spluttered,
"God Almighty no! Maim him, break his leg,
his arm, aye, that's all I meant, to stop him. You
don't know what he was up to. But no, no!
Almighty God! no, not kill him. No!
Charlie. No." He was backing away now, the
rope dangling from his hand, his words incoherent. "Just to stop him go in' to the cottage. Our Polly,
she's too young For it, for him anyway."
Of a sudden he stopped his jabbering and, his head
dropping forward, he looked at the rope in his right
hand. Then as if already experiencing the consequences of his act his left hand came up sharply and gripped his
throat. It was this action that brought Charlie out of the dazed, dream-like feeling that was enveloping him. His father was dead, His father was dead. And Arthur would be hanged for it.
The first fact stirred no emotion whatever in him
at the moment, but the second alerted him. He stood
up, then looked down at the
twisted form for a moment longer before turning back
to Arthur, whose face was now drained of every vestige of colour and whose whole body was shaking, and so, taking the rope from his* hand he ran with it to the other tree,
unloosened the end from it, then quickly looping the rope over his hand and his elbow, as he had seen Fanny
Dimple do with the clothes line over the years, he
thrust it inside his coat. Grabbing the dazed boy
now by the arm, he turned him about and ran him through the copse down towards the burn, then along it until
they came to the cottages on the rise.
Panting, they both stopped and their eyes lifted
upwards towards the end of the row where big Polly and
young Polly were standing facing each other
evidently arguing. But as Charlie, still hanging on
to Arthur, led him up the slope the mother and daughter turned towards them, and big Polly, moving a few
steps away from her daughter, cried, "What's now?
What's up?"
When the two boys reached the pathway, big
Polly's hands went out towards her son and, taking
him by the shoulder, she looked into his face and her
voice was low in her
throat as she asked, "What is it? What's
happened to you?"
Arthur didn't speak but his head drooped onto
his chest, and it was Charlie who said, "Let's . . .
let's go in here." He pointed to the empty house,
and one after the other they went into the dank room. It was noticeable that young Polly hadn't opened her mouth,
but all the while her eyes were fixed tight on her
brother.
"There . . . there's been an accident."
Charlie's mouth was so dry the words came out gritty
as if they'd been dragged over sand.
"An accident? Who?"
Charlie looked at the woman who had caused his
mother so much heartache all these years yet who had
been as much a victim of his father as his wife
had been. Everybody knew why big Polly had
to serve the boss; as he had heard Arnold
Dawson once laughingly say, "She paid the
rent."
"My father, he fell from his horse."
"Fell from his horse!" Big Polly's mouth
dropped into a gape, then closed as her son began
to gabble, "I didn't mean it. Ma, I didn't
mean it. I just meant to trip *irn. I... I
thought the rope would catch him round . . . round his
chest, but he came at a
canter, his head down. I... I just wanted to break
... to break his leg or something to stop him takin'
her." He now jerked his head towards young Polly.
Then his mouth agape, he watched his mother gather the
front of her blouse into her fist until her breasts
looked as if they would burst through the material, and all the while her face seemed to grow larger; her
mouth and eyes stretched, her nostrils dilated
until it seemed as if the whole face was going
to explode in a scream; then her body slumped like
a deflated bladder and she whispered, "You mean . .
. you killed him . . dishe's dead?" When in the
fear-filled silence the only answer her son gave
her was the drooping of his head she sprang on
him and, gripping his shoulder, she shook him like a rat while she screamed now, "You
Celia Aaron, Sloane Howell