It had all followed upon acquaintance with the one-eyed man.
Taciturn in the beginning and suspicious of Billy's questionings, that dark-skinned individual had at first betrayed abyssmal ignorance of all save the virtues2 of stuffed crocodiles, but convinced at last that this was no trap, but a genuine situation from which he could profit, his greed overcame his native caution, and through the aid of his jerky English and Billy's jagged Arabic a certain measure of confidence was exchanged.
The one-eyed man then recollected3 that he had noticed a Turkish officer and an American girl returning together to the hotel upon that Wednesday afternoon. He had stared, because truly it was amazing, even for American madness—and also the young girl was beautiful. "A wild gazelle," was his word for her. The man was Captain Kerissen. He was known to all the city—well known, he was—in a certain way. It was not a good way for the ladies. Yes, he had a motor car—a grand, gray car. (Billy remembered that the fatal limousine4 had been gray.) It was well known that he had bought it for a foreign woman whom he had brought from over-seas and installed in the palace of his fathers. Yes, he knew well where that palace was. His brother's wife's uncle was a eunuch there, but he was a hard man who held his own counsel and that of his master.
Could a girl be shut up in that palace and the world be no wiser? The one-eyed man stared scathingly at such ignorance. Why not? The underworld might know, but native gossip never reached white ears.
What was the best way of finding out, then? The one-eyed man had no hesitation6 about his answer.
A native must use his eyes and ears for the American. Through his subtle skill and the American's money the discovery could be made. The women servants would talk.
That was the way, Billy agreed, and quoted to the Arab his own proverb, "A saint will weary of well-doing and a braggart7 of his boasts, but a woman's tongue will never stop of itself," and the one-eyed man had nodded, with an air of resigned understanding, and quoted in answer, "There is nothing so great and nothing so small, nothing so precious and nothing so foul8, but that a woman will put her tongue to it," and an understanding appeared to have been reached.
The one-eyed man was to loiter about the palace, calling upon the brother's wife's uncle if possible, and discover all that he could without arousing suspicion. And Billy determined9 to do a little loitering himself and quicken the one-eyed man's investigations10 and keep watch of Kerissen's comings and goings, and a donkey boy was hired by the one-eyed man to follow the Captain when he appeared in the street and report the places to which he went.
It was all very ridiculous, of course, Billy cheerfully agreed with himself, but by proving its own folly11 it would serve to allay12 that extraordinarily13 nagging14 uneasiness of his. If he could just be sure that little Miss Beecher wasn't tucked out of sight somewhere in the power of that barbaric scamp with his Continental15 veneer16!
Meanwhile the Oriental methods to be employed in the finding out appealed to the young American's humor and his rash love of adventure. He was grinning as he sat there on that stool and stared at the blank canvas before him. He had felt the r?le of artist would be an excellent screen for his loitering, but he had done no painting for a little matter of twenty years, not since he was a tiny lad, flat upon his stomach in his home library, industriously17 tinting18 the robes and beards of Bible characters and the backgrounds of the Holy Land—this work of art being one of the few permitted diversions of the family Sabbath. Now he reflected that the scenes for his brush were decidedly similar.
With humorous interest he fell to work, scaling off the palace on his left, blocking off the cemetery19 ahead, and trying to draw a palm without emphasizing the thought of a feather duster. His engineering training made him critical of his lines and outlines, but when it came to the introduction of color he had the sensation of a shipwrecked mariner20 afloat upon uncharted seas.
The color that his eyes perceived was not the color which his stubborn memory persisted in reminding him was the actual hue21 of the events, and the color that he produced upon canvas was no kin1 to any of them. But it sufficed for an excuse, and he worked away, whistling cheerily, warily22 observant of the dark and silent fa?ade of the old palace and alertly interested in the little groups his occupation transiently attracted. But these little groups were all of passers-by, shawl-venders, package-deliverers, beggars, veiled desert women with children astride their shoulders, and the live hens they were selling beneath their mantles23, and these groups dissolved and drew away from him without his being able to attract any observation from the palace.
