diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:00:01 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:00:01 -0700 |
| commit | ac7347f5003792135f595817f1368894001b478c (patch) | |
| tree | 618a9fc2b211a15d67f502464c5fbcbc2ccead93 | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 23011-0.txt | 852 | ||||
| -rw-r--r-- | 23011-0.zip | bin | 0 -> 17340 bytes | |||
| -rw-r--r-- | 23011-h.zip | bin | 0 -> 18870 bytes | |||
| -rw-r--r-- | 23011-h/23011-h.htm | 1003 | ||||
| -rw-r--r-- | 23011.txt | 851 | ||||
| -rw-r--r-- | 23011.zip | bin | 0 -> 17244 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
9 files changed, 2722 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/23011-0.txt b/23011-0.txt new file mode 100644 index 0000000..7fcfa09 --- /dev/null +++ b/23011-0.txt @@ -0,0 +1,852 @@ +Project Gutenberg's Eatin' Crow; and The Best Man In Garotte, by Frank Harris + +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: Eatin' Crow; and The Best Man In Garotte + +Author: Frank Harris + +Release Date: October 12, 2007 [EBook #23011] +Last Updated: March 8, 2018 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK EATIN' CROW *** + + + + +Produced by David Widger + + + + + +EATIN' CROW, AND THE BEST MAN IN GAROTTE. + +By Frank Harris + + + + +EATIN' CROW. + +The evening on which Charley Muirhead made his first appearance at +Doolan's was a memorable one; the camp was in wonderful spirits. Whitman +was said to have struck it rich. Garotte, therefore, might yet become +popular in the larger world, and its evil reputation be removed. +Besides, what Whitman had done any one might do, for by common consent +he was a “derned fool.” Good-humour accordingly reigned at Doolan's, +and the saloon was filled with an excited, hopeful crowd. Bill Bent, +however, was anything but pleased; he generally was in a bad temper, and +this evening, as Crocker remarked carelessly, he was “more ornery than +ever.” The rest seemed to pay no attention to the lanky, dark man with +the narrow head, round, black eyes, and rasping voice. But Bent would +croak: “Whitman's struck nothin'; thar ain't no gold in Garotte; it's +all work and no dust.” In this strain he went on, offending local +sentiment and making every one uncomfortable. + +Muirhead's first appearance created a certain sensation. He was a fine +upstanding fellow of six feet or over, well made, and good-looking. +But Garotte had too much experience of life to be won by a stranger's +handsome looks. Muirhead's fair moustache and large blue eyes counted +for little there. Crocker and others, masters in the art of judging +men, noticed that his eyes were unsteady, and his manner, though genial, +seemed hasty. Reggitt summed up their opinion in the phrase, “looks as +if he'd bite off more'n he could chaw.” Unconscious of the criticism, +Muirhead talked, offered drinks, and made himself agreeable. + +At length in answer to Bent's continued grumbling, Muirhead said +pleasantly: “'Tain't so bad as that in Garotte, is it? This bar don't +look like poverty, and if I set up drinks for the crowd, it's because +I'm glad to be in this camp.” + +“P'r'aps you found the last place you was in jes' a leetle too warm, +eh?” was Bent's retort. + +Muirhead's face flushed, and for a second he stood as if he had been +struck. Then, while the crowd moved aside, he sprang towards Bent, +exclaiming, “Take that back--right off! Take it back!” + +“What?” asked Bent coolly, as if surprised; at the same time, however, +retreating a pace or two, he slipped his right hand behind him. + +Instantly Muirhead threw himself upon him, rushed him with what seemed +demoniac strength to the open door and flung him away out on his back +into the muddy ditch that served as a street. For a moment there was a +hush of expectation, then Bent was seen to gather himself up painfully +and move out of the square of light into the darkness. But Muirhead did +not wait for this; hastily, with hot face and hands still working with +excitement, he returned to the bar with: + +“That's how I act. No one can jump me. No one, by God!” and he glared +round the room defiantly. Reggitt, Harrison, and some of the others +looked at him as if on the point of retorting, but the cheerfulness +was general, and Bent's grumbling before a stranger had irritated them +almost as much as his unexpected cowardice. Muirhead's challenge was not +taken up, therefore, though Harrison did remark, half sarcastically: + +“That may be so. You jump them, I guess.” + +“Well, boys, let's have the drink,” Charley Muirhead went on, his manner +suddenly changing to that of friendly greeting, just as if he had not +heard Harrison's words. + +The men moved up to the bar and drank, and before the liquor was +consumed, Charley's geniality, acting on the universal good-humour, +seemed to have done away with the discontent which his violence and +Bent's cowardice had created. This was the greater tribute to his +personal charm, as the refugees of Garotte usually hung together, and +were inclined to resent promptly any insult offered to one of their +number by a stranger. But in the present case harmony seemed to be +completely reestablished, and it would have taken a keener observer than +Muirhead to have understood his own position and the general opinion. +It was felt that the stranger had bluffed for all he was worth, and that +Garotte had come out “at the little end of the horn.” + +A day or two later Charley Muirhead, walking about the camp, came +upon Dave Crocker's claim, and offered to buy half of it and work as a +partner, but the other would not sell; “the claim was worth nothin'; not +good enough for two, anyhow;” and there the matter would have ended, had +not the young man proposed to work for a spell just to keep his hand +in. By noon Crocker was won; nobody could resist Charley's hard work +and laughing high spirits. Shortly afterwards the older man proposed +to knock off; a day's work, he reckoned, had been done, and evidently +considering it impossible to accept a stranger's labour without +acknowledgment, he pressed Charley to come up to his shanty and eat +The simple meal was soon despatched, and Crocker, feeling the obvious +deficiencies of his larder, produced a bottle of Bourbon, and the two +began to drink. Glass succeeded glass, and at length Crocker's reserve +seemed to thaw; his manner became almost easy, and he spoke half +frankly. + +“I guess you're strong,” he remarked. “You threw Bent out of the saloon +the other night like as if he was nothin'; strength's good, but 'tain't +everythin'. I mean,” he added, in answer to the other's questioning +look, “Samson wouldn't have a show with a man quick on the draw who +meant bizness. Bent didn't pan out worth a cent, and the boys didn't +like him, but--them things don't happen often.” So in his own way he +tried to warn the man to whom he had taken a liking. + +Charley felt that a warning was intended, for he replied decisively: “It +don't matter. I guess he wanted to jump me, and I won't be jumped, not +if Samson wanted to, and all the revolvers in Garotte were on me.” + +“Wall,” Crocker went on quietly, but with a certain curiosity in his +eyes, “that's all right, but I reckon you were mistaken. Bent didn't +want to rush ye; 'twas only his cussed way, and he'd had mighty bad +luck. You might hev waited to see if he meant anythin', mightn't ye?” + And he looked his listener in the face as he spoke. + +“That's it,” Charley replied, after a long pause, “that's just it. I +couldn't wait, d'ye see!” and then continued hurriedly, as if driven +to relieve himself by a full confession: “Maybe you don't _sabe_. It's +plain enough, though I'd have to begin far back to make you understand. +But I don't mind if you want to hear. I was raised in the East, in Rhode +Island, and I guess I was liked by everybody. I never had trouble with +any one, and I was a sort of favourite.... I fell in love with a girl, +and as I hadn't much money, I came West to make some, as quick as I knew +how. The first place I struck was Laramie--you don't know it? 'Twas a +hard place; cowboys, liquor saloons, cursin' and swearin', poker and +shootin' nearly every night At the beginning I seemed to get along all +right, and I liked the boys, and thought they liked me. One night a +little Irishman was rough on me; first of all I didn't notice, thought +he meant nothin', and then, all at once, I saw he meant it--and more. + +“Well, I got a kind of scare--I don't know why--and I took what he said +and did nothin'. Next day the boys sort of held off from me, didn't +talk; thought me no account, I guess, and that little Irishman just rode +me round the place with spurs on. I never kicked once. I thought I'd get +the money--I had done well with the stock I had bought--and go back +East and marry, and no one would be any the wiser. But the Irishman kept +right on, and first one and then another of the boys went for me, and +I took it all. I just,” and here his voice rose, and his manner became +feverishly excited, “I just ate crow right along for months--and tried +to look as if 'twas quail. + +“One day I got a letter from home. She wanted me to hurry up and come +back. She thought a lot of me, I could see; more than ever, because I +had got along--I had written and told her my best news. And then, what +had been hard grew impossible right off. I made up my mind to sell the +stock and strike for new diggings. I couldn't stand it any longer--not +after her letter. I sold out and cleared.... I ought to hev stayed in +Laramie, p'r'aps, and gone for the Irishman, but I just couldn't. Every +one there was against me.” + +“I guess you oughter hev stayed.... Besides, if you had wiped up the +floor with that Irishman the boys would hev let up on you.” + +“P'r'aps so,” Charley resumed, “but I was sick of the whole crowd. I +sold off, and lit out. When I got on the new stage-coach, fifty miles +from Laramie, and didn't know the driver or any one, I made up my mind +to start fresh. Then and there I resolved that I had eaten all the crow +I was going to eat; the others should eat crow now, and if there was any +jumpin' to be done, I'd do it, whatever it cost. And so I went for Bent +right off. I didn't want to wait. 