Burt strode around the corner and threw the door back wide.
“Bruce! Bruce! You mustn’t feel so bad!” Excitement made his voice sound harsh, but there was no mistaking the sympathy intended or the yearning in his face.
Bruce jumped, startled, to his feet and stared, his vision dimmed by the smarting tears. Was it a ghost—was he, too, getting “queer?”
“Haven’t you anything to say to me, Bruce?”
There was an odd timidity in his father’s voice but it was real enough—it was no hallucination. Simultaneous with the relief the thought flashed through Bruce’s mind that his father had seen him through the window in his moment of weakness and despair. His features stiffened and with a quick, shamed movement he brushed his eyes with the back of his hand while his eyes flashed pride and resentment.
“I said all I had to say fifteen years ago when you refused me the chance to make something of myself. If I’d had an education nobody could have made a fool of me like this.” His voice vibrated with mingled bitterness and mortification.
“I suppose you’ve heard all about it and come to say—‘I told you so.’”
“I’ve come to see you through.”
“You’re too late; I’m down and out.” In Bruce’s voice Burt recognized his own harsh tones. “You’ve got nothing that I want now; you might as well go back.” His black eyes were relentless—hard.
“Won’t you shake hands with me, Bruce?” There was pleading in his voice as he took a step toward his son. Bruce did not stir, and Burt added with an effort: “It ain’t so easy as you might think for me to beg like this.”
“I begged, too, but it didn’t do any good.”
“I’ve come twenty miles—on foot—to tell you that I’m sorry. I’m not young any more, Bruce. I’m an old man—and you’re all I’ve got in the world.”
An old man! The words startled Bruce—shocked him. He never had thought of his father as old, or lonely, but always as tireless, self-centred, self-sufficient, absorbed heart and soul in getting rich. He seemed suddenly to see the bent shoulders, the graying hair and eyebrows, the furrows and deep, drooping lines about the mouth that had not been engraved by happiness. There was something forlorn, pathetic about him as he stood there with his hand out asking for forgiveness. And he had plodded through the snow—twenty miles—on foot to see him!
The blood that is thicker than water stirred, and the tugging at his heart strings grew too hard to withstand. He unfolded his arms and stretched out a hand impulsively—“Father!” Then both—“Dad!” he cried.
“My boy!” There was a catch in the old man’s voice, misty eyes looked into misty eyes and fifteen years of bitterness vanished as father and son clasped hands.
When Burt could speak he looked at Bruce quizzically and said, “I thought you’d be married by this time, Bruce.”
“Married! What right has a Failure to get married?”
“That’s no way to talk. What’s one slip-up, or two, or three? Nobody’s a failure till he’s dead. Confidence comes from success, but, let me tell you, boy, practical knowledge comes from jolts.”
“Dog-gone! I ought to be awful wise,” Bruce answered ironically. “Yes,” sobering. “I’ve learned something—I’m not liable to make the same mistake twice.” He added ruefully: “Nor, by the same token, am I likely to have the chance. I suppose I’ve got the reputation of being something midway between an idiot and a thief.”
Burt seemed to consider.
“Well, now, I can’t recall that the person who engineered this trip for me used any such names as that. As near as I could make out she was somewhat prejudiced on your side.”
Bruce stared.
“She? Not ‘Ma’ Snow!”
Burt’s eyes twinkled as he shook his head.
“No,” drily, “not ‘Ma’ Snow. She’s an estimable lady but I doubt if she could talk me into comin’ on a tour like this in winter.”
A wonderful light dawned suddenly in Bruce’s eyes.
“You mean—”
“—Helen. I’m feelin’ well enough acquainted with her now to call her Helen. Whatever else we disagree on, Bruce, it looks as though we had the same taste when it comes to girls.”
“You know her?” Bruce’s tone was as incredulous as his face.
Burt answered with a wry smile:
“After you’ve ridden on the back seat of that Beaver Creek stage with a person and bumped heads every fifteen feet for a hundred miles, you’re not apt to feel like strangers when you get in.”
Bruce almost shouted—
“She’s in Ore City!”
“She was.”
Bruce fell back into his old attitude at the table, but his father stepped quickly to the door and an instant later threw it open. At his side was Helen—with outstretched arms and face aglow, her eyes shining happily.
Bruce had not known that great and sudden joy could make a person dizzy, but the walls, the floor, everything, seemed to waver as he leaped to his feet.
“I was sure you wouldn’t turn your own partner out of doors!” Her lips parted in the smile that he loved and though he could not speak he went toward her with outstretched arms.
Passing the window, Uncle Bill stopped and stood for a second looking into the light.
“Hells catoots!” he muttered gruffly, “Seems like sometimes in this world things happen as they ort.” And then, Ore City to the contrary, he demonstrated that he had both presence of mind and tact, for he shouted to Burt in a voice that would have carried a mile on a still night—“Hi! Old Man! Come out and help me with this horse. Sounds like he’s down agin and chokin’ hisself.”