But at least, he thought doggedly24, any girl behind those latticed windows up there could see him in the street, and if Arlee were there she would understand his presence and plan to get word down to him. But he began to feel extraordinarily foolish.
At length his patience was rewarded. The small door opened and the stalwart doorkeeper, in blue robes and yellow English shoes, marched pompously25 out to him and ordered him to be off.
Haughtily26 Billy responded that this was permitted, and displayed a self-prepared document, gorgeous with red seals, which made the man scowl27, mutter, and shake his head and retire surlily to his door, and finding a black-veiled girl peering out of it at Billy, he thrust her violently within. But Billy had caught her eyes and tried to look all the significance into them of which he was capable.
Nothing, however, appeared to develop. The door remained closed, save for brief admissions of bread and market stuff from little boys on donkey-back or on a bicycle, all of whom were led willingly into conservation, but none of whom had been into the palace, and though Billy pressed as close to the door as possible when the boys knocked, he was only rewarded with a glimpse of the tiled vestibule and inner court.
To the irate28 doorkeeper he protested that he was yearning29 to paint a palace court, but though he held up gold pieces, the man ordered him away in fury and spoke30 menacingly of a stick for such fellows.
Now, however cool and fresh it was in the garden that Saturday, it was distinctly hot in the dusty street, and by noon, as Billy sat in the shade beside the palace door, eating the lunch he had brought and drinking out of a thermos31 bottle, he reflected that for a man to cook himself upon a camp stool, feigning32 to paint and observing an uneventful door, was the height of Matteawan. He despised himself—but he returned to the camp stool.
Nothing continued to happen.
Travelers were few. Occasionally a carriage passed; once a couple of young Englishmen on polo ponies33 galloped34 by; once a poor native came down the road, moving his harem—a donkey-cart load of black shrouded36 women, with three half-naked children bouncing on a long tailboard.
Several groups of veiled women on foot proceeded to the cemetery and back again.
The one-eyed man sauntered by in vain.
In the heat of the afternoon the wide door suddenly opened and Captain Kerissen himself appeared on his black horse. He spurred off at a gallop35, intending apparently37 to ride down the artist on the way, but changed his mind at the last and dashed past, showering him with dust from his horse's hoofs38. The little donkey-boy, lolling down the road, started to follow him, crying out for alms in the name of Allah.
Billy stared up at the windows. Not a handkerchief there, not a signal, not a note flung into the street! In great derision he squirted half a tube of cerulean blue upon his canvas.
This, he reflected, was zero in detective work. It was also minus in adventure.
But one never knows when events are upon the wing. Almost immediately there came into the flatness of his bored existence a victoria containing those two English ladies he had met—in the unconventional way which characterized his meetings with ladies in Cairo—two days before.
The recognition was mutual39. The curiosity appeared upon their side. To his horror he saw that they had stopped their carriage and were descending40.
"How interesting!" said Miss Falconer, with more cordiality than she had shown on the previous occasion. "How very interesting! So you are an artist—I do a little sketching41 myself, you know."
"You do happen in the most unexpected places," smiled Lady Claire.
The English girl looked very cool and sweet and fresh to the heated painter. His impression of her as a nice girl and a pretty girl was speedily reinforced, and he remembered that dark-haired girls with gray-blue eyes under dusky lashes43 had been his favorite type not so long ago ... before he had seen Arlee's fairy gold.
"We've just been driving through the old cemetery—such interesting tombs," said the elder lady, and Lady Claire added, "I should think you could get better views there than here."
By this time they had reached the easel and stood back of it in observation.
Blue, intensely blue, and thickly blue was the sky that Billy had lavished44. Green and rigid45 were the palms. Purple was the palace. Very black lay the shadows like planks46 across the orange road.
