THE IVORY SERIES
_Each, 16mo, gilt top, 75 cents_
AMOS JUDD. By J. A. Mitchell, Editor of "Life"
IA. A Love Story. By Q. [Arthur T. Quiller-Couch]
THE SUICIDE CLUB. By Robert Louis Stevenson
IRRALIE'S BUSHRANGER. By E. W. Hornung
A MASTER SPIRIT. By Harriet Prescott Spofford
MADAME DELPHINE. By George W. Cable
ONE OF THE VISCONTI. By Eva Wilder Brodhead
A BOOK OF MARTYRS. By Cornelia Atwood Pratt
A BRIDE FROM THE BUSH. By E. W. Hornung
THE MAN WHO WINS. By Robert Herrick
AN INHERITANCE. By Harriet Prescott Spofford
THE OLD GENTLEMAN OF THE BLACK STOCK.
By Thomas Nelson Page
LITERARY LOVE LETTERS AND OTHER STORIES.
By Robert Herrick
A ROMANCE IN TRANSIT. By Francis Lynde
IN OLD NARRAGANSETT. By Alice Morse Earle
SEVEN MONTHS A PRISONER. By J. V. Hadley
"IF I WERE A MAN." By Harrison Robertson
SWEETHEARTS AND WIVES. By Anna A. Rogers
A CIVILIAN ATTACHÉ. By Helen Dawes Brown
THE BOSS OF TAROOMBA. By E. W. Hornung
_Other volumes to be announced_
THE BOSS OF TAROOMBA
BY
E. W. HORNUNG
CHARLES SCRIBNER'S SONS
NEW YORK 1900
CONTENTS
CHAPTER I
PAGE
THE LITTLE MUSICIAN 1
CHAPTER II
A FRIEND INDEED 13
CHAPTER III
"HARD TIMES" 25
CHAPTER IV
THE TREASURE IN THE STORE 41
CHAPTER V
MASTERLESS MEN 55
CHAPTER VI
£500 71
CHAPTER VII
THE RINGER OF THE SHED 83
CHAPTER VIII
"THREE SHADOWS" 102
CHAPTER IX
NO HOPE FOR HIM 120
CHAPTER X
MISSING 138
CHAPTER XI
LOST IN THE BUSH 152
CHAPTER XII
FALLEN AMONG THIEVES 162
CHAPTER XIII
A SMOKING CONCERT 179
CHAPTER XIV
THE RAID ON THE STATION 194
CHAPTER XV
THE NIGHT ATTACK 210
CHAPTER XVI
IN THE MIDST OF DEATH 232
THE BOSS OF TAROOMBA
CHAPTER I
THE LITTLE MUSICIAN
They were terribly sentimental words, but the fellow sang them as though
he meant every syllable. Altogether, the song was not the kind of thing
to go down with a back-block audience, any more than the singer was the
class of man.
He was a little bit of a fellow, with long dark hair and dark glowing
eyes, and he swayed on the music-stool, as he played and sang, in a
manner most new to the young men of Taroomba. He had not much voice, but
the sensitive lips took such pains with each word, and the long, nervous
fingers fell so lightly upon the old piano, that every one of the
egregious lines travelled whole and unmistakable to the farthest corner
of the room. And that was an additional pity, because the piano was so
placed that the performer was forced to turn his back upon his
audience; and behind it the young men of Taroomba were making great game
of him all the time.
In the moderate light of two kerosene lamps, the room seemed full of
cord breeches and leather belts and flannel collars and sunburnt
throats. It was not a large room, however, and there were only four men
present, not counting the singer. They were young fellows, in the main,
though the one leaning his elbow on the piano had a bushy red beard, and
his yellow hair was beginning to thin. Another was reading _The
Australasian_ on the sofa; and a sort of twist to his mustache, a
certain rigor about his unshaven chin, if they betrayed no sympathy with
the singer, suggested a measure of contempt for the dumb clownery going
on behind the singer's back. Over his very head, indeed, the red-bearded
man was signalling maliciously to a youth who with coarse fat face and
hands was mimicking the performer in the middle of the room; while the
youngest man of the lot, who wore spectacles and a Home-bred look,
giggled in a half-ashamed, half-anxious way, as though not a little
concerned lest they should all be caught. And when the song ended, and
the singer spun round on the stool, they had certainly a narrow escape.
"Great song!" cried the mimic, pulling himself together in an instant,
and clapping out a brutal burlesque of applause.
"Shut up, Sandy," said the man with the beard, dropping a yellow-fringed
eyelid over a very blue eye. "Don't you mind Mr. Sanderson, sir," he
added to the musician; "he's not a bad chap, only he thinks he's funny.
