VI

The consummation of his career was rapidly approaching. The great

champion had even publicly intimated his readiness to take on Glendon

as soon as the latter had disposed of the three or four aspirants for

the championship who intervened. In six months Pat managed to put away

Kid McGrath and Philadelphia Jack McBride, and there remained only Nat

Powers and Tom Cannam. And all would have been well had not a certain

society girl gone adventuring into journalism, and had not Stubener

agreed to an interview with the woman reporter of the San Francisco

"Courier-Journal."

Her work was always published over the name of Maud Sangster, which,

by the way, was her own name. The Sangsters were a notoriously

wealthy family. The founder, old Jacob Sangster, had packed his

blankets and worked as a farm-hand in the West. He had discovered an

inexhaustible borax deposit in Nevada, and, from hauling it out by

mule-teams, had built a railroad to do the freighting. Following that,

he had poured the profits of borax into the purchase of hundreds and

thousands of square miles of timber lands in California, Oregon, and

Washington. Still later, he had combined politics with business, bought

statesmen, judges, and machines, and become a captain of complicated

industry. And after that he had died, full of honor and pessimism,

leaving his name a muddy blot for future historians to smudge,

and also leaving a matter of a couple of hundreds of millions for

his four sons to squabble over. The legal, industrial, and political

battles that followed, vexed and amused California for a generation,

and culminated in deadly hatred and unspeaking terms between the four

sons. The youngest, Theodore, in middle life experienced a change of

heart, sold out his stock farms and racing stables, and plunged into

a fight with all the corrupt powers of his native state, including

most of its millionaires, in a quixotic attempt to purge it of the

infamy which had been implanted by old Jacob Sangster.

Maud Sangster was Theodore's oldest daughter. The Sangster stock

uniformly bred fighters among the men and beauties among the women. Nor

was Maud an exception. Also, she must have inherited some of the virus

of adventure from the Sangster breed, for she had come to womanhood

and done a multitude of things of which no woman in her position should

have been guilty. A match in ten thousand, she remained unmarried. She

had sojourned in Europe without bringing home a nobleman for spouse,

and had declined a goodly portion of her own set at home. She had

gone in for outdoor sports, won the tennis championship of the state,

kept the society weeklies agog with her unconventionalities, walked

from San Mateo to Santa Cruz against time on a wager, and once caused

a sensation by playing polo in a men's team at a private Burlingame

practice game. Incidentally, she had gone in for art, and maintained

a studio in San Francisco's Latin Quarter.

All this had been of little moment until her father's reform attack

became acute. Passionately independent, never yet having met the man

to whom she could gladly submit, and bored by those who had aspired,

she resented her father's interference with her way of life and put the

climax on all her social misdeeds by leaving home and going to work on

the "Courier-Journal." Beginning at twenty dollars a week, her salary

had swiftly risen to fifty. Her work was principally musical, dramatic,

and art criticism, though she was not above mere journalistic stunts if

they promised to be sufficiently interesting. Thus she scooped the big

interview with Morgan at a time when he was being futilely trailed by a

dozen New York star journalists, went down to the bottom of the Golden

Gate in a diver's suit, and flew with Rood, the bird man, when he

broke all records of continuous flight by reaching as far as Riverside.

Now it must not be imagined that Maud Sangster was a hard-bitten

Amazon. On the contrary, she was a gray-eyed, slender young woman,

of three or four and twenty, of medium stature, and possessing

uncommonly small hands and feet for an outdoor woman or any other

kind of a woman. Also, far in excess of most outdoor women, she knew

how to be daintily feminine.

It was on her own suggestion that she received the editor's commission

to interview Pat Glendon. With the exception of having caught a

glimpse, once, of Bob Fitzsimmons in evening dress at the Palace

Grill, she had never seen a prizefighter in her life. Nor was she

curious to see one--at least she had not been curious until Young

Pat Glendon came to San Francisco to train for his fight with Nat

Powers. Then his newspaper reputation had aroused her. The Abysmal

Brute!--it certainly must be worth seeing. From what she read of him

she gleaned that he was a man-monster, profoundly stupid and with

the sullenness and ferocity of a jungle beast. True, his published

photographs did not show all that, but they did show the hugeness of

brawn that might be expected to go with it. And so, accompanied by

a staff photographer, she went out to the training quarters at the

Cliff House at the hour appointed by Stubener.