'Here's more crow,' I thought, 'but +I won't eat it; he shall, if I die for it,' and I just threw him out +quick.” + +“I see,” said Crocker, with a certain sympathy in his voice, “but you +oughter hev waited. You oughter make up to wait from this on, Charley. +'Tain't hard. You don't need to take anythin' and set under it. I'm not +advisin' that, but it's stronger to wait before you go fer any one. The +boys,” he added significantly, “don't like a man to bounce, and what +they don't like is pretty hard to do.” + +“Damn the boys,” exclaimed Charley vehemently, “they're all alike out +here. I can't act different. If I waited, I might wait too long--too +long, d'you _sabe?_ I just can't trust myself,” he added in a subdued +tone. + +“No,” replied Crocker meditatively. “No, p'r'aps not. But see here, +Charley, I kinder like you, and so I tell you, no one can bounce the +crowd here in Garotte. They're the worst crowd you ever struck in your +life. Garotte's known for hard cases. Why,” he went on earnestly, as if +he had suddenly become conscious of the fact, “the other night Reggitt +and a lot came mighty near goin' fer you--and Harrison, Harrison took +up what you said. You didn't notice, I guess; and p'r'aps 'twas well you +didn't; but you hadn't much to spare. You won by the odd card. + +“No one can bounce this camp. They've come from everywhere, and can only +jes' get a livin' here--no more. And when luck's bad they're”--and he +paused as if no adjective were strong enough. “If a man was steel, and +the best and quickest on the draw ever seen, I guess they'd bury him if +he played your way.” + +“Then they may bury me,” retorted Charley bitterly, “but I've eaten my +share of crow. I ain't goin' to eat any more. Can't go East now with the +taste of it in my mouth. I'd rather they buried me.” + +And they did bury him--about a fortnight after. July, 1892. + + + + +THE BEST MAN IN GAROTTE. + +Lawyer Rablay had come from nobody knew where. He was a small man, +almost as round as a billiard ball. His body was round, his head was +round; his blue eyes and even his mouth and chin were round; his nose +was a perky snub; he was florid and prematurely bald--a picture of +good-humour. And yet he was a power in Garotte. When he came to the +camp, a row was the only form of recreation known to the miners. A +“fuss” took men out of themselves, and was accordingly hailed as an +amusement; besides, it afforded a subject of conversation. But after +Lawyer Rablay's arrival fights became comparatively infrequent. Would-be +students of human nature declared at first that his flow of spirits was +merely animal, and that his wit was thin; but even these envious ones +had to admit later that his wit told, and that his good-humour was +catching. + +Crocker and Harrison had nearly got to loggerheads one night for no +reason apparently, save that each had a high reputation for courage, +and neither could find a worthier antagonist. In the nick of time Rablay +appeared; he seemed to understand the situation at a glance, and broke +in: + +“See here, boys. I'll settle this. They're disputin'--I know they are. +Want to decide with bullets whether 'Frisco or Denver's the finest city. +'Frisco's bigger and older, says Crocker; Harrison maintains Denver's +better laid out. Crocker replies in his quiet way that 'Frisco ain't +dead yet” Good temper being now re-established, Rablay went on: “I'll +decide this matter right off. Crocker and Harrison shall set up drinks +for the crowd till we're all laid out. And I'll tell a story,” and he +began a tale which cannot be retold here, but which delighted the boys +as much by its salaciousness as by its vivacity. + +Lawyer Rablay was to Garotte what novels, theatres, churches, concerts +are to more favoured cities; in fact, for some six months, he and +his stories constituted the chief humanizing influence in the camp. +Deputations were often despatched from Doolan's to bring Rablay to the +bar. The miners got up “cases” in order to give him work. More than once +both parties in a dispute, real or imaginary, engaged him, despite his +protestations, as attorney, and afterwards the boys insisted that, +being advocate for both sides, he was well fitted to decide the issue +as judge. He had not been a month in Garotte before he was christened +Judge, and every question, whether of claim-boundaries, the suitability +of a nickname, or the value of “dust,” was submitted for his decision. +It cannot be asserted that his enviable position was due either to +perfect impartiality or to infallible wisdom. But every one knew that +his judgments would be informed by shrewd sense and good-humour, +and would be followed by a story, and woe betide the disputant +whose perversity deferred that pleasure. So Garotte became a sort of +theocracy, with Judge Rablay as ruler. And yet he was, perhaps, the +only man in the community whose courage had never been tested or even +considered. + +One afternoon a man came to Garotte, who had a widespread reputation. +His name was Bill Hitchcock. A marvellous shot, a first-rate +poker-player, a good rider--these virtues were outweighed by his +desperate temper. Though not more than five-and-twenty years of age +his courage and ferocity had made him a marked man. He was said to have +killed half-a-dozen men; and it was known that he had generally provoked +his victims. No one could imagine why he had come to Garotte, but he +had not been half an hour in the place before he was recognized. It was +difficult to forget him, once seen. He was tall and broad-shouldered; +his face long, with well-cut features; a brown moustache drooped +negligently over his mouth; his heavy eyelids were usually half-closed, +but when in moments of excitement they were suddenly updrawn, one was +startled by a naked hardness of grey-green eyes. + +Hitchcock spent the whole afternoon in Doolan's, scarcely speaking a +word. As night drew down, the throng of miners increased. Luck had been +bad for weeks; the camp was in a state of savage ill-humour. Not a +few came to the saloon that night intending to show, if an opportunity +offered, that neither Hitchcock nor any one else on earth could scare +them. As minute after minute passed the tension increased. Yet Hitchcock +stood in the midst of them, drinking and smoking in silence, seemingly +unconcerned. + +Presently the Judge came in with a smile on his round face and shot off +a merry remark. But the quip didn't take as it should have done. He +was received with quiet nods and not with smiles and loud greetings as +usual. Nothing daunted, he made his way to the bar, and, standing next +to Hitchcock, called for a drink. + +“Come, Doolan, a Bourbon; our only monarch!” + +Beyond a smile from Doolan the remark elicited no applause. Astonished, +the Judge looked about him; never in his experience had the camp been +in that temper. But still he had conquered too often to doubt his powers +now. Again and again he tried to break the spell--in vain. As a last +resort he resolved to use his infallible receipt against ill-temper. + +“Boys! I've just come in to tell you one little story; then I'll have to +go.” + +From force of habit the crowd drew towards him, and faces relaxed. +Cheered by this he picked up his glass from the bar and turned towards +his audience. Unluckily, as he moved, his right arm brushed against +Hitchcock, who was looking at him with half-opened eyes. The next moment +Hitchcock had picked up his glass and dashed it in the Judge's face. +Startled, confounded by the unexpected suddenness of the attack, Rablay +backed two or three paces, and, blinded by the rush of blood from his +forehead, drew out his handkerchief. No one stirred. It was part of the +unwritten law in Garotte to let every man in such circumstances play his +game as he pleased. For a moment or two the Judge mopped his face, and +then he started towards his assailant with his round face puckered up +and out-thrust hands. He had scarcely moved, however, when Hitchcock +levelled a long Navy Colt against his breast: + +“Git back, you -------- ------” + +The Judge stopped. He was unarmed but not cowed. All of a sudden those +wary, long eyes of Hitchcock took in the fact that a score of revolvers +covered him. + +With lazy deliberation Dave Crocker moved out of the throng towards the +combatants, and standing between them, with his revolver pointing to the +ground, said sympathetically: + +“Jedge, we're sorry you've been jumped, here in Garotte. Now, what would +you like?” + +“A fair fight,” replied Rablay, beginning again to use his handkerchief. + +“Wall,” Crocker went on, after a pause for thought. “A square fight's +good but hard to get. This man,” and his head made a motion towards +Hitchcock as he spoke, “is one of the best shots there is, and I reckon +you're not as good at shootin' as at--other things.” Again he paused +to think, and then continued with the same deliberate air of careful +reflection, “We all cotton to you, Jedge; you know that. Suppose you +pick a man who kin shoot, and leave it to him. That'd be fair, an' you +kin jes' choose any of us, or one after the other. We're all willin'.” + +“No,” replied the Judge, taking away the handkerchief, and showing a +jagged, red line on his forehead. “No! he struck _me_. I don't want any +one to help me, or take my place.” + +“That's right,” said Crocker, approvingly; “that's right, Jedge, we all +like that, but 'tain't square, and this camp means to hev it square. +You bet!” And, in the difficult circumstances, he looked round for the +approval which was manifest on every one of the serious faces. Again he +began: “I guess, Jedge, you'd better take my plan, 'twould be surer. No! +Wall, suppose I take two six-shooters, one loaded, the other empty, and +put them under a _capote_ on the table in the next room. You could both +go in and draw for weapons; that'd be square, I reckon?” and he waited +for the Judge's reply. + +“Yes,” replied Rablay, “that'd be fair. I agree to that.” + +“Hell!” exclaimed Hitchcock, “I don't. If he wants to fight, I'm here; +but I ain't goin' to take a hand in no sich derned game--with the cards +stocked agen me.” + +“Ain't you?” retorted Crocker, facing him, and beginning slowly. “I +reckon _you'll_ play any game we say. _See!