faithful old mother had ridden up to deposit her inverted mop-pail over his head.
Merton Gill had twice started to leave. He wanted to leave. But each time he found himself chained there by the evil fascination of this monstrous parody. He remained to learn that the Montague girl had come out to the great open spaces to lead a band of train-robbers from the "Q. T. ranche."
He saw her ride beside a train and cast her lasso over the stack of the locomotive. He saw her pony settle back on its haunches while the rope grew taut and the train was forced to a halt. He saw the passengers lined up by the wayside and forced to part with their valuables. Later, when the band returned to the ranche with their booty, he saw the dissolute brother, after the treasure was divided, winning it back to the family coffers with his dice. He saw the stricken father playing golf on his bicycle in grotesque imitation of a polo player.
And still, so incredible the revealment, he had not in the first shock of it seemed to consider Baird in any way to blame. Baird had somehow been deceived by his actors. Yet a startling suspicion was forming amid his mental flurries, a suspicion that bloomed to certainty when he saw himself the ever-patient victim of the genuine hidalgo spurs.
Baird had said he wanted the close-ups merely for use in determining how the spurs could be mastered, yet here they were. Merton Gill caught the spurs in undergrowth and caught them in his own chaps, arising from each fall with a look of gentle determination that appealed strongly to the throng of lackwits. They shrieked at each of his failures, even when he ran to greet his pictured sweetheart and fell headlong. They found the comedy almost unbearable when at Baird's direction he had begun to toe in as he walked. And he had fallen clumsily again when he flew to that last glad rendezvous where the pair were irised out in a love triumphant, while the old mother mopped a large rock in the background.
