Nan of Music Mountain. Frank H. Spearman
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De Spain roused himself. “Dick, have you got a Sleepy Cat wire open?”
“What do you want?”
“Tell Jeffries I’ll take that Thief River stage job.”
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CHAPTER III
THE SPANISH SINKS
From a car window at Sleepy Cat may be seen, stretching far down into the southwest a chain of towering peaks, usually snow-clad, that dominate the desert in every direction for almost a hundred miles. In two extended groups, separated by a narrow but well-defined break, they constitute a magnificent rampart, named by Spaniards the Superstition Mountains, and they stretch beyond the horizon to the south, along the vast depression known locally as the Spanish Sinks. The break on the eastern side of the chain comes about twenty miles southwest of Sleepy Cat, and is marked on the north by the most striking, and in some respects most majestic peak in the range––Music Mountain; the break itself has taken the name of its earliest white settlers, and is called Morgan’s Gap. No railroad has ever yet penetrated this southern country, despite the fact that rich mines have been opened along these mountains, and are still being opened; but it lies to-day in much of the condition of primitive 35 savagery, and lawlessness, as the word is conventionally accepted, that obtained when the first rush was made for the Thief River gold-fields.
It is not to be understood that law is an unknown equation between Calabasas and Thief River, or even between Calabasas and Sleepy Cat. But as statute law it suffers so many infractions as to be hardly recognizable in the ordinary sense. Business is done in this country; but business must halt everywhere with its means of communication, and in the Music Mountain country it still rests on the facilities of a stage line. The stage line is a big and vigorous affair, a perfectly organized railroad adjunct with the best horses, the best wagons, the best freighting outfits that money can supply.
But this is by no means, in its civilizing effect, a railroad. A railroad drives lawlessness before it––the Music Mountain country still leans on stage-line law. The bullion wagons still travel the difficult roads. They look for safety to their armed horsemen; the four and six horse stages look to the armed guard, the wayfarer must look to his horse––and it should be a good one; the mountain rancher to his rifle, the cattle thief to the moonless night, the bandit to his wits, the gunman to his holster: these include practically 36 all of the people that travel the Spanish Sinks, except the Morgans and the Mormons. The Mormons looked to the Morgans for safety; the Morgans to themselves.
For many a year the Morgans have been almost overlords of the Music Mountain country. They own, or have laid claim to, an extended territory in the mountains, a Spanish grant. One of the first mountain Morgans married a Spanish girl, and during the early days, when the Morgans were not fighting some one out of court, they were fighting some one in court on their endless and involved titles.
But whether they won domain in lawsuit or lost it, one pearl of their holdings they never submitted to the jurisdiction of any tribunal other than their own arms. Morgan’s Gap opens south of Music Mountain, less than ten miles west of Calabasas. It is a narrow valley where valleys are more precious than water––for the mountain valley means water––and this in a country where water is much more precious than life. And some of the best of this land at the foot of Music Mountain was the maternal inheritance of Nan Morgan.
At Calabasas the Thief River stage line maintains completely equipped relay barns. They are over twenty miles from Sleepy Cat, but nearly fifty the other way from Thief River. The 37 unequal division is not due to what was desirable when the route was laid out, but to the limit of what man could do in the never-conquered desert. This supplies at Calabasas a spring, to tempt the unwary traveller still farther within its clutches. A large number of horses are kept at Calabasas, and the barn crews are quartered there in a company barrack. Along the low ridges and in the shallow depressions about Calabasas Spring there are a very few widely separated shacks, once built by freighters and occupied by squatter outlaws to be within reach of water. This gives the vicinity something of the appearance of a poorly sustained prairie-dog town. And except these shacks, there is nothing between Calabasas, Thief River, and the mountains except sunshine and alkali. I say nothing, meaning especially nothing, in the way of a human habitation.
But there is a queer inn at Calabasas. A pioneer Thief River prospector, mad with thirst, fought his way across the Sinks to the Calabasas Spring, and wandered thence one day into Sleepy Cat. In a delirium of gratitude he ordered built at Calabasas what he termed a hotel, to provide at that forbidden oasis for the luxurious comfort of future thirst-mad wanderers. It was built of lumber hauled a thousand miles, and equipped with luxuries brought three thousand––a fearsome, 38 rambling structure, big enough for all the prospectors in the Rocky Mountains.
Having built this monument, creditable to his good-will rather than his good sense, the unfortunate man went really mad, and had the sorry distinction of being the first person to be put in the insane asylum at Bear Dance. It had never occurred to him that any one had any title to, or that any madder man would lay any claim to, so accursed a spot as Calabasas. But old Duke Morgan announced in due time that the hotel was built on Morgan land, and belonged to the Morgans. Nobody outside a madhouse could be found to dispute with Duke Morgan a title to land within ten miles of Morgan’s Gap, and none but a lunatic would attempt to run a hotel at Calabasas, anyway. However, a solution of the difficulty was found: Duke’s colorable title gave the cue to his retainers in the Gap, and in time they carted away piecemeal most of the main building, leaving for years the kitchen and the servants’ quarters adjoining it to owls, lizards, scorpions, and spiders.
Meantime, to tap the fast-developing gold-fields, the freight route and stages had been put in, and the barns built at Calabasas. A need naturally developed for at least one feature of a hotel––a barroom. A newer lunatic answered the 39 call of civilization––a man only mildly insane stocked the kitchen range with liquors, and fitted up in a crude way the ice-boxes––where there never was ice––serving pantries, and other odd nooks for sleeping quarters. Here the thirsty stage passenger, little suspecting the origin of the facilities offered him for a drink, may choose strong drink instead of water––or rather, he is restricted to strong drink where water might once have been had––the spring being piped now half a mile to the barns for the horses. And this shack, as it is locally called, run by a Mexican, is still the inn at Calabasas. And it continues to contribute, through its stirring annals, to the tragic history of the continental divide.
It need hardly be said that Duke Morgan laid claim also to the Calabasas Spring. But on this the company, being a corporation, fought him. And after somewhat less of argument and somewhat more of siege and shooting, a compromise was reached whereby the company bought annually at an exorbitant price all of Duke, Satterlee, and Vance Morgan’s hay, and as the Morgans had small rivers of water in the mountains, and never, except when crowded, drank water, a modus vivendi was arranged between the claimants. The only sufferer through this was the Mexican publican, who found every Morgan his landlord, 40 and demanding from him tithes over the bar. But force is usually met with cunning, and such Morgans as would not pay in advance at Calabasas, when thirsty, often found the half-mad publican out of goods.
The Calabasas Inn stood in one of the loneliest canyons of the whole seventy miles between Sleepy Cat and Thief River; it looked in its depletion to be what it was, a sombre, mysterious, sun, wind, and alkali beaten pile, around which no one by any chance ever saw a sign of life. It was a ruin like those pretentious deserted structures sometimes seen in frontier towns––relics of the wide-open days, which stand afterward, stark and sombre, to serve as bats’ nests or blind-pigs. The inn at Calabasas looked its part––a haunt of rustlers, a haven of nameless