_ any damned game _we_ like. +D'ye understand?” + +As no response was forthcoming to this defiance, he went into the other +room to arrange the preliminaries of the duel. A few moments passed +in silence, and then he came back through the lane of men to the two +combatants. + +“Jedge,” he began, “the six-shooters are there, all ready. Would you +like to hev first draw, or throw for it with him?” contemptuously +indicating Hitchcock with a movement of his head as he concluded. + +“Let us throw,” replied Rablay, quietly. + +In silence the three dice and the box were placed by Doolan on the bar. +In response to Crocker's gesture the Judge took up the box and rolled +out two fives and a three--thirteen. Every one felt that he had lost the +draw, but his face did not change any more than that of his adversary. +In silence Hitchcock replaced the dice in the box and threw a three, a +four, and a two--nine; he put down the box emphatically. + +“Wall,” Crocker decided impassively, “I guess that gives you the draw, +Jedge; we throw fer high in Garotte--sometimes,” he went on, turning +as if to explain to Hitchcock, but with insult in his voice, and then, +“After you, Jedge!” + +Rablay passed through the crowd into the next room. There, on a table, +was a small heap covered with a cloak. Silently the men pressed round, +leaving Crocker between the two adversaries in the full light of the +swinging lamp. + +“Now, Jedge,” said Crocker, with a motion towards the table. + +“No!” returned the Judge, with white, fixed face, “he won; let him draw +first. I only want a square deal.” + +A low hum of surprise went round the room. Garotte was more than +satisfied with its champion. Crocker looked at Hitchcock, and said: + +“It's your draw, then.” The words were careless, but the tone and face +spoke clearly enough. + +A quick glance round the room and Hitchcock saw that he was trapped. +These men would show him no mercy. At once the wild beast in him +appeared. He stepped to the table, put his hand under the cloak, drew +out a revolver, dropped it, pointing towards Rablay's face, and pulled +the trigger. A sharp click. That revolver, at any rate, was unloaded. +Quick as thought Crocker stepped between Hitchcock and the table. Then +he said: + +“It's your turn now, Jedge!” + +As he spoke a sound, half of relief and half of content came from the +throats of the onlookers. The Judge did not move. He had not quivered +when the revolver was levelled within a foot of his head; he did not +appear to have seen it. With set eyes and pale face, and the jagged +wound on his forehead whence the blood still trickled, he had waited, +and now he did not seem to hear. Again Crocker spoke: + +“Come, Jedge, it's your turn.” + +The sharp, loud words seemed to break the spell which had paralyzed the +man. He moved to the table, and slowly drew the revolver from under the +cloak. His hesitation was too much for the crowd. + +“Throw it through him, Jedge! Now's your chance. Wade in, Jedge!” + +The desperate ferocity of the curt phrases seemed to move him. He raised +the revolver. Then came in tones of triumph: + +“I'll bet high on the Jedge!” + +He dropped the revolver on the floor, and fled from the room. + +The first feeling of the crowd of men was utter astonishment, but in +a moment or two this gave place to half-contemptuous sympathy. What +expression this sentiment would have found it is impossible to say, for +just then Bill Hitchcock observed with a sneer: + +“As he's run, I may as well walk;” and he stepped towards the bar-room. + +Instantly Crocker threw himself in front of him with his face on fire. + +“Walk--will ye?” he burst out, the long-repressed rage flaming +up--“walk! when you've jumped the best man in Garotte--walk! No, by God, +you'll crawl, d'ye hear? crawl--right out of this camp, right now!” and +he dropped his revolver on Hitchcock's breast. + +Then came a wild chorus of shouts. + +“That's right! That's the talk! Crawl, will ye! Down on yer hands and +knees. Crawl, damn ye! Crawl!” and a score of revolvers covered the +stranger. + +For a moment he stood defiant, looking his assailants in the eyes. His +face seemed to have grown thinner, and his moustache twitched with the +snarling movement of a brute at bay. Then he was tripped up and thrown +forwards amid a storm of, “Crawl, damn ye--naw.” And so Hitchcock +crawled, on hands and knees out of Doonan's. + +Lawyer Rabley, too, was never afterwards seen in Garrotte. Men said his +nerves had “give out.” + + + + + + + +End of the Project Gutenberg EBook of Eatin' Crow; and The Best Man In +Garotte, by Frank Harris + +*** END OF THIS PROJECT GUTENBERG EBOOK EATIN' CROW *** + +***** This file should be named 23011-0.txt or 23011-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/0/1/23011/ + +Produced by 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. diff --git a/23011-0.zip b/23011-0.zip Binary files differnew file mode 100644 index 0000000..aad7ea7 --- /dev/null +++ b/23011-0.zip diff --git a/23011-h.zip b/23011-h.zip Binary files differnew file mode 100644 index 0000000..04c6149 --- /dev/null +++ b/23011-h.zip diff --git a/23011-h/23011-h.htm b/23011-h/23011-h.htm new file mode 100644 index 0000000..636ebc3 --- /dev/null +++ b/23011-h/23011-h.htm @@ -0,0 +1,1003 @@ +<?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> + Eatin' Crow, and the Best Man in Garotte, by Frank Harris + </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"> + +Project Gutenberg's Eatin' Crow; and The Best Man In Garotte, by Frank Harris + +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: Eatin' Crow; and The Best Man In Garotte + +Author: Frank Harris + +Release Date: October 12, 2007 [EBook #23011] +Last Updated: March 8, 2018 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK EATIN' CROW *** + + + + +Produced by David Widger + + + + + +</pre> + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + EATIN' CROW, <br /> AND THE BEST MAN IN GAROTTE. + </h1> + <h2> + <br /> <br /> + </h2> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + Contents + </h2> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_4_0001"> EATIN' CROW. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> THE BEST MAN IN GAROTTE. </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + EATIN' CROW. + </h2> + <p> + The evening on which Charley Muirhead made his first appearance at + Doolan's was a memorable one; the camp was in wonderful spirits. Whitman + was said to have struck it rich. Garotte, therefore, might yet become + popular in the larger world, and its evil reputation be removed. Besides, + what Whitman had done any one might do, for by common consent he was a + “derned fool.” Good-humour accordingly reigned at Doolan's, and the saloon + was filled with an excited, hopeful crowd. Bill Bent, however, was + anything but pleased; he generally was in a bad temper, and this evening, + as Crocker remarked carelessly, he was “more ornery than ever.” The rest + seemed to pay no attention to the lanky, dark man with the narrow head, + round, black eyes, and rasping voice. But Bent would croak: “Whitman's + struck nothin'; thar ain't no gold in Garotte; it's all work and no dust.” + In this strain he went on, offending local sentiment and making every one + uncomfortable. + </p> + <p> + Muirhead's first appearance created a certain sensation. He was a fine + upstanding fellow of six feet or over, well made, and good-looking. But + Garotte had too much experience of life to be won by a stranger's handsome + looks. Muirhead's fair moustache and large blue eyes counted for little + there. Crocker and others, masters in the art of judging men, noticed that + his eyes were unsteady, and his manner, though genial, seemed hasty. + Reggitt summed up their opinion in the phrase, “looks as if he'd bite off + more'n he could chaw.” Unconscious of the criticism, Muirhead talked, + offered drinks, and made himself agreeable. + </p> + <p> + At length in answer to Bent's continued grumbling, Muirhead said + pleasantly: “'Tain't so bad as that in Garotte, is it? This bar don't look + like poverty, and if I set up drinks for the crowd, it's because I'm glad + to be in this camp.” + </p> + <p> + “P'r'aps you found the last place you was in jes' a leetle too warm, eh?” + was Bent's retort. + </p> + <p> + Muirhead's face flushed, and for a second he stood as if