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"I dunno. I s'pose he's prowlin' 'round the beech grove, up there. He said he intended lickin' every boy in this settlement on sight. You best not go lookin' fer him, Bill. I don't want'a see you get beat up on my account.", Lucy heard a church bell strike: she started from a fit of abstraction, and, turning to move on, confronted an old man who was crossing the bridge. The face of this old man was pale and wrinkled; his hair was long and quite white. His nose streamed down his face in a thin, curling outline; his mouth when his lips were compressed might be expressed by a simple stroke of a pencil.[Pg 30] His eyes were deep-seated and extraordinarily luminous and swift in their motions, and his eyebrows, which were as white as his hair, were so thick and overhanging that they might have passed for a couple of white mice sleeping on his brow. His apparel had that dim and faded look which in fiction is associated with miserliness. His high and dingy white cravat and the tall build of his coat at the back of his head, so sloped his shoulders that they looked to make a line with his arms. He wore a faded red waistcoat which sank very low, and under it dangled a bunch of seals. His knee-breeches left painfully visible the pipe-stem shanks clothed in grey hose and terminating in large shoes, burdened with steel buckles., He found his father, mother and Anson seated at the breakfast table and as he took his place he was conscious of a foreboding of impending storm. The conviction was strengthened when his father's foot, reaching sympathetically underneath the table, touched his ever so gently. With perfect sangfroid he speared a strip of bacon with his fork and held his breath as he waited for the worst. Two taps of that foot meant "On your guard," three taps "Watch out for dodging.".