That real estate owner was having trouble. Pat was rebellious. He sat,

one big leg dangling over the side of the arm chair and Shakespeare's

Sonnets face downward on his knee, orating against the new woman.

"What do they want to come butting into the game for?" he

demanded. "It's not their place. What do they know about it anyway? The

men are bad enough as it is. I'm not a holy show. This woman's coming

here to make me one. I never have stood for women around the training

quarters, and I don't care if she is a reporter."

"But she's not an ordinary reporter," Stubener interposed. "You've

heard of the Sangsters?--the millionaires?"

Pat nodded.

"Well, she's one of them. She's high society and all that stuff. She

could be running with the Blingum crowd now if she wanted to instead

of working for wages. Her old man's worth fifty millions if he's

worth a cent."

"Then what's she working on a paper for?--keeping some poor devil

out of a job."

"She and the old man fell out, had a tiff or something, about

the time he started to clean up San Francisco. She quit. That's

all--left home and got a job. And let me tell you one thing, Pat:

she can everlastingly sling English. There isn't a pen-pusher on the

Coast can touch her when she gets going."

Pat began to show interest, and Stubener hurried on.

"She writes poetry, too--the regular la-de-dah stuff, just like

you. Only I guess hers is better, because she published a whole book

of it once. And she writes up the shows. She interviews every big

actor that hits this burg."

"I've seen her name in the papers," Pat commented.

"Sure you have. And you're honored, Pat, by her coming to interview

you. It won't bother you any. I'll stick right by and give her most

of the dope myself. You know I've always done that."

Pat looked his gratitude.

"And another thing, Pat: don't forget you've got to put up with this

interviewing. It's part of your business. It's big advertising, and it

comes free. We can't buy it. It interests people, draws the crowds, and

it's crowds that pile up the gate receipts." He stopped and listened,

then looked at his watch. "I think that's her now. I'll go and get her

and bring her in. I'll tip it off to her to cut it short, you know,

and it won't take long." He turned in the doorway. "And be decent,

Pat. Don't shut up like a clam. Talk a bit to her when she asks

you questions."

Pat put the Sonnets on the table, took up a newspaper, and was

apparently deep in its contents when the two entered the room and he

stood up. The meeting was a mutual shock. When blue eyes met gray,

it was almost as if the man and the woman shouted triumphantly to

each other, as if each had found something sought and unexpected. But

this was for the instant only. Each had anticipated in the other

something so totally different that the next moment the clear cry of

recognition gave way to confusion. As is the way of women, she was

the first to achieve control, and she did it without having given

any outward sign that she had ever lost it. She advanced most of the

distance across the floor to meet Glendon. As for him, he scarcely

knew how he stumbled through the introduction. Here was a woman,

a WOMAN. He had not known that such a creature could exist. The few

women he had noticed had never prefigured this. He wondered what Old

Pat's judgment would have been of her, if she was the sort he had

recommended to hang on to with both his hands. He discovered that

in some way he was holding her hand. He looked at it, curious and

fascinated, marveling at its fragility.

She, on the other hand, had proceeded to obliterate the echoes of that

first clear call. It had been a peculiar experience, that was all,

this sudden out-rush of her toward this strange man. For was not he

the abysmal brute of the prize-ring, the great, fighting, stupid bulk

of a male animal who hammered up his fellow males of the same stupid

order? She smiled at the way he continued to hold her hand.

"I'll have it back, please, Mr. Glendon," she said. "I ... I really

need it, you know."

He looked at her blankly, followed her gaze to her imprisoned hand,

and dropped it in a rush of awkwardness that sent the blood in a

manifest blush to his face.

She noted the blush, and the thought came to her that he did not seem

quite the uncouth brute she had pictured. She could not conceive of a

brute blushing at anything. And also, she found herself pleased with

the fact that he lacked the easy glibness to murmur an apology. But

the way he devoured her with his eyes was disconcerting. He stared

at her as if in a trance, while his cheeks flushed even more redly.