he had been + struck. Then, while the crowd moved aside, he sprang towards Bent, + exclaiming, “Take that back—right off! Take it back!” + </p> + <p> + “What?” asked Bent coolly, as if surprised; at the same time, however, + retreating a pace or two, he slipped his right hand behind him. + </p> + <p> + Instantly Muirhead threw himself upon him, rushed him with what seemed + demoniac strength to the open door and flung him away out on his back into + the muddy ditch that served as a street. For a moment there was a hush of + expectation, then Bent was seen to gather himself up painfully and move + out of the square of light into the darkness. But Muirhead did not wait + for this; hastily, with hot face and hands still working with excitement, + he returned to the bar with: + </p> + <p> + “That's how I act. No one can jump me. No one, by God!” and he glared + round the room defiantly. Reggitt, Harrison, and some of the others looked + at him as if on the point of retorting, but the cheerfulness was general, + and Bent's grumbling before a stranger had irritated them almost as much + as his unexpected cowardice. Muirhead's challenge was not taken up, + therefore, though Harrison did remark, half sarcastically: + </p> + <p> + “That may be so. You jump them, I guess.” + </p> + <p> + “Well, boys, let's have the drink,” Charley Muirhead went on, his manner + suddenly changing to that of friendly greeting, just as if he had not + heard Harrison's words. + </p> + <p> + The men moved up to the bar and drank, and before the liquor was consumed, + Charley's geniality, acting on the universal good-humour, seemed to have + done away with the discontent which his violence and Bent's cowardice had + created. This was the greater tribute to his personal charm, as the + refugees of Garotte usually hung together, and were inclined to resent + promptly any insult offered to one of their number by a stranger. But in + the present case harmony seemed to be completely reestablished, and it + would have taken a keener observer than Muirhead to have understood his + own position and the general opinion. It was felt that the stranger had + bluffed for all he was worth, and that Garotte had come out “at the little + end of the horn.” + </p> + <p> + A day or two later Charley Muirhead, walking about the camp, came upon + Dave Crocker's claim, and offered to buy half of it and work as a partner, + but the other would not sell; “the claim was worth nothin'; not good + enough for two, anyhow;” and there the matter would have ended, had not + the young man proposed to work for a spell just to keep his hand in. By + noon Crocker was won; nobody could resist Charley's hard work and laughing + high spirits. Shortly afterwards the older man proposed to knock off; a + day's work, he reckoned, had been done, and evidently considering it + impossible to accept a stranger's labour without acknowledgment, he + pressed Charley to come up to his shanty and eat The simple meal was soon + despatched, and Crocker, feeling the obvious deficiencies of his larder, + produced a bottle of Bourbon, and the two began to drink. Glass succeeded + glass, and at length Crocker's reserve seemed to thaw; his manner became + almost easy, and he spoke half frankly. + </p> + <p> + “I guess you're strong,” he remarked. “You threw Bent out of the saloon + the other night like as if he was nothin'; strength's good, but 'tain't + everythin'. I mean,” he added, in answer to the other's questioning look, + “Samson wouldn't have a show with a man quick on the draw who meant + bizness. Bent didn't pan out worth a cent, and the boys didn't like him, + but—them things don't happen often.” So in his own way he tried to + warn the man to whom he had taken a liking. + </p> + <p> + Charley felt that a warning was intended, for he replied decisively: “It + don't matter. I guess he wanted to jump me, and I won't be jumped, not if + Samson wanted to, and all the revolvers in Garotte were on me.” + </p> + <p> + “Wall,” Crocker went on quietly, but with a certain curiosity in his eyes, + “that's all right, but I reckon you were mistaken. Bent didn't want to + rush ye; 'twas only his cussed way, and he'd had mighty bad luck. You + might hev waited to see if he meant anythin', mightn't ye?” And he looked + his listener in the face as he spoke. + </p> + <p> + “That's it,” Charley replied, after a long pause, “that's just it. I + couldn't wait, d'ye see!” and then continued hurriedly, as if driven to + relieve himself by a full confession: “Maybe you don't <i>sabe</i>. It's + plain enough, though I'd have to begin far back to make you understand. + But I don't mind if you want to hear. I was raised in the East, in Rhode + Island, and I guess I was liked by everybody. I never had trouble with any + one, and I was a sort of favourite.... I fell in love with a girl, and as + I hadn't much money, I came West to make some, as quick as I knew how. The + first place I struck was Laramie—you don't know it? 'Twas a hard + place; cowboys, liquor saloons, cursin' and swearin', poker and shootin' + nearly every night At the beginning I seemed to get along all right, and I + liked the boys, and thought they liked me. One night a little Irishman was + rough on me; first of all I didn't notice, thought he meant nothin', and + then, all at once, I saw he meant it—and more. + </p> + <p> + “Well, I got a kind of scare—I don't know why—and I took what + he said and did nothin'. Next day the boys sort of held off from me, + didn't talk; thought me no account, I guess, and that little Irishman just + rode me round the place with spurs on. I never kicked once. I thought I'd + get the money—I had done well with the stock I had bought—and + go back East and marry, and no one would be any the wiser. But the + Irishman kept right on, and first one and then another of the boys went + for me, and I took it all. I just,” and here his voice rose, and his + manner became feverishly excited, “I just ate crow right along for months—and + tried to look as if 'twas quail. + </p> + <p> + “One day I got a letter from home. She wanted me to hurry up and come + back. She thought a lot of me, I could see; more than ever, because I had + got along—I had written and told her my best news. And then, what + had been hard grew impossible right off. I made up my mind to sell the + stock and strike for new diggings. I couldn't stand it any longer—not + after her letter. I sold out and cleared.... I ought to hev stayed in + Laramie, p'r'aps, and gone for the Irishman, but I just couldn't. Every + one there was against me.” + </p> + <p> + “I guess you oughter hev stayed.... Besides, if you had wiped up the floor + with that Irishman the boys would hev let up on you.” + </p> + <p> + “P'r'aps so,” Charley resumed, “but I was sick of the whole crowd. I sold + off, and lit out. When I got on the new stage-coach, fifty miles from + Laramie, and didn't know the driver or any one, I made up my mind to start + fresh. Then and there I resolved that I had eaten all the crow I was going + to eat; the others should eat crow now, and if there was any jumpin' to be + done, I'd do it, whatever it cost. And so I went for Bent right off. I + didn't want to wait. 'Here's more crow,' I thought, 'but I won't eat it; + he shall, if I die for it,' and I just threw him out quick.” + </p> + <p> + “I see,” said Crocker, with a certain sympathy in his voice, “but you + oughter hev waited. You oughter make up to wait from this on, Charley. + 'Tain't hard. You don't need to take anythin' and set under it. I'm not + advisin' that, but it's stronger to wait before you go fer any one. The + boys,” he added significantly, “don't like a man to bounce, and what they + don't like is pretty hard to do.” + </p> + <p> + “Damn the boys,” exclaimed Charley vehemently, “they're all alike out + here. I can't act different. If I waited, I might wait too long—too + long, d'you <i>sabe?</i> I just can't trust myself,” he added in a subdued + tone. + </p> + <p> + “No,” replied Crocker meditatively. “No, p'r'aps not. But see here, + Charley, I kinder like you, and so I tell you, no one can bounce the crowd + here in Garotte. They're the worst crowd you ever struck in your life. + Garotte's known for hard cases. Why,” he went on earnestly, as if he had + suddenly become conscious of the fact, “the other night Reggitt and a lot + came mighty near goin' fer you—and Harrison, Harrison took up what + you said. You didn't notice, I guess; and p'r'aps 'twas well you didn't; + but you hadn't much to spare. You won by the odd card. + </p> + <p> + “No one can bounce this camp. They've come from everywhere, and can only + jes' get a livin' here—no more. And when luck's bad they're”—and + he paused as if no adjective were strong enough. “If a man was steel, and + the best and quickest on the draw ever seen, I guess they'd bury him if he + played your way.” + </p> + <p> + “Then they may bury me,” retorted Charley bitterly, “but I've eaten my + share of crow. I ain't goin' to eat any more. Can't go East now with the + taste of it in my mouth. I'd rather they buried me.” + </p> + <p> + And they did bury him—about a fortnight after. July, 1892. + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE BEST MAN IN GAROTTE. + </h2> + <p> + Lawyer Rablay had come from nobody knew where. He was a small man, almost + as round as a billiard ball. His body was round, his head was round; his + blue eyes and even his mouth and chin were round; his nose was a perky + snub; he was florid and prematurely bald—a picture of good-humour. + And yet he was a power in Garotte. When he came to the camp, a row was the + only form of recreation known to the miners. A “fuss” took men out of + themselves, and was accordingly hailed as an amusement; besides, it + afforded a subject of conversation. But after Lawyer Rablay's arrival + fights became comparatively infrequent. Would-be students of human nature + declared at first that his flow of spirits was merely animal, and that his + wit was thin; but even these envious ones had to admit later that his wit + told, and that his good-humour was catching. + </p> + <p> + Crocker and Harrison had nearly got to loggerheads one night for no reason + apparently, save that each had a high reputation for courage, and neither + could find a worthier antagonist. In the nick of time Rablay appeared; he + seemed to understand the situation at a glance, and broke in: + </p> + <p> + “See here, boys. I'll settle this. They're disputin'—I know they + are. Want to decide with bullets whether 'Frisco or Denver's the finest + city. 