but each move of his arm seemed only to +open up some vulnerable spot. Blows beat upon his chin, upon his +nose, his eyes; blows jabbed him in the ribs, drove his breath from +his stomach, ground his teeth together, cut the flesh from his +cheeks. He sank to his knees, with his arms clasping his head. + +"Get up!" roared Lathrop. "Stand up to it, you coward!" + +But the man had no idea of standing up to it. Howling with pain, +he scrambled toward the door, and fled staggering down the hall. + +At the same moment the automobile that a few minutes before had +passed up the road came limping to the gate, and a half-dozen men +in uniform sprang out of it. From the window Lathrop saw them +spread across the lawn and surround the house. + +"They've got him!" he said. He pointed to the prostrate figure on +the floor. "He and the other one," he explained, breathlessly, +"are New York crooks! They have been looting in the wake of the +Reds, disguised as soldiers. I knew they weren't even amateur +soldiers by the mistakes in their make-up, and I made that bluff of +riding away so as to give them time to show what the game was. +Then, that provost guard in the motor car stopped me, and when they +said who they were after, I ordered them back here. But they had a +flat tire, and my bicycle beat them." + +In his excitement he did not notice that the girl was not +listening, that she was very pale, that she was breathing quickly, +and trembling. + +"I'll go tell them," he added, "that the other one they want is up +here." + +Miss Farrar's strength instantly returned. + +With a look of terror at the now groaning figure on the floor, she +sprang toward Lathrop, with both hands clutching him by his +sleeves. + +"You will NOT!" she commanded. "You will not leave me alone!" + +Appealingly she raised her face to his startled countenance. With +a burst of tears she threw herself into his arms. "I'm afraid!" +she sobbed. "Don't leave me. Please, no matter what I say, never +leave me again!" + +Between bewilderment and joy, the face of Lathrop was +unrecognizable. As her words reached him, as he felt the touch of +her body in his arms, and her warm, wet cheek against his own, he +drew a deep sigh of content, and then, fearfully and tenderly, held +her close. + +After a pause, in which peace came to all the world, he raised his +head. + +"Don't worry!" he said. "You can BET I won't leave you!" + + + + + +End of The Project Gutenberg Etext of Peace Manoeuvres, by H. H. Davis + diff --git a/old/pcmnv10.zip b/old/pcmnv10.zip Binary files differnew file mode 100644 index 0000000..dfddeba --- /dev/null +++ b/old/pcmnv10.zip |