We'll show him what funniment really is in a minute or two. I've just
found the very song! But what's the price of the last pretty thing?"
"Of 'Love Flees before the Dawn?'" said the musician, simply.
"Yes."
"It's the same as all the rest; you see----"
Here the mimic broke in with a bright, congenial joke.
"Love how much?" cried he, winking with his whole heavy face. "I don't,
chaps, do you?"
The sally was greeted with a roar, in which the musician joined timidly,
while the man on the sofa smiled faintly without looking up from his
paper.
"Never mind him," said the red-bearded man, who was for keeping up the
fun as long as possible; "he's too witty to live. What did you say the
price was?"
"Most of the songs are half a crown."
"Come, I say, that's a stiffish price, isn't it?"
"Plucky stiff for fleas!" exclaimed the wit.
The musician flushed, but tossed back his head of hair, and held out his
hand for the song.
"I can't help it, gentlemen. I can't afford to charge less. Every one of
these songs has been sent out from Home, and I get them from a man in
Melbourne, who makes _me_ pay for them. You're five hundred miles up
country, where you can't expect town prices."
"Keep your hair on, old man!" said the wit, soothingly.
"My what? My hair is my own business!"
The little musician had turned upon his tormentor like a knife. His dark
eyes were glaring indignantly, and his nervous fingers had twitched
themselves into a pair of absurdly unserviceable white fists. But now a
freckled hand was laid upon his shoulder, and the man with the beard was
saying, "Come, come, my good fellow, you've made a mistake; my friend
Sanderson meant nothing personal. It's our way up here, you know, to
chi-ak each other and our visitors too."
"Then I don't like your way," said the little man, stoutly.
"Well, Sandy meant no offence, I'll swear to that."
"Of course I didn't," said Sanderson.
The musician looked from one to the other, and the anger went out of
him, making way for shame.
"Then the offence is on my side," said he, awkwardly, "and I beg your
pardon."
He took a pile of new music from the piano, and was about to go.
"No, no, we're not going to let you off so easily," said the bearded
man, laughing.
"You'll have to sing us one more song to show there's no ill feeling,"
put in Sanderson.
"And here's the song," added the other. "The very thing. I found it just
now. There you are--'The World's Creation!'"
"Not that thing!" said the musician.
"Why not?"
"It's a comic song."
"The very thing we want."
"We'll buy up your whole stock of comic songs," said Sanderson.
"Hear, hear," cried the silent youth who wore spectacles.
"I wish you would," the musician said, smiling.
"But we must hear them first."
"I hate singing them."
"Well, give us this one as a favor! Only this one. Do."
The musician wavered. He was a very sensitive young man, with a
constitutional desire to please, and an acute horror of making a fool of
himself. Now the whole soul of him was aching with the conviction that
he had done this already, in showing his teeth at what had evidently
been meant as harmless and inoffensive badinage. And it was this feeling
that engendered the desperate desire at once to expiate his late display
of temper, and to win the good opinion of these men by fairly amusing
them after all. Certainly the song in demand did not amuse himself, but
then it was equally certain that his taste in humor differed from
theirs. He could not decide in his mind. He longed to make these men
laugh. To get on with older and rougher men was his great difficulty,
and one of his ambitions.
"We must have this," said the man with the beard, who had been looking
over the song. "The words are first chop!"
"I can't stand them," the musician confessed.
"Why, are they too profane?"
"They are too silly."
"Well, they ain't for us. Climb down to our level, and fire away."
With a sigh and a smile, and a full complement of those misgivings which
were a part of his temperament, the little visitor sat down and played
with much vivacity a banjo accompaniment which sounded far better than
anything else had done on the antiquated, weather-beaten bush piano. The
jingle struck fire with the audience, and the performer knew it, as he
went on to describe himself as "straight from Old Virginia," with his
head "stuffed full of knowledge," in spite of the fact that he had
"never been to 'Frisco or any other college;" the entertaining
information that "this world it was created in the twinkling of two
cracks" bringing the first verse to a conclusion. Then came the
chorus--of which there can scarcely be two opinions. The young men
caught it up with a howl, with the exception of the reader on the sofa,
who put his fingers in his ears. This is how it went:
Oh, walk up, Mr. Pompey, oh, walk up while I say,
Will you walk into the banjo and hear the parlor play?
Will you walk into the parlor and hear the banjo ring?
Oh, listen to de darkies how merrily dey sing!