'Frisco's bigger and older, says Crocker; Harrison maintains + Denver's better laid out. Crocker replies in his quiet way that 'Frisco + ain't dead yet” Good temper being now re-established, Rablay went on: + “I'll decide this matter right off. Crocker and Harrison shall set up + drinks for the crowd till we're all laid out. And I'll tell a story,” and + he began a tale which cannot be retold here, but which delighted the boys + as much by its salaciousness as by its vivacity. + </p> + <p> + Lawyer Rablay was to Garotte what novels, theatres, churches, concerts are + to more favoured cities; in fact, for some six months, he and his stories + constituted the chief humanizing influence in the camp. Deputations were + often despatched from Doolan's to bring Rablay to the bar. The miners got + up “cases” in order to give him work. More than once both parties in a + dispute, real or imaginary, engaged him, despite his protestations, as + attorney, and afterwards the boys insisted that, being advocate for both + sides, he was well fitted to decide the issue as judge. He had not been a + month in Garotte before he was christened Judge, and every question, + whether of claim-boundaries, the suitability of a nickname, or the value + of “dust,” was submitted for his decision. It cannot be asserted that his + enviable position was due either to perfect impartiality or to infallible + wisdom. But every one knew that his judgments would be informed by shrewd + sense and good-humour, and would be followed by a story, and woe betide + the disputant whose perversity deferred that pleasure. So Garotte became a + sort of theocracy, with Judge Rablay as ruler. And yet he was, perhaps, + the only man in the community whose courage had never been tested or even + considered. + </p> + <p> + One afternoon a man came to Garotte, who had a widespread reputation. His + name was Bill Hitchcock. A marvellous shot, a first-rate poker-player, a + good rider—these virtues were outweighed by his desperate temper. + Though not more than five-and-twenty years of age his courage and ferocity + had made him a marked man. He was said to have killed half-a-dozen men; + and it was known that he had generally provoked his victims. No one could + imagine why he had come to Garotte, but he had not been half an hour in + the place before he was recognized. It was difficult to forget him, once + seen. He was tall and broad-shouldered; his face long, with well-cut + features; a brown moustache drooped negligently over his mouth; his heavy + eyelids were usually half-closed, but when in moments of excitement they + were suddenly updrawn, one was startled by a naked hardness of grey-green + eyes. + </p> + <p> + Hitchcock spent the whole afternoon in Doolan's, scarcely speaking a word. + As night drew down, the throng of miners increased. Luck had been bad for + weeks; the camp was in a state of savage ill-humour. Not a few came to the + saloon that night intending to show, if an opportunity offered, that + neither Hitchcock nor any one else on earth could scare them. As minute + after minute passed the tension increased. Yet Hitchcock stood in the + midst of them, drinking and smoking in silence, seemingly unconcerned. + </p> + <p> + Presently the Judge came in with a smile on his round face and shot off a + merry remark. But the quip didn't take as it should have done. He was + received with quiet nods and not with smiles and loud greetings as usual. + Nothing daunted, he made his way to the bar, and, standing next to + Hitchcock, called for a drink. + </p> + <p> + “Come, Doolan, a Bourbon; our only monarch!” + </p> + <p> + Beyond a smile from Doolan the remark elicited no applause. Astonished, + the Judge looked about him; never in his experience had the camp been in + that temper. But still he had conquered too often to doubt his powers now. + Again and again he tried to break the spell—in vain. As a last + resort he resolved to use his infallible receipt against ill-temper. + </p> + <p> + “Boys! I've just come in to tell you one little story; then I'll have to + go.” + </p> + <p> + From force of habit the crowd drew towards him, and faces relaxed. Cheered + by this he picked up his glass from the bar and turned towards his + audience. Unluckily, as he moved, his right arm brushed against Hitchcock, + who was looking at him with half-opened eyes. The next moment Hitchcock + had picked up his glass and dashed it in the Judge's face. Startled, + confounded by the unexpected suddenness of the attack, Rablay backed two + or three paces, and, blinded by the rush of blood from his forehead, drew + out his handkerchief. No one stirred. It was part of the unwritten law in + Garotte to let every man in such circumstances play his game as he + pleased. For a moment or two the Judge mopped his face, and then he + started towards his assailant with his round face puckered up and + out-thrust hands. He had scarcely moved, however, when Hitchcock levelled + a long Navy Colt against his breast: + </p> + <p> + “Git back, you ———— ———” + </p> + <p> + The Judge stopped. He was unarmed but not cowed. All of a sudden those + wary, long eyes of Hitchcock took in the fact that a score of revolvers + covered him. + </p> + <p> + With lazy deliberation Dave Crocker moved out of the throng towards the + combatants, and standing between them, with his revolver pointing to the + ground, said sympathetically: + </p> + <p> + “Jedge, we're sorry you've been jumped, here in Garotte. Now, what would + you like?” + </p> + <p> + “A fair fight,” replied Rablay, beginning again to use his handkerchief. + </p> + <p> + “Wall,” Crocker went on, after a pause for thought. “A square fight's good + but hard to get. This man,” and his head made a motion towards Hitchcock + as he spoke, “is one of the best shots there is, and I reckon you're not + as good at shootin' as at—other things.” Again he paused to think, + and then continued with the same deliberate air of careful reflection, “We + all cotton to you, Jedge; you know that. Suppose you pick a man who kin + shoot, and leave it to him. That'd be fair, an' you kin jes' choose any of + us, or one after the other. We're all willin'.” + </p> + <p> + “No,” replied the Judge, taking away the handkerchief, and showing a + jagged, red line on his forehead. “No! he struck <i>me</i>. I don't want + any one to help me, or take my place.” + </p> + <p> + “That's right,” said Crocker, approvingly; “that's right, Jedge, we all + like that, but 'tain't square, and this camp means to hev it square. You + bet!” And, in the difficult circumstances, he looked round for the + approval which was manifest on every one of the serious faces. Again he + began: “I guess, Jedge, you'd better take my plan, 'twould be surer. No! + Wall, suppose I take two six-shooters, one loaded, the other empty, and + put them under a <i>capote</i> on the table in the next room. You could + both go in and draw for weapons; that'd be square, I reckon?” and he + waited for the Judge's reply. + </p> + <p> + “Yes,” replied Rablay, “that'd be fair. I agree to that.” + </p> + <p> + “Hell!” exclaimed Hitchcock, “I don't. If he wants to fight, I'm here; but + I ain't goin' to take a hand in no sich derned game—with the cards + stocked agen me.” + </p> + <p> + “Ain't you?” retorted Crocker, facing him, and beginning slowly. “I reckon + <i>you'll</i> play any game we say. <i>See!