Stubener by this time had fetched a chair for her, and Glendon

automatically sank down into his.

"He's in fine shape, Miss Sangster, in fine shape," the manager was

saying. "That's right, isn't it, Pat? Never felt better in your life?"

Glendon was bothered by this. His brows contracted in a troubled way,

and he made no reply.

"I've wanted to meet you for a long time, Mr. Glendon," Miss Sangster

said. "I never interviewed a pugilist before, so if I don't go about

it expertly you'll forgive me, I am sure."

"Maybe you'd better start in by seeing him in action," was the

manager's suggestion. "While he's getting into his fighting togs I

can tell you a lot about him--fresh stuff, too. We'll call in Walsh,

Pat, and go a couple of rounds."

"We'll do nothing of the sort," Glendon growled roughly, in just the

way an abysmal brute should. "Go ahead with the interview."

The business went ahead unsatisfactorily. Stubener did most of the

talking and suggesting, which was sufficient to irritate Maud Sangster,

while Pat volunteered nothing. She studied his fine countenance, the

eyes clear blue and wide apart, the well-modeled, almost aquiline,

nose, the firm, chaste lips that were sweet in a masculine way in

their curl at the corners and that gave no hint of any sullenness. It

was a baffling personality, she concluded, if what the papers said

of him was so. In vain she sought for earmarks of the brute. And in

vain she attempted to establish contacts. For one thing, she knew too

little about prize-fighters and the ring, and whenever she opened up a

lead it was promptly snatched away by the information-oozing Stubener.

"It must be most interesting, this life of a pugilist," she said

once, adding with a sigh, "I wish I knew more about it. Tell me:

why do you fight?--Oh, aside from money reasons." (This latter to

forestall Stubener). "Do you enjoy fighting? Are you stirred by it,

by pitting yourself against other men? I hardly know how to express

what I mean, so you must be patient with me."

Pat and Stubener began speaking together, but for once Pat bore his

manager down.

"I didn't care for it at first--"

"You see, it was too dead easy for him," Stubener interrupted.

"But later," Pat went on, "when I encountered the better fighters,

the real big clever ones, where I was more--"

"On your mettle?" she suggested.

"Yes; that's it, more on my mettle, I found I did care for it ... a

great deal, in fact. But still, it's not so absorbing to me as it might

be. You see, while each battle is a sort of problem which I must work

out with my wits and muscle, yet to me the issue is never in doubt--"

"He's never had a fight go to a decision," Stubener proclaimed. "He's

won every battle by the knock-out route."

"And it's this certainty of the outcome that robs it of what I imagine

must be its finest thrills," Pat concluded.

"Maybe you'll get some of them thrills when you go up against Jim

Hanford," said the manager.

Pat smiled, but did not speak.

"Tell me some more," she urged, "more about the way you feel when

you are fighting."

And then Pat amazed his manager, Miss Sangster, and himself, by

blurting out:

"It seems to me I don't want to talk with you on such things. It's as

if there are things more important for you and me to talk about. I--"

He stopped abruptly, aware of what he was saying but unaware of why

he was saying it.

"Yes," she cried eagerly. "That's it. That is what makes a good

interview--the real personality, you know."

But Pat remained tongue-tied, and Stubener wandered away on a

statistical comparison of his champion's weights, measurements, and

expansions with those of Sandow, the Terrible Turk, Jeffries, and the

other modern strong men. This was of little interest to Maud Sangster,

and she showed that she was bored. Her eyes chanced to rest on the

Sonnets. She picked the book up and glanced inquiringly at Stubener.

"That's Pat's," he said. "He goes in for that kind of stuff, and color

photography, and art exhibits, and such things. But for heaven's sake

don't publish anything about it. It would ruin his reputation."

She looked accusingly at Glendon, who immediately became awkward. To

her it was delicious. A shy young man, with the body of a giant,

who was one of the kings of bruisers, and who read poetry, and went

to art exhibits, and experimented with color photography! Of a surety

there was no abysmal brute here. His very shyness she divined now was

due to sensitiveness and not stupidity. Shakespeare's Sonnets! This

was a phase that would bear investigation. But Stubener stole the

opportunity away and was back chanting his everlasting statistics.

