"He throwed Merton off right into the dirt."
If the people they addressed appeared to be doubting this, or to find it not specific enough, they would call ahead to Merton to confirm their simple tale. With rapt, shining faces, they spread the glad news, though hurrying always to keep pace with the figure in the road.
Spruce Street was vacant of Dexter, but up Elm Street, slowly cropping the wayside herbage as he went, was undoubtedly Merton's good old pal. He quickened his pace. Dexter seemed to divine his coming and broke into a kittenish gallop until he reached the Methodist Church. Here, appearing to believe that he had again eluded pursuit, he stopped to graze on a carefully tended square of grass before the sacred edifice. He was at once shooed by two scandalized old ladies, but paid them no attention. They might perhaps even have tickled him, for this was the best grass he had found since leaving home. Other churchgoers paused in consternation, looking expectantly at the approaching Merton Gill. The three happy children who came up with him left no one in doubt of the late happening.
Merton was still the artist. He saw himself approach Dexter, vault into the saddle, put spurs to the beast, and swiftly disappear down the street. People would be saying that he should not be let to ride so fast through a city street. He was worse than Gus Giddings. But he saw this only with his artist's eye. In sordid fact he went up to Dexter, seized the trailing bridle reins and jerked savagely upon them. Back over the trail he led his good old pal. And for other later churchgoers there were the shrill voices of friendly children to tell what had happened—to appeal confidently to Merton, vaguely ahead in the twilight, to confirm their interesting story.
Dexter, the anarchist, was put to bed without his goodnight kiss. Good old Pinto had done his pal dirt. Never again would he be given a part in Buck Benson's company. Across the alley came the voices of tired, happy children, in the appeal for an encore.