</i> any damned game <i>we</i> + like. D'ye understand?” + </p> + <p> + As no response was forthcoming to this defiance, he went into the other + room to arrange the preliminaries of the duel. A few moments passed in + silence, and then he came back through the lane of men to the two + combatants. + </p> + <p> + “Jedge,” he began, “the six-shooters are there, all ready. Would you like + to hev first draw, or throw for it with him?” contemptuously indicating + Hitchcock with a movement of his head as he concluded. + </p> + <p> + “Let us throw,” replied Rablay, quietly. + </p> + <p> + In silence the three dice and the box were placed by Doolan on the bar. In + response to Crocker's gesture the Judge took up the box and rolled out two + fives and a three—thirteen. Every one felt that he had lost the + draw, but his face did not change any more than that of his adversary. In + silence Hitchcock replaced the dice in the box and threw a three, a four, + and a two—nine; he put down the box emphatically. + </p> + <p> + “Wall,” Crocker decided impassively, “I guess that gives you the draw, + Jedge; we throw fer high in Garotte—sometimes,” he went on, turning + as if to explain to Hitchcock, but with insult in his voice, and then, + “After you, Jedge!” + </p> + <p> + Rablay passed through the crowd into the next room. There, on a table, was + a small heap covered with a cloak. Silently the men pressed round, leaving + Crocker between the two adversaries in the full light of the swinging + lamp. + </p> + <p> + “Now, Jedge,” said Crocker, with a motion towards the table. + </p> + <p> + “No!” returned the Judge, with white, fixed face, “he won; let him draw + first. I only want a square deal.” + </p> + <p> + A low hum of surprise went round the room. Garotte was more than satisfied + with its champion. Crocker looked at Hitchcock, and said: + </p> + <p> + “It's your draw, then.” The words were careless, but the tone and face + spoke clearly enough. + </p> + <p> + A quick glance round the room and Hitchcock saw that he was trapped. These + men would show him no mercy. At once the wild beast in him appeared. He + stepped to the table, put his hand under the cloak, drew out a revolver, + dropped it, pointing towards Rablay's face, and pulled the trigger. A + sharp click. That revolver, at any rate, was unloaded. Quick as thought + Crocker stepped between Hitchcock and the table. Then he said: + </p> + <p> + “It's your turn now, Jedge!” + </p> + <p> + As he spoke a sound, half of relief and half of content came from the + throats of the onlookers. The Judge did not move. He had not quivered when + the revolver was levelled within a foot of his head; he did not appear to + have seen it. With set eyes and pale face, and the jagged wound on his + forehead whence the blood still trickled, he had waited, and now he did + not seem to hear. Again Crocker spoke: + </p> + <p> + “Come, Jedge, it's your turn.” + </p> + <p> + The sharp, loud words seemed to break the spell which had paralyzed the + man. He moved to the table, and slowly drew the revolver from under the + cloak. His hesitation was too much for the crowd. + </p> + <p> + “Throw it through him, Jedge! Now's your chance. Wade in, Jedge!” + </p> + <p> + The desperate ferocity of the curt phrases seemed to move him. He raised + the revolver. Then came in tones of triumph: + </p> + <p> + “I'll bet high on the Jedge!” + </p> + <p> + He dropped the revolver on the floor, and fled from the room. + </p> + <p> + The first feeling of the crowd of men was utter astonishment, but in a + moment or two this gave place to half-contemptuous sympathy. What + expression this sentiment would have found it is impossible to say, for + just then Bill Hitchcock observed with a sneer: + </p> + <p> + “As he's run, I may as well walk;” and he stepped towards the bar-room. + </p> + <p> + Instantly Crocker threw himself in front of him with his face on fire. + </p> + <p> + “Walk—will ye?” he burst out, the long-repressed rage flaming up—“walk! + when you've jumped the best man in Garotte—walk! No, by God, you'll + crawl, d'ye hear? crawl—right out of this camp, right now!” and he + dropped his revolver on Hitchcock's breast. + </p> + <p> + Then came a wild chorus of shouts. + </p> + <p> + “That's right! That's the talk! Crawl, will ye! Down on yer hands and + knees. Crawl, damn ye! Crawl!” and a score of revolvers covered the + stranger. + </p> + <p> + For a moment he stood defiant, looking his assailants in the eyes. His + face seemed to have grown thinner, and his moustache twitched with the + snarling movement of a brute at bay. Then he was tripped up and thrown + forwards amid a storm of, “Crawl, damn ye—naw.” And so Hitchcock + crawled, on hands and knees out of Doonan's. + </p> + <p> + Lawyer Rabley, too, was never afterwards seen in Garrotte. Men said his + nerves had “give out.” + </p> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Eatin' Crow; and The Best Man In +Garotte, by Frank Harris + +*** END OF THIS PROJECT GUTENBERG EBOOK EATIN' CROW *** + +***** This file should be named 23011-h.htm or 23011-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/0/1/23011/ + +Produced by 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/23011.txt b/23011.txt new file mode 100644 index 0000000..ee783db --- /dev/null +++ b/23011.txt @@ -0,0 +1,851 @@ +Project Gutenberg's Eatin' Crow; and The Best Man In Garotte, by Frank Harris + +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: Eatin' Crow; and The Best Man In Garotte + +Author: Frank Harris + +Release Date: October 12, 2007 [EBook #23011] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK EATIN' CROW *** + + + + +Produced by David Widger + + + + + +EATIN' CROW, AND THE BEST MAN IN GAROTTE. + +By Frank Harris + + + + +EATIN' CROW. + +The evening on which Charley Muirhead made his first appearance at +Doolan's was a memorable one; the camp was in wonderful spirits. Whitman +was said to have struck it rich. Garotte, therefore, might yet become +popular in the larger world, and its evil reputation be removed. +Besides, what Whitman had done any one might do, for by common consent +he was a "derned fool." Good-humour accordingly reigned at Doolan's, +and the saloon was filled with an excited, hopeful crowd. Bill Bent, +however, was anything but pleased; he generally was in a bad temper, and +this evening, as Crocker remarked carelessly, he was "more ornery than +ever." The rest seemed to pay no attention to the lanky, dark man with +the narrow head, round, black eyes, and rasping voice. But Bent would +croak: "Whitman's struck nothin'; thar ain't no gold in Garotte; it's +all work and no dust." In this strain he went on, offending local +sentiment and making every one uncomfortable. + +Muirhead's first appearance created a certain sensation. He was a fine +upstanding fellow of six feet or over, well made, and good-looking. +But Garotte had too much experience of life to be won by a stranger's +handsome looks. Muirhead's fair moustache and large blue eyes counted +for little there. Crocker and others, masters in the art of judging +men, noticed that his eyes were unsteady, and his manner, though genial, +seemed hasty. Reggitt summed up their opinion in the phrase, "looks as +if he'd bite off more'n he could chaw." Unconscious of the criticism, +Muirhead talked, offered drinks, and made himself agreeable. + +At length in answer to Bent's continued grumbling, Muirhead said +pleasantly: "'Tain't so bad as that in Garotte, is it? This bar don't +look like poverty, and if I set up drinks for the crowd, it's because +I'm glad to be in this camp." + +"P'r'aps you found the last place you was in jes' a leetle too warm, +eh?" was Bent's retort. + +Muirhead's face flushed, and for a second he stood as if he had been +struck. Then, while the crowd moved aside, he sprang towards Bent, +exclaiming, "Take that back--right off! Take it back!" + +"What?" asked Bent coolly, as if surprised; at the same time, however, +retreating a pace or two, he slipped his right hand behind him. + +Instantly Muirhead threw himself upon him, rushed him with what seemed +demoniac strength to the open door and flung him away out on his back +into the muddy ditch that served as a street. For a moment there was a +hush of expectation, then Bent was seen to gather himself up painfully +and move out of the square of light into the darkness. But Muirhead did +not wait for this; hastily, with hot face and hands still working with +excitement, he returned to the bar with: + +"That's how I act. No one can jump me. No one, by God!" and he glared +round the room defiantly. Reggitt, Harrison, and some of the others +looked at him as if on the point of retorting, but the cheerfulness +was general, and Bent's grumbling before a stranger had irritated them +almost as much as his unexpected cowardice. Muirhead's challenge was not +taken up, therefore, though Harrison did remark, half sarcastically: + +"That may be so. You jump them, I guess." + +"Well, boys, let's have the drink," Charley Muirhead went on, his manner +suddenly changing to that of friendly greeting, just as if he had not +heard Harrison's words. + +The men moved up to the bar and drank, and before the liquor was +consumed, Charley's geniality, acting on the universal good-humour, +seemed to have done away with the discontent which his violence and +Bent's cowardice had created. This was the greater tribute to his +personal charm, as the refugees of Garotte usually hung together, and +were inclined to resent promptly any insult offered to one of their +number by a stranger. But in the present case harmony seemed to be +completely reestablished, and it would have taken a keener observer than +Muirhead to have understood his own position and the general opinion. +It was felt that the stranger had bluffed for all he was worth, and that +Garotte had come out "at the little end of the horn." + +A day or two later Charley Muirhead, walking about the camp, came +upon Dave Crocker's claim, and offered to buy half of it and work as a +partner, but the other would not sell; "the claim was worth nothin'; not +good enough for two, anyhow;" and there the matter would have ended, had +not the young man proposed to work for a spell just to keep his hand +in. By noon Crocker was won; nobody could resist Charley's hard work +and laughing high spirits. Shortly afterwards the older man proposed +to knock off; a day's work, he reckoned, had been done, and evidently +considering it impossible to accept a stranger's labour without +acknowledgment, he pressed Charley to come up to his shanty and eat +The simple meal was soon despatched, and Crocker, feeling the obvious +deficiencies of his larder, produced a bottle of Bourbon, and the two +began to drink. Glass succeeded glass, and at length Crocker's reserve +seemed to thaw; his manner became almost easy, and he spoke