A few minutes later, and most unwittingly, she opened up the biggest

lead of all. That first sharp attraction toward him had begun to stir

again after the discovery of the Sonnets. The magnificent frame of his,

the handsome face, the chaste lips, the clear-looking eyes, the fine

forehead which the short crop of blond hair did not hide, the aura

of physical well-being and cleanness which he seemed to emanate--all

this, and more that she sensed, drew her as she had never been drawn

by any man, and yet through her mind kept running the nasty rumors

that she had heard only the day before at the "Courier-Journal" office.

"You were right," she said. "There is something more important to

talk about. There is something in my mind I want you to reconcile

for me. Do you mind?"

Pat shook his head.

"If I am frank?--abominably frank? I've heard the men, sometimes,

talking of particular fights and of the betting odds, and, while I

gave no heed to it at the time, it seemed to me it was firmly agreed

that there was a great deal of trickery and cheating connected with

the sport. Now, when I look at you, for instance, I find it hard to

understand how you can be a party to such cheating. I can understand

your liking the sport for a sport, as well as for the money it brings

you, but I can't understand--"

"There's nothing to understand," Stubener broke in, while Pat's lips

were wreathed in a gentle, tolerant smile. "It's all fairy tales,

this talk about faking, about fixed fights, and all that rot. There's

nothing to it, Miss Sangster, I assure you. And now let me tell

you about how I discovered Mr. Glendon. It was a letter I got from

his father--"

But Maud Sangster refused to be side-tracked, and addressed herself

to Pat.

"Listen. I remember one case particularly. It was some fight that

took place several months ago--I forget the contestants. One of

the editors of the "Courier-Journal" told me he intended to make a

good winning. He didn't hope; he said he intended. He said he was on

the inside and was betting on the number of rounds. He told me the

fight would end in the nineteenth. This was the night before. And

the next day he triumphantly called my attention to the fact that it

had ended in that very round. I didn't think anything of it one way

or the other. I was not interested in prize-fighting then. But I am

now. At the time it seemed quite in accord with the vague conception

I had about fighting. So you see, it isn't all fairy tales, is it?"

"I know that fight," Glendon said. "It was Owen and Murgweather. And

it did end in the nineteenth round, Sam. And she said she heard that

round named the day before. How do you account for it, Sam?"

"How do you account for a man picking a lucky lottery ticket?" the

manager evaded, while getting his wits together to answer. "That's

the very point. Men who study form and condition and seconds and

rules and such things often pick the number of rounds, just as

men have been known to pick hundred-to-one shots in the races. And

don't forget one thing: for every man that wins, there's another

that loses, there's another that didn't pick right. Miss Sangster,

I assure you, on my honor, that faking and fixing in the fight game

is ... is non-existent."

"What is your opinion, Mr. Glendon?" she asked.

"The same as mine," Stubener snatched the answer. "He knows what I say

is true, every word of it. He's never fought anything but a straight

fight in his life. Isn't that right, Pat?"

"Yes; it's right," Pat affirmed, and the peculiar thing to Maud

Sangster was that she was convinced he spoke the truth.

She brushed her forehead with her hand, as if to rid herself of the

bepuzzlement that clouded her brain.

"Listen," she said. "Last night the same editor told me that your

forthcoming fight was arranged to the very round in which it would

end."

Stubener was verging on a panic, but Pat's speech saved him from

replying.

"Then the editor lies," Pat's voice boomed now for the first time.

"He did not lie before, about that other fight," she challenged.

"What round did he say my fight with Nat Powers would end in?"

Before she could answer, the manager was into the thick of it.

"Oh, rats, Pat!" he cried. "Shut up. It's only the regular run of

ring rumors. Let's get on with this interview."

He was ignored by Glendon, whose eyes, bent on hers, were no longer

mildly blue, but harsh and imperative. She was sure now that she had

stumbled on something tremendous, something that would explain all

that had baffled her. At the same time she thrilled to the mastery

of his voice and gaze. Here was a male man who would take hold of

life and shake out of it what he wanted.

"What round did the editor say?" Glendon reiterated his demand.