* * *
Popular Copyright Novels
AT MODERATE PRICES
Ask Your Dealer for a Complete List
of A. L. Burt Company’s Popular Copyright Fiction
* * *
Adventures of Jimmie Dale, The. By Frank L. Packard.
Adventures of Sherlock Holmes. By A. Conan Doyle.
Affinities, and Other Stories. By Mary Roberts Rinehart.
After House, The. By Mary Roberts Rinehart.
Against the Winds. By Kate Jordan.
Ailsa Paige. By Robert W. Chambers.
Also Ran. By Mrs. Baillie Reynolds.
Amateur Gentleman, The. By Jeffery Farnol.
Anderson Crow, Detective. By George Barr McCutcheon.
Anna, the Adventuress. By E. Phillips Oppenheim.
Anne’s House of Dreams. By L. M. Montgomery.
Anybody But Anne. By Carolyn Wells.
Are All Men Alike, and The Lost Titian. By Arthur Stringer.
Around Old Chester. By Margaret Deland.
Ashton-Kirk, Criminologist. By John T. McIntyre.
Ashton-Kirk, Investigator. By John T. McIntyre.
Ashton-Kirk, Secret Agent. By John T. McIntyre.
Ashton-Kirk, Special Detective. By John T. McIntyre.
Athalie. By Robert W. Chambers.
At the Mercy of Tiberius. By Augusta Evans Wilson.
Auction Block, The. By Rex Beach.
Aunt Jane of Kentucky. By Eliza C. Hall.
Awakening of Helena Richie. By Margaret Deland.
Bab: a Sub-Deb. By Mary Roberts Rinehart.
Bambi. By Marjorie Benton Cooke.
Barbarians. By Robert W. Chambers.
Bar 20. By Clarence E. Mulford.
Bar 20 Days. By Clarence E. Mulford.
Barrier, The. By Rex Beach.
Bars of Iron, The. By Ethel M. Dell.
Beasts of Tarzan, The. By Edgar Rice Burroughs.
Beckoning Roads. By Jeanne Judson.
Belonging. By Olive Wadsley.
Beloved Traitor, The. By Frank L. Packard.
Beloved Vagabond, The. By Wm. J. Locke.
Beltane the Smith. By Jeffery Farnol.
Betrayal, The. By E. Phillips Oppenheim.
Beulah. (Ill. Ed.) By Augusta J. Evans.
* * *
Popular Copyrigh
t Novels
AT MODERATE PRICES
Ask Your Dealer for a Complete List
of A. L. Burt Company’s Popular Copyright Fiction
* * *
Beyond the Frontier. By Randall Parrish.
Big Timber. By Bertrand W. Sinclair.
Black Bartlemy’s Treasure. By Jeffery Farnol.
Black Is White. By George Barr McCutcheon.
Blacksheep! Blacksheep!. By Meredith Nicholson.
Blind Man’s Eyes, The. By Wm. Mac Harg and Edwin Balmer.
Boardwalk, The. By Margaret Widdemer.
Bob Hampton of Placer. By Randall Parrish.
Bob, Son of Battle. By Alfred Olivant.
Box With Broken Seals, The. By E. Phillips Oppenheim.
Boy With Wings, The. By Berta Ruck.
Brandon of the Engineers. By Harold Bindloss.
Bridge of Kisses, The. By Berta Ruck.
Broad Highway, The. By Jeffery Farnol.
Broadway Bab. By Johnston McCulley.
Brown Study, The. By Grace S. Richmond.
Bruce of the Circle A. By Harold Titus.
Buccaneer Farmer, The. By Harold Bindloss.
Buck Peters, Ranchman. By Clarence E. Mulford.
Builders, The. By Ellen Glasgow.
Business of Life, The. By Robert W. Chambers.
Cab of the Sleeping Horse, The. By John Reed Scott.
Cabbage and Kings. By O. Henry.
Cabin Fever. By B. M. Bower.
Calling of Dan Matthews, The. By Harold Bell Wright.
Cape Cod Stories. By Joseph C. Lincoln.
Cap’n Abe, Storekeeper. By James A. Cooper.
Cap’n Dan’s Daughter. By Joseph C. Lincoln.
Cap’n Erl. By Joseph C. Lincoln.
Cap’n Jonah’s Fortune. By James A. Cooper.
Cap’n Warren’s Wards. By Joseph C. Lincoln.
Chinese Label, The. By J. Frank Davis.
Christine of the Young Heart. By Louise Breintenbach Clancy.
Cinderella Jane. By Marjorie B. Cooke.
Cinema Murder, The. By E. Phillips Oppenheim.
City of Masks, The. By George Barr McCutcheon.
Cleek of Scotland Yard. By T. W. Hanshew.
* * *
***END OF THE PROJECT GUTENBERG EBOOK THE MAN FROM THE BITTER ROOTS***
******* This file should be named 24287-h.txt or 24287-h.zip *******
This and all associated files of various formats will be found in:
http://www.gutenberg.org/2/4/2/8/24287
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://www.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
The Man from the Bitter Roots Page 27