half +frankly. + +"I guess you're strong," he remarked. "You threw Bent out of the saloon +the other night like as if he was nothin'; strength's good, but 'tain't +everythin'. I mean," he added, in answer to the other's questioning +look, "Samson wouldn't have a show with a man quick on the draw who +meant bizness. Bent didn't pan out worth a cent, and the boys didn't +like him, but--them things don't happen often." So in his own way he +tried to warn the man to whom he had taken a liking. + +Charley felt that a warning was intended, for he replied decisively: "It +don't matter. I guess he wanted to jump me, and I won't be jumped, not +if Samson wanted to, and all the revolvers in Garotte were on me." + +"Wall," Crocker went on quietly, but with a certain curiosity in his +eyes, "that's all right, but I reckon you were mistaken. Bent didn't +want to rush ye; 'twas only his cussed way, and he'd had mighty bad +luck. You might hev waited to see if he meant anythin', mightn't ye?" +And he looked his listener in the face as he spoke. + +"That's it," Charley replied, after a long pause, "that's just it. I +couldn't wait, d'ye see!" and then continued hurriedly, as if driven +to relieve himself by a full confession: "Maybe you don't _sabe_. It's +plain enough, though I'd have to begin far back to make you understand. +But I don't mind if you want to hear. I was raised in the East, in Rhode +Island, and I guess I was liked by everybody. I never had trouble with +any one, and I was a sort of favourite.... I fell in love with a girl, +and as I hadn't much money, I came West to make some, as quick as I knew +how. The first place I struck was Laramie--you don't know it? 'Twas a +hard place; cowboys, liquor saloons, cursin' and swearin', poker and +shootin' nearly every night At the beginning I seemed to get along all +right, and I liked the boys, and thought they liked me. One night a +little Irishman was rough on me; first of all I didn't notice, thought +he meant nothin', and then, all at once, I saw he meant it--and more. + +"Well, I got a kind of scare--I don't know why--and I took what he said +and did nothin'. Next day the boys sort of held off from me, didn't +talk; thought me no account, I guess, and that little Irishman just rode +me round the place with spurs on. I never kicked once. I thought I'd get +the money--I had done well with the stock I had bought--and go back +East and marry, and no one would be any the wiser. But the Irishman kept +right on, and first one and then another of the boys went for me, and +I took it all. I just," and here his voice rose, and his manner became +feverishly excited, "I just ate crow right along for months--and tried +to look as if 'twas quail. + +"One day I got a letter from home. She wanted me to hurry up and come +back. She thought a lot of me, I could see; more than ever, because I +had got along--I had written and told her my best news. And then, what +had been hard grew impossible right off. I made up my mind to sell the +stock and strike for new diggings. I couldn't stand it any longer--not +after her letter. I sold out and cleared.... I ought to hev stayed in +Laramie, p'r'aps, and gone for the Irishman, but I just couldn't. Every +one there was against me." + +"I guess you oughter hev stayed.... Besides, if you had wiped up the +floor with that Irishman the boys would hev let up on you." + +"P'r'aps so," Charley resumed, "but I was sick of the whole crowd. I +sold off, and lit out. When I got on the new stage-coach, fifty miles +from Laramie, and didn't know the driver or any one, I made up my mind +to start fresh. Then and there I resolved that I had eaten all the crow +I was going to eat; the others should eat crow now, and if there was any +jumpin' to be done, I'd do it, whatever it cost. And so I went for Bent +right off. I didn't want to wait. 'Here's more crow,' I thought, 'but +I won't eat it; he shall, if I die for it,' and I just threw him out +quick." + +"I see," said Crocker, with a certain sympathy in his voice, "but you +oughter hev waited. You oughter make up to wait from this on, Charley. +'Tain't hard. You don't need to take anythin' and set under it. I'm not +advisin' that, but it's stronger to wait before you go fer any one. The +boys," he added significantly, "don't like a man to bounce, and what +they don't like is pretty hard to do." + +"Damn the boys," exclaimed Charley vehemently, "they're all alike out +here. I can't act different. If I waited, I might wait too long--too +long, d'you _sabe?_ I just can't trust myself," he added in a subdued +tone. + +"No," replied Crocker meditatively. "No, p'r'aps not. But see here, +Charley, I kinder like you, and so I tell you, no one can bounce the +crowd here in Garotte. They're the worst crowd you ever struck in your +life. Garotte's known for hard cases. Why," he went on earnestly, as if +he had suddenly become conscious of the fact, "the other night Reggitt +and a lot came mighty near goin' fer you--and Harrison, Harrison took +up what you said. You didn't notice, I guess; and p'r'aps 'twas well you +didn't; but you hadn't much to spare. You won by the odd card. + +"No one can bounce this camp. They've come from everywhere, and can only +jes' get a livin' here--no more. And when luck's bad they're"--and he +paused as if no adjective were strong enough. "If a man was steel, and +the best and quickest on the draw ever seen, I guess they'd bury him if +he played your way." + +"Then they may bury me," retorted Charley bitterly, "but I've eaten my +share of crow. I ain't goin' to eat any more. Can't go East now with the +taste of it in my mouth. I'd rather they buried me." + +And they did bury him--about a fortnight after. July, 1892. + + + + +THE BEST MAN IN GAROTTE. + +Lawyer Rablay had come from nobody knew where. He was a small man, +almost as round as a billiard ball. His body was round, his head was +round; his blue eyes and even his mouth and chin were round; his nose +was a perky snub; he was florid and prematurely bald--a picture of +good-humour. And yet he was a power in Garotte. When he came to the +camp, a row was the only form of recreation known to the miners. A +"fuss" took men out of themselves, and was accordingly hailed as an +amusement; besides, it afforded a subject of conversation. But after +Lawyer Rablay's arrival fights became comparatively infrequent. Would-be +students of human nature declared at first that his flow of spirits was +merely animal, and that his wit was thin; but even these envious ones +had to admit later that his wit told, and that his good-humour was +catching. + +Crocker and Harrison had nearly got to loggerheads one night for no +reason apparently, save that each had a high reputation for courage, +and neither could find a worthier antagonist. In the nick of time Rablay +appeared; he seemed to understand the situation at a glance, and broke +in: + +"See here, boys. I'll settle this. They're disputin'--I know they are. +Want to decide with bullets whether 'Frisco or Denver's the finest city. +'Frisco's bigger and older, says Crocker; Harrison maintains Denver's +better laid out. Crocker replies in his quiet way that 'Frisco ain't +dead yet" Good temper being now re-established, Rablay went on: "I'll +decide this matter right off. Crocker and Harrison shall set up drinks +for the crowd till we're all laid out. And I'll tell a story," and he +began a tale which cannot be retold here, but which delighted the boys +as much by its salaciousness as by its vivacity. + +Lawyer Rablay was to Garotte what novels, theatres, churches, concerts +are to more favoured cities; in fact, for some six months, he and +his stories constituted the chief humanizing influence in the camp. +Deputations were often despatched from Doolan's to bring Rablay to the +bar. The miners got up "cases" in order to give him work. More than once +both parties in a dispute, real or imaginary, engaged him, despite his +protestations, as attorney, and afterwards the boys insisted that, +being advocate for both sides, he was well fitted to decide the issue +as judge. He had not been a month in Garotte before he was christened +Judge, and every question, whether of claim-boundaries, the suitability +of a nickname, or the value of "dust," was submitted for his decision. +It cannot be asserted that his enviable position was due either to +perfect impartiality or to infallible wisdom. But every one knew that +his judgments would be informed by shrewd sense and good-humour, +and would be followed by a story, and woe betide the disputant +whose perversity deferred that pleasure. So Garotte became a sort of +theocracy, with Judge Rablay as ruler. And yet he was, perhaps, the +only man in the community whose courage had never been tested or even +considered. + +One afternoon a man came to Garotte, who had a widespread reputation. +His name was Bill Hitchcock. A marvellous shot, a first-rate +poker-player, a good rider--these virtues were outweighed by his +desperate temper. Though not more than five-and-twenty years of age +his courage and ferocity had made him a marked man. He was said to have +killed half-a-dozen men; and it was known that he had generally provoked +his victims. No one could imagine why he had come to Garotte, but he +had not been half an hour in the place before he was recognized. It was +difficult to forget him, once seen. He was tall and broad-shouldered; +his face long, with well-cut features; a brown moustache drooped +negligently over his mouth; his heavy eyelids were usually half-closed, +but when in moments of excitement they were suddenly updrawn, one was +startled by