"For the love of Mike, Pat, stop this foolishness," Stubener broke in.

"I wish you would give me a chance to answer," Maud Sangster said.

"I guess I'm able to talk with Miss Sangster," Glendon added. "You

get out, Sam. Go off and take care of that photographer."

They looked at each other for a tense, silent moment, then the manager

moved slowly to the door, opened it, and turned his head to listen.

"And now what round did he say?"

"I hope I haven't made a mistake," she said tremulously, "but I am

very sure that he said the sixteenth round."

She saw surprise and anger leap into Glendon's face, and the anger

and accusation in the glance he cast at his manager, and she knew

the blow had driven home.

And there was reason for his anger. He knew he had talked it over

with Stubener, and they had reached a decision to give the audience

a good run for its money without unnecessarily prolonging the fight,

and to end it in the sixteenth. And here was a woman, from a newspaper

office, naming the very round.

Stubener, in the doorway, looked limp and pale, and it was evident

he was holding himself together by an effort.

"I'll see you later," Pat told him. "Shut the door behind you."

The door closed, and the two were left alone. Glendon did not

speak. The expression on his face was frankly one of trouble and

perplexity.

"Well?" she asked.

He got up and towered above her, then sat down again, moistening his

lips with his tongue.

"I'll tell you one thing," he finally said "The fight won't end in

the sixteenth round."

She did not speak, but her unconvinced and quizzical smile hurt him.

"You wait and see, Miss Sangster, and you'll see that editor man

is mistaken."

"You mean the program is to be changed?" she queried audaciously.

He quivered to the cut of her words.

"I am not accustomed to lying," he said stiffly, "even to women."

"Neither have you to me, nor have you denied the program is to be

changed. Perhaps, Mr. Glendon, I am stupid, but I fail to see the

difference in what number the final round occurs so long as it is

predetermined and known."

"I'll tell you that round, and not another soul shall know."

She shrugged her shoulders and smiled.

"It sounds to me very much like a racing tip. They are always given

that way, you know. Furthermore, I am not quite stupid, and I know

there is something wrong here. Why were you made angry by my naming

the round? Why were you angry with your manager? Why did you send

him from the room?"

For reply, Glendon walked over to the window, as if to look out,

where he changed his mind and partly turned, and she knew, without

seeing, that he was studying her face. He came back and sat down.

"You've said I haven't lied to you, Miss Sangster, and you were

right. I haven't." He paused, groping painfully for a correct statement

of the situation. "Now do you think you can believe what I am going

to tell you? Will you take the word of a ... prize-fighter?"

She nodded gravely, looking him straight in the eyes and certain that

what he was about to tell was the truth.

"I've always fought straight and square. I've never touched a piece

of dirty money in my life, nor attempted a dirty trick. Now I can

go on from that. You've shaken me up pretty badly by what you told

me. I don't know what to make of it. I can't pass a snap judgment

on it. I don't know. But it looks bad. That's what troubles me. For

see you, Stubener and I have talked this fight over, and it was

understood between us that I would end the fight in the sixteenth

round. Now you bring the same word. How did that editor know? Not from

me. Stubener must have let it out ... unless...." He stopped to debate

the problem. "Unless that editor is a lucky guesser. I can't make up my

mind about it. I'll have to keep my eyes open and wait and learn. Every

word I've given you is straight, and there's my hand on it."

Again he towered out of his chair and over to her. Her small hand was

gripped in his big one as she arose to meet him, and after a fair,

straight look into the eyes between them, both glanced unconsciously

at the clasped hands. She felt that she had never been more aware

that she was a woman. The sex emphasis of those two hands--the

soft and fragile feminine and the heavy, muscular masculine--was

startling. Glendon was the first to speak.

"You could be hurt so easily," he said; and at the same time she felt

the firmness of his grip almost caressingly relax.

She remembered the old Prussian king's love for giants, and laughed

at the incongruity of the thought-association as she withdrew her hand.

"I am glad you came here to-day," he said, then hurried on awkwardly

to make an explanation which the warm light of admiration in his eyes

belied. "I mean because maybe you have opened my eyes to the crooked

dealing that has been going on."

