His reasoning--unless reason be denied him--was simple. This man he had met, more than once, in the company of Steward. Amity had existed between him and Steward, for they had sat at table, and drunk together. Steward was lost. Michael knew not where to find him, and was himself a prisoner in the back yard of a strange place. What had once happened, could again happen. It had happened that Steward, Del Mar, and Michael had sat at table together on divers occasions. It was probable that such a combination would happen again, was going to happen now, and, once more, in the bright-lighted cabaret, he would sit on a chair, Del Mar on one side, and on the other side beloved Steward with a glass of beer before him--all of which might be called "leaping to a conclusion"; for conclusion there was, and upon the conclusion Michael acted.

Now Michael could not reason to this conclusion nor think to this conclusion, in words. "Amity," as an instance, was no word in his consciousness. Whether or not he thought to the conclusion in swift-related images and pictures and swift-welded composites of images and pictures, is a problem that still waits human solution. The point is: HE DID THINK. If this be denied him, then must he have acted wholly by instinct--which would seem more marvellous on the face of it than if, in dim ways, he had performed a vague thought-process.

However, into the taxi and away through the maze of San Francisco's streets, Michael lay alertly on the floor near Del Mar's feet, making no overtures of friendliness, by the same token making no demonstration of the repulsion of the man's personality engendered in him. For Harry Del Mar, who was base, and who had been further abased by his money-making desire for the possession of Michael, had had his baseness sensed by Michael from the beginning. That first meeting in the Barbary Coast cabaret, Michael had bristled at him, and stiffened belligerently, when he laid his hand on Michael's head. Nor had Michael thought about the man at all, much less attempted any analysis of him. Something had been wrong with that hand--the perfunctory way in which it had touched him under a show of heartiness that could well deceive the onlooker. The FEEL of it had not been right. There had been no warmth in it, no heart, no communication of genuine good approach from the brain and the soul of the man of which it was the telegraphic tentacle and transmitter. In short, the message or feel had not been a good message or feel, and Michael had bristled and stiffened without thinking, but by mere KNOWING, which is what men call "intuition."

Electric lights, a shed-covered wharf, mountains of luggage and freight, the noisy toil of 'longshoremen and sailors, the staccato snorts of donkey engines and the whining sheaves as running lines ran through the blocks, a crowd of white-coated stewards carrying hand-baggage, the quartermaster at the gangway foot, the gangway sloping steeply up to the Umatilla's promenade deck, more quartermasters and gold-laced ship's officers at the head of the gangway, and more crowd and confusion blocking the narrow deck-- thus Michael knew, beyond all peradventure, that he had come back to the sea and its ships, where he had first met Steward, where he had been always with Steward, save for the recent nightmare period in the great city. Nor was there absent from the flashing visions of his consciousness the images and memories of Kwaque and Cocky. Whining eagerly, he strained at the leash, risking his tender toes among the many inconsiderate, restless, leather-shod feet of the humans, as he quested and scented for Cocky and Kwaque, and, most of all, for Steward.

Michael accepted his disappointment in not immediately meeting them, for from the dawn of consciousness, the limitations and restrictions of dogs in relation to humans had been hammered into him in the form of concepts of patience. The patience of waiting, when he wanted to go home and when Steward continued to sit at table and talk and drink beer, was his, as was the patience of the rope around the neck, the fence too high to scale, the narrowed- walled room with the closed door which he could never unlatch but which humans unlatched so easily. So that he permitted himself to be led away by the ship's butcher, who on the Umatilla had the charge of all dog passengers. Immured in a tiny between-decks cubby which was filled mostly with boxes and bales, tied as well by the rope around his neck, he waited from moment to moment for the door to open and admit, realised in the flesh, the resplendent vision of Steward which blazed through the totality of his consciousness.

Instead, although Michael did not guess it then, and, only later, divined it as a vague manifestation of power on the part of Del Mar, the well-tipped ship's butcher opened the door, untied him, and turned him over to the well-tipped stateroom steward who led him to Del Mar's stateroom. Up to the last, Michael was convinced that he was being led to Steward. Instead, in the stateroom, he found only Del Mar. "No Steward," might be described as Michael's thought; but by PATIENCE, as his mood and key, might be described his acceptance of further delay in meeting up with his god, his best beloved, his Steward who was his own human god amidst the multitude of human gods he was encountering.

Michael wagged his tail, flattened his ears, even his crinkled ear, a trifle, and smiled, all in a casual way of recognition, smelled out the room to make doubly sure that there was no scent of Steward, and lay down on the floor. When Del Mar spoke to him, he looked up and gazed at him.

"Now, my boy, times have changed," Del Mar addressed him in cold, brittle tones. "I'm going to make an actor out of you, and teach you what's what. First of all, come here . . . COME HERE!"