a naked hardness of grey-green eyes. + +Hitchcock spent the whole afternoon in Doolan's, scarcely speaking a +word. As night drew down, the throng of miners increased. Luck had been +bad for weeks; the camp was in a state of savage ill-humour. Not a +few came to the saloon that night intending to show, if an opportunity +offered, that neither Hitchcock nor any one else on earth could scare +them. As minute after minute passed the tension increased. Yet Hitchcock +stood in the midst of them, drinking and smoking in silence, seemingly +unconcerned. + +Presently the Judge came in with a smile on his round face and shot off +a merry remark. But the quip didn't take as it should have done. He +was received with quiet nods and not with smiles and loud greetings as +usual. Nothing daunted, he made his way to the bar, and, standing next +to Hitchcock, called for a drink. + +"Come, Doolan, a Bourbon; our only monarch!" + +Beyond a smile from Doolan the remark elicited no applause. Astonished, +the Judge looked about him; never in his experience had the camp been +in that temper. But still he had conquered too often to doubt his powers +now. Again and again he tried to break the spell--in vain. As a last +resort he resolved to use his infallible receipt against ill-temper. + +"Boys! I've just come in to tell you one little story; then I'll have to +go." + +From force of habit the crowd drew towards him, and faces relaxed. +Cheered by this he picked up his glass from the bar and turned towards +his audience. Unluckily, as he moved, his right arm brushed against +Hitchcock, who was looking at him with half-opened eyes. The next moment +Hitchcock had picked up his glass and dashed it in the Judge's face. +Startled, confounded by the unexpected suddenness of the attack, Rablay +backed two or three paces, and, blinded by the rush of blood from his +forehead, drew out his handkerchief. No one stirred. It was part of the +unwritten law in Garotte to let every man in such circumstances play his +game as he pleased. For a moment or two the Judge mopped his face, and +then he started towards his assailant with his round face puckered up +and out-thrust hands. He had scarcely moved, however, when Hitchcock +levelled a long Navy Colt against his breast: + +"Git back, you -------- ------" + +The Judge stopped. He was unarmed but not cowed. All of a sudden those +wary, long eyes of Hitchcock took in the fact that a score of revolvers +covered him. + +With lazy deliberation Dave Crocker moved out of the throng towards the +combatants, and standing between them, with his revolver pointing to the +ground, said sympathetically: + +"Jedge, we're sorry you've been jumped, here in Garotte. Now, what would +you like?" + +"A fair fight," replied Rablay, beginning again to use his handkerchief. + +"Wall," Crocker went on, after a pause for thought. "A square fight's +good but hard to get. This man," and his head made a motion towards +Hitchcock as he spoke, "is one of the best shots there is, and I reckon +you're not as good at shootin' as at--other things." Again he paused +to think, and then continued with the same deliberate air of careful +reflection, "We all cotton to you, Jedge; you know that. Suppose you +pick a man who kin shoot, and leave it to him. That'd be fair, an' you +kin jes' choose any of us, or one after the other. We're all willin'." + +"No," replied the Judge, taking away the handkerchief, and showing a +jagged, red line on his forehead. "No! he struck _me_. I don't want any +one to help me, or take my place." + +"That's right," said Crocker, approvingly; "that's right, Jedge, we all +like that, but 'tain't square, and this camp means to hev it square. +You bet!" And, in the difficult circumstances, he looked round for the +approval which was manifest on every one of the serious faces. Again he +began: "I guess, Jedge, you'd better take my plan, 'twould be surer. No! +Wall, suppose I take two six-shooters, one loaded, the other empty, and +put them under a _capote_ on the table in the next room. You could both +go in and draw for weapons; that'd be square, I reckon?" and he waited +for the Judge's reply. + +"Yes," replied Rablay, "that'd be fair. I agree to that." + +"Hell!" exclaimed Hitchcock, "I don't. If he wants to fight, I'm here; +but I ain't goin' to take a hand in no sich derned game--with the cards +stocked agen me." + +"Ain't you?" retorted Crocker, facing him, and beginning slowly. "I +reckon _you'll_ play any game we say. _See!_ any damned game _we_ like. +D'ye understand?" + +As no response was forthcoming to this defiance, he went into the other +room to arrange the preliminaries of the duel. A few moments passed +in silence, and then he came back through the lane of men to the two +combatants. + +"Jedge," he began, "the six-shooters are there, all ready. Would you +like to hev first draw, or throw for it with him?" contemptuously +indicating Hitchcock with a movement of his head as he concluded. + +"Let us throw," replied Rablay, quietly. + +In silence the three dice and the box were placed by Doolan on the bar. +In response to Crocker's gesture the Judge took up the box and rolled +out two fives and a three--thirteen. Every one felt that he had lost the +draw, but his face did not change any more than that of his adversary. +In silence Hitchcock replaced the dice in the box and threw a three, a +four, and a two--nine; he put down the box emphatically. + +"Wall," Crocker decided impassively, "I guess that gives you the draw, +Jedge; we throw fer high in Garotte--sometimes," he went on, turning +as if to explain to Hitchcock, but with insult in his voice, and then, +"After you, Jedge!" + +Rablay passed through the crowd into the next room. There, on a table, +was a small heap covered with a cloak. Silently the men pressed round, +leaving Crocker between the two adversaries in the full light of the +swinging lamp. + +"Now, Jedge," said Crocker, with a motion towards the table. + +"No!" returned the Judge, with white, fixed face, "he won; let him draw +first. I only want a square deal." + +A low hum of surprise went round the room. Garotte was more than +satisfied with its champion. Crocker looked at Hitchcock, and said: + +"It's your draw, then." The words were careless, but the tone and face +spoke clearly enough. + +A quick glance round the room and Hitchcock saw that he was trapped. +These men would show him no mercy. At once the wild beast in him +appeared. He stepped to the table, put his hand under the cloak, drew +out a revolver, dropped it, pointing towards Rablay's face, and pulled +the trigger. A sharp click. That revolver, at any rate, was unloaded. +Quick as thought Crocker stepped between Hitchcock and the table. Then +he said: + +"It's your turn now, Jedge!" + +As he spoke a sound, half of relief and half of content came from the +throats of the onlookers. The Judge did not move. He had not quivered +when the revolver was levelled within a foot of his head; he did not +appear to have seen it. With set eyes and pale face, and the jagged +wound on his forehead whence the blood still trickled, he had waited, +and now he did not seem to hear. Again Crocker spoke: + +"Come, Jedge, it's your turn." + +The sharp, loud words seemed to break the spell which had paralyzed the +man. He moved to the table, and slowly drew the revolver from under the +cloak. His hesitation was too much for the crowd. + +"Throw it through him, Jedge! Now's your chance. Wade in, Jedge!" + +The desperate ferocity of the curt phrases seemed to move him. He raised +the revolver. Then came in tones of triumph: + +"I'll bet high on the Jedge!" + +He dropped the revolver on the floor, and fled from the room. + +The first feeling of the crowd of men was utter astonishment, but in +a moment or two this gave place to half-contemptuous sympathy. What +expression this sentiment would have found it is impossible to say, for +just then Bill Hitchcock observed with a sneer: + +"As he's run, I may as well walk;" and he stepped towards the bar-room. + +Instantly Crocker threw himself in front of him with his face on fire. + +"Walk--will ye?" he burst out, the long-repressed rage flaming +up--"walk! when you've jumped the best man in Garotte--walk! No, by God, +you'll crawl, d'ye hear? crawl--right out of this camp, right now!" and +he dropped his revolver on Hitchcock's breast. + +Then came a wild chorus of shouts. + +"That's right! That's the talk! Crawl, will ye! Down on yer hands and +knees. Crawl, damn ye! Crawl!" and a score of revolvers covered the +stranger. + +For a moment he stood defiant, looking his assailants in the eyes. His +face seemed to have grown thinner, and his moustache twitched with the +snarling movement of a brute at bay. Then he was tripped up and thrown +forwards amid a storm of, "Crawl, damn ye--naw." And so Hitchcock +crawled, on hands and knees out of Doonan's. + +Lawyer Rabley, too, was never afterwards seen in Garrotte. Men said his +nerves had "give out." + + + + + + + +End of the Project Gutenberg EBook of Eatin' Crow; and The Best Man In +Garotte, by Frank Harris + +*** END OF THIS PROJECT GUTENBERG EBOOK EATIN' CROW *** + +***** This file should be named 23011.txt or 23011.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/0/1/23011/ + +Produced by 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. diff --git a/23011.zip b/23011.zip Binary files differnew file mode 100644 index 0000000..88930bd --- /dev/null +++ b/23011.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..5f19002 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #23011 (https://www.gutenberg.org/ebooks/23011) |