"You have surprised me," she urged. "It seemed to me that it is so

generally understood that prize-fighting is full of crookedness, that

I cannot understand how you, one of its chief exponents, could be

ignorant of it. I thought as a matter of course that you would know

all about it, and now you have convinced me that you never dreamed

of it. You must be different from other fighters."

He nodded his head.

"That explains it, I guess. And that's what comes of keeping away from

it--from the other fighters, and promoters, and sports. It was easy

to pull the wool over my eyes. Yet it remains to be seen whether it

has really been pulled over or not. You see, I am going to find out

for myself."

"And change it?" she queried, rather breathlessly, convinced somehow

that he could do anything he set out to accomplish.

"No; quit it," was his answer. "If it isn't straight I won't have

anything more to do with it. And one thing is certain: this coming

fight with Nat Powers won't end in the sixteenth round. If there is

any truth in that editor's tip, they'll all be fooled. Instead of

putting him out in the sixteenth, I'll let the fight run on into the

twenties. You wait and see."

"And I'm not to tell the editor?"

She was on her feet now, preparing to go.

"Certainly not. If he is only guessing, let him take his chances. And

if there's anything rotten about it he deserves to lose all he

bets. This is to be a little secret between you and me. I'll tell

you what I'll do. I'll name the round to you. I won't run it into

the twenties. I'll stop Nat Powers in the eighteenth."

"And I'll not whisper it," she assured him.

"I'd like to ask you a favor," he said tentatively. "Maybe it's a

big favor."

She showed her acquiescence in her face, as if it were already granted,

and he went on:

"Of course, I know you won't use this faking in the interview. But

I want more than that. I don't want you to publish anything at all."

She gave him a quick look with her searching gray eyes, then surprised

herself by her answer.

"Certainly," she said. "It will not be published. I won't write a

line of it."

"I knew it," he said simply.

For the moment she was disappointed by the lack of thanks, and the

next moment she was glad that he had not thanked her. She sensed the

different foundation he was building under this meeting of an hour

with her, and she became daringly explorative.

"How did you know it?" she asked.

"I don't know." He shook his head. "I can't explain it. I knew it

as a matter of course. Somehow it seems to me I know a lot about you

and me."

"But why not publish the interview? As your manager says, it is

good advertising."

"I know it," he answered slowly. "But I don't want to know you that

way. I think it would hurt if you should publish it. I don't want to

think that I knew you professionally. I'd like to remember our talk

here as a talk between a man and a woman. I don't know whether you

understand what I'm driving at. But it's the way I feel. I want to

remember this just as a man and a woman."

As he spoke, in his eyes was all the expression with which a man

looks at a woman. She felt the force and beat of him, and she felt

strangely tongue-tied and awkward before this man who had been reputed

tongue-tied and awkward. He could certainly talk straighter to the

point and more convincingly than most men, and what struck her most

forcibly was her own inborn certainty that it was mere naïve and

simple frankness on his part and not a practised artfulness.

He saw her into her machine, and gave her another thrill when he said

good-by. Once again their hands were clasped as he said:

"Some day I'll see you again. I want to see you again. Somehow I have

a feeling that the last word has not been said between us."

And as the machine rolled away she was aware of a similar feeling. She

had not seen the last of this very disquieting Pat Glendon, king of

the bruisers and abysmal brute.

Back in the training quarters, Glendon encountered his perturbed

manager.

"What did you fire me out for?" Stubener demanded. "We're finished. A

hell of a mess you've made. You've never stood for meeting a reporter

alone before, and now you'll see when that interview comes out."

Glendon, who had been regarding him with cool amusement, made as if

to turn and pass on, and then changed his mind.

"It won't come out," he said.

Stubener looked up sharply.

"I asked her not to," Glendon explained.

Then Stubener exploded.

"As if she'd kill a juicy thing like that."

Glendon became very cold and his voice was harsh and grating.

"It won't be published. She told me so. And to doubt it is to call

her a liar."

The Irish flame was in his eyes, and by that, and by the unconscious

clenching of his passion-wrought hands, Stubener, who knew the strength

of them, and of the man he faced, no longer dared to doubt.