The Death Shot: A Story Retold. Reid Mayne

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      Among Mrs Clancy’s neighbours are many of this kind; chiefly “poor whites,” – as scornfully styled by the prouder planters. Some half-score of them determine to stay by her throughout the night; with a belief their presence may do something to solace her, and a presentiment that ere morning they may be needed for a service yet more solemn. She has retired to her chamber – taken to her bed; she may never leave either alive.

      As the night chances to be a warm one – indeed stifling hot, the men stay outside, smoking their pipes in the porch, or reclining upon the little grass plot in front of the dwelling, while within, by the bedside of the bereaved widow, are their wives, sisters, and daughters.

      Needless to say, that the conversation of those without relates exclusively to the occurrences of the day, and the mystery of the murder. For this, they all believe it to have been; though utterly unable to make out, or conjecture a motive.

      They are equally perplexed about the disappearance of the body; though this adds not much to the mystery.

      They deem it simply a corollary, and consequence, of the other. He, who did the foul deed, has taken steps to conceal it, and so far succeeded. It remains to be seen whether his astuteness will serve against the search to be resumed on the morrow.

      Two questions in chief, correlative, occupy them: “Who killed Clancy?” and “What has been the motive for killing him?”

      To the former, none of them would have thought of answering “Dick Darke,” – that is when starting out on the search near noon.

      Now that night is on, and they have returned from it, his name is on every lip. At first only in whispers, and guarded insinuations; but gradually pronounced in louder tone, and bolder speech – this approaching accusation.

      Still the second question remains unanswered: —

      “Why should Dick Darke have killed Charley Clancy?”

      Even put in this familiar form it receives no reply. It is an enigma to which no one present holds the key. For none know aught of a rivalry having existed between the two men – much less a love-jealousy, than which no motive more inciting to murder ever beat in human breast.

      Darke’s partiality for Colonel Armstrong’s eldest daughter has been no secret throughout the settlement. He himself, childishly, in his cups, long since made all scandal-mongers acquainted with that. But Clancy, of higher tone, if not more secretive habit, has kept his love-affair to himself; influenced by the additional reason of its being clandestine.

      Therefore, those, sitting up as company to his afflicted parent, have no knowledge of the tender relations that existed between him and Helen Armstrong, any more than of their being the cause of that disaster for which the widow now weeps.

      She herself alone knows of them; but, in the first moment of her misfortune, completely prostrated by it, she has not yet communicated aught of this to the sympathetic ears around her. It is a family secret, too sacred for their sympathy; and, with some last lingering pride of superior birth, she keeps it to herself. The time has not come for disclosing it.

      But it soon will – she knows that. All must needs be told. For, after the first throes of the overwhelming calamity, in which her thoughts alone dwelt on the slain son, they turned towards him suspected as the slayer. In her case with something stronger than suspicion – indeed almost belief, based on her foreknowledge of the circumstances; these not only accounting for the crime, but pointing to the man who must have committed it.

      As she lies upon her couch, with tears streaming down her cheeks, and sighs heaved from the very bottom of her breast – as she listens to the kind voices vainly essaying to console her – she herself says not a word. Her sorrow is too deep, too absorbing, to find expression in speech. But in her thoughts are two men – before, her distracted fancy two faces – one of a murdered man, the other his murderer – the first her own son, the second that of Ephraim Darke.

      Notwithstanding ignorance of all these circumstances, the thoughts of her sympathising neighbours – those in council outside – dwell upon Dick Darke; while his name is continuously upon their tongues. His unaccountable conduct during the day – as also the strange behaviour of the hound – is now called up, and commented upon.

      Why should the dog have made such demonstration? Why bark at him above all the others – selecting him out of the crowd – so resolutely and angrily assailing him?

      His own explanation, given at the time, appeared lame and unsatisfactory.

      It looks lamer now, as they sit smoking their pipes, more coolly and closely considering it.

      While they are thus occupied, the wicket-gate, in front of the cottage, is heard turning upon its hinges, and two men are seen entering the enclosure.

      As these draw near to the porch, where a tallow dip dimly burns, its light is reflected from the features of Simeon Woodley and Edward Heywood.

      The hunters are both well-known to all upon the ground; and welcomed, as men likely to make a little less irksome that melancholy midnight watch.

      If the new-comers cannot contribute cheerfulness, they may something else, as predicted by the expression observed upon their faces, at stepping into the porch. Their demeanour shows them possessed of some knowledge pertinent to the subject under discussion, as also important.

      Going close to the candle, and summoning the rest around, Woodley draws from the ample pocket of his large, loose coat a bit of wood, bearing resemblance to a pine-apple, or turnip roughly peeled.

      Holding it to the light, he says: “Come hyar, fellurs! fix yar eyes on this.”

      All do as desired.

      “Kin any o’ ye tell what it air?” the hunter asks.

      “A bit of tree timber, I take it,” answers one.

      “Looks like a chunk carved out of a cypress knee,” adds a second.

      “It ought,” assents Sime, “since that’s jest what it air; an’ this child air he who curved it out. Ye kin see thar’s a hole in the skin-front; which any greenhorn may tell’s been made by a bullet: an’ he’d be still greener in the horn as kedn’t obsarve a tinge o’ red roun’ thet hole, the which air nothin’ more nor less than blood. Now, boys! the bullet’s yit inside the wud, for me an’ Heywood here tuk care not to extract it till the proper time shed come.”

      “It’s come now; let’s hev it out!” exclaims Heywood; the others endorsing the demand.

      “Thet ye shall. Now, fellurs; take partikler notice o’ what sort o’ egg hez been hatchin’ in this nest o’ cypress knee.”

      While speaking, Sime draws his large-bladed knife from its sheath; and, resting the piece of wood on the porch bench, splits it open. When cleft, it discloses a thing of rounded form and metallic lustre, dull leaden – a gun-bullet, as all expected.

      There is not any blood upon it, this having been brushed off in its passage through the fibrous texture of the wood. But it still preserves its spherical shape, perfect as when it issued from the barrel of the gun that discharged, or the mould that made it.

      Soon as seeing it they all cry out, “A bullet!” several adding, “The ball of a smooth-bore.”

      Then one asks, suggestingly:

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