sorry you did, in a way. I'm no hypocrite, and try as I may, I can't discover any lurking fondness for Wilbur. Oddly enough, the boy begins to annoy me."
"But you said—"
"I know. But isn't it just possible that I've overrated this freedom stuff? I'm young, and the young are often mistaken. Stop me if you've heard this one, but the more I see of you—"
"Stop. I've heard it."
"I'll bet you have. Many times."
"And my suggestion is that we get back to business. If we don't that horse of yours is going to eat too much Bermuda grass."
Through the long afternoon, amid the hot yellow dunes, the wind-blown foothills of that sandy waste, they rode back to Seven Palms by a roundabout route. The sun was sinking, the rose and gold wonder of the skies reflected on snow and glistening sand, when finally they headed for the village.
"If only I could find a novel setting for the final love scene," sighed the girl.
"Whose final love scene?"
"The cowpuncher's and the poor little rich girl's. So many times they've just wandered off into the sunset, hand in hand. Really need a little more kick in it than that."
Eden heard a clank as of a horse's hoofs on steel. His mount stumbled, and he reined it in sharply.
"What in Sam Hill's that?" he asked.
"Oh—that! It's one of the half-buried rails of the old branch road—a memento of a dream that never came true. Years ago they started to build a town over there under those cottonwoods, and the railroad laid down fifteen miles of track from the main line. A busy metropolis of the desert—that's what they meant it to be—and there's just one little old ruined house standing today. But that was the time of Great Expectations. They brought out crowds of people, and sold six hundred lots one hectic afternoon."
"And the railroad?"
"Ran just one train—and stopped. All they had was an engine and two old street-cars brought down from San Francisco. One of the cars has been demolished and the timber carried away, but the wreck of the other is still standing not far from here."
Presently they mounted a ridge, and Bob Eden cried, "What do you know about that?"
There before them on the lonely desert, partly buried in the drifting sand, stood the remnant of a trolley-car. It was tilted rakishly to one side, its windows were yellow with dust, but on the front, faintly decipherable still, was the legend "Market Street."
At that familiar sight, Bob Eden felt a keen pang of nostalgia. He reined in his horse and sat staring at this symbol of the desert's triumph over the proud schemes of man. Man had thought he could conquer, he had come with his engines and his dreams, and now an old battered trolley stood alone as a warning and a threat.
"There's your setting," he said. "They drive out together and sit there on the steps, your lovers. What a background—a car that once trundled from Twin Peaks to the Ferry, standing lonely and forlorn amid the cactus plants."
"Fine," the girl answered. "I'm going to hire you to help me after this."
They rode close to the car and dismounted. The girl unlimbered her camera and held it steady. "Don't you want me in the picture?" Eden asked. "Just as a sample lover, you know."
"No samples needed," she laughed. The camera clicked. As it did so the two young people stood rooted to the desert in amazement. An old man had stepped suddenly from the interior of the car—a bent old man with a coal-black beard.
Eden's eyes sought those of the girl. "Last Wednesday night at Madden's?" he inquired in a low voice.
She nodded. "The old prospector," she replied.
The black-bearded one did not speak, but stood with a startled air on the front platform of that lost trolley under the caption "Market Street."
Chapter XIII. What Mr. Cherry Saw
Bob Eden stepped forward. "Good evening," he said. "I hope we haven't disturbed you."
Moving with some difficulty, the old man descended from the platform to the sandy floor of the desert. "How do," he said gravely, shaking hands. He also shook hands with Paula Wendell. "How do, miss. No, you didn't disturb me none. Just takin' my forty winks—I ain't so spry as I used to be."
"We happened to be passing—" Eden began.
"Ain't many pass this way," returned the old man. "Cherry's my name—William I. Cherry. Make yourselves to home. Parlor chairs is kind o' scarce, miss."
"Of course," said the girl.
"We'll stop a minute, if we may," suggested Eden.
"It's comin' on supper time," the old man replied hospitably. "How about grub? There's a can o' beans, an' a mite o' bacon—"
"Couldn't think of it," Eden told him. "You're mighty kind, but we'll be back in Seven Palms shortly." Paula Wendell sat down on the car steps, and Eden took a seat on the warm sand. The old man went to the rear of the trolley and returned with an empty soap-box. After an unsuccessful attempt to persuade Eden to accept it as a chair, he put it to that use himself.
"Pretty nice home you've picked out for yourself," Eden remarked.
"Home?" The old man surveyed the trolley-car critically. "Home, boy? I ain't had no home these thirty years. Temporary quarters, you might say."
"Been here long?" asked Eden.
"Three, four days. Rheumatism's been actin' up. But I'm movin' on tomorrey."
"Moving on? Where?"
"Why—over yonder."
"Just where is that?" Eden smiled.
"Where it's allus been. Over yonder. Somewhere else."
"Just looking, eh?"
"Jest lookin'. You've hit it. Goin' on over yonder an' jest lookin'." His tired old eyes were on the mountaintops.
"What do you expect to find?" inquired Paula Wendell.
"Struck a vein o' copper once, miss," Mr. Cherry said. "But they got her away from me. Howsomever, I'm lookin' still."
"Been on the desert a long time?" Eden asked.
"Twenty, twenty-five years. One desert or another."
"And before that?"
"Prospected in West Australia from Hannans to Hall's Creek—through the Territory into Queensland. Drove cattle from the gulf country into New South Wales. Then I worked in the stoke hole on ocean liners."
"Born in Australia, eh?" Eden suggested.
"Who—me?" Mr. Cherry shook his head. "Born in South Africa—English