The chorus ended with a whoop which assured the soloist that he was
amusing his men; and having himself one of those susceptible, excitable
natures which can enter into almost anything, given the fair wind of
appreciation to fill their sails, the little musician began actually to
enjoy the nonsense himself. His long fingers rang out the tinkling
accompaniment with a crisp, confident touch. He sang the second verse,
which built up the universe in numbers calculated to shock a religious
or even a reasonably cultivated order of mind, as though he were by no
means ashamed of it. And so far as culture and religion were concerned
he was tolerably safe--each fresh peal of laughter reassured him of
this. That the laugh was with him he never doubted until the end of the
third verse. Then it was that the roars of merriment rose louder than
ever, and that their note suddenly struck the musician's trained ear as
false. He sang through the next verse with an overwhelming sense of its
inanity, and with the life gone out of his voice and fingers alike.
Still they roared with laughter, but he who made them knew now that the
laugh was at his expense. He turned hot all over, then cold, then hotter
than ever. A shadow was dancing on the music in front of him; he could
hear a suppressed titter at the back of the boisterous laughter;
something brushed against his hair, and he could bear it all no longer.
Snatching his fingers from the keys, he wheeled round on the music-stool
in time to catch the heavy youth Sanderson in the mimic act of braining
him with a chair; his tongue was out like a brat's, his eyes shone with
a baleful mirth, while the red-bearded man was rolling about the room in
an ecstasy of malicious merriment.
The singer sprang to his feet in a palsy of indignation. His dark eyes
glared with the dumb rage of a wounded animal; then they ranged round
the room for something with which to strike, and before Sanderson had
time to drop the chair he had been brandishing over the other's head,
the musician had snatched up the kerosene lamp from the top of the
piano, and was poising it in the air with murderous intent. Yet his
anger had not blinded him utterly. His flashing eyes were fixed upon the
fat mocking face which he longed to mark for life, but he could also see
beyond it, and what he saw made him put down the lamp without a word.
At the other side of the room was a door leading out upon the veranda;
it had been open all the evening, and now it was the frame of an
unlooked-for picture, for a tall, strong girl was standing upon the
threshold.
"Well, I never!" said she, calmly, as she came into their midst with a
slow, commanding stride. "So this is the way you play when I'm away, is
it? What poor little mice they are, to be sure!"
Sanderson had put down the chair, and was looking indescribably foolish.
The boy in the spectacles, though he had been a merely passive party to
the late proceedings, seemed only a little less uncomfortable. The man
on the sofa and the little trembling musician were devouring the girl
with their eyes. It was the personage with the beard who swaggered
forward into the breach.
"Good-evening, Naomi," said he, holding out a hand which she refused to
see. "This is Mr. Engelhardt, who has come to tune your piano for you.
Mr. Engelhardt--Miss Pryse."
The hand which had been refused to the man who was in a position to
address Miss Pryse as Naomi, was held out frankly to the stranger. It
was a firm, cool hand, which left him a stronger and a saner man for its
touch.
"I am delighted to see you, Mr. Engelhardt. I congratulate you on your
songs, and on your spirit, too. It was about time that Mr. Sanderson met
somebody who objected to his peculiar form of fun. He has been spoiling
for this ever since I have known him!"
"Come, I say, Naomi," said the man who was on familiar terms with her,
"it was all meant in good part, you know. You're rather rough upon poor
Sandy."
"Not so rough as both you and he have been upon a visitor. I am ashamed
of you all!"
Her scornful eyes looked black in the lamplight; her eyebrows _were_
black. This with her splendid coloring was all the musician could be
sure of; though his gaze never shifted from her face. Now she turned to
him and said, kindly:
"I have been enjoying your songs immensely--especially the comic one. I
came in some time ago, and have been listening to everything. You sing
splendidly."
"These gentlemen will hardly agree with you."
"These gentlemen," said Miss Pryse, laying an unpleasant stress on the
word, "disagree with me horribly at times. They make me ill. What a lot
of songs you have brought!"
"I brought them to sell," said the young fellow, blushing. "I have just
started business--set up shop at Deniliquin--a music-shop, you know. I
am making a round to tune the pianos at the stations."
"What a capital idea! You will find ours in a terrible state, I'm
afraid."
"Yes, it is rather bad; I was talking about it to the boss before I
started to make a fool of myself."
"To the boss, do you say?"
"Yes."
"And pray which is he?"
The piano-tuner pointed to the bushy red beard.
"Why, bless your life," cried Naomi Pryse, as the red beard split
across and showed its teeth, "_he's_ not the boss! Don't you believe it.
If you've anything to say to the boss, you'd better come outside and say
it."
"But which is he, Miss Pryse?"
"He's a she, and you're talking to her now, Mr. Engelhardt!"