Miss Falconer looked as if she doubted her own eyes. Hurriedly she unfolded her lorgnette.
"It—it's just blocked in," said Billy, speaking with a peculiar47 diffidence.
"Quite so—quite so," murmured the lady, bending closer, as if fascinated.
Lady Claire said nothing. Stealing a look at her, Billy saw that she was looking it instead.
Miss Falconer tried another angle. The sight of that lorgnette had a stiffening49 effect upon Billy B. Hill.
"You get it?" he said pleasantly. "You get the—ah—symphonic chord I'm striking?"
"Chord?" said Miss Falconer. "Striking," she murmured in a peculiar voice.
"It's all in thirds, you see," he continued.
"Thirds!" came the echo.
"Perhaps you're of the old school?" he observed.
"Really—I must be!" agreed the lady.
"Ah!" said Billy softly, commiseratingly. He cocked his head at an angle opposite from the slant50 of the lorgnette and stared his own amazing canvas out of countenance51.
"Then, of course," he said, "this hardly conveys——"
"What are you?" she demanded. "Is this a—a school?"
"I?" He seemed surprised that there could be any doubt about it. "I am a Post-Cubist."
Miss Falconer turned the lorgnette upon him. "Oh, really," she said vaguely52. "I fancy I've heard something of that—you're quite new and radical53, aren't you?"
"Oh, we're old," he said gently, "very, very old. We have returned to Nature—but not the nature of mere54 academicians. We paint, not the world of the camera, but the world of the brain. We paint, not the thing you think you see, but the way you think you see it—its vibrations55 of your inner mentality56. To paint the apple ripening57 on the bough5 one should reproduce the gentle swelling58 of the maturing fruit in your perception.... Now, you see, I am not trying to reproduce the precise carving59 of that door; I do not fix the wavings of that palm. I give you the cerebellic——"
"Quite so," said Miss Falconer, dropping her lorgnette and giving the canvas the fixity of her unobstructed gaze. "It's most interesting," she said, a little faintly. "Are there many of you?"
"I don't know," said Billy. "We do not communicate with one another. That always influences, you know, and it is better to work out thought alone."
"I should think it would be." Something in her tone suggested that the inviolated solitude60 of the asylum61 suggested itself to her as a fitting spot. "Well, we won't interrupt you any longer. You've been most interesting.... The sun is quite hot, isn't it?" and with one long, lingering look at the picture, a look convinced against its will, she went her way toward the victoria.
But Lady Claire stood still. Billy had fairly forgotten all about her, and now as he turned suddenly from the clowning with her chaperon, he found her gaze being transferred from his picture to himself. It was a very steady gaze, calm-eyed and deliberate.
"I'm afraid you're making game of us!" she said, in her musical, high-bred tones, her clear eyes disconcertingly upon him. "Aren't you?" she gently demanded.
"That's not fair." Billy was uncomfortable and looked away in haste. He felt a grin coming.
Perhaps he was a shade too late, for Lady Claire laughed suddenly and with a note of curious delight.
"You're too amusing!" she said. "What made you?... How did you think of it all?... Are you just beginning?"
"Oh, I began twenty years ago," he smiled back, "but I haven't done anything in the meantime."
Again she laughed with that ring of mischievous62 delight. "However you could think of it all! I shan't tell on you—but she'll never be done wondering." She turned away, her pretty face still bright with humor, and then she turned back hesitantly toward him.
"It is hot here in this sun," she said. "It can't be good for you. Shall we drive you back?"
She had lovely eyes, dark, smoky-blue under black lashes, and when they held a gentle, half-shy, half-proud invitation, as they did then, they were very unsettling eyes.... And it was hot on that infernal camp stool. And there was a crick in the back of his neck and his errand was glaringly a fool's errand....
He half rose, and as he did so the door in the palace opened a crack and a veiled face peered furtively63 out. Billy sat down again.
"No, thank you," he said, "I think I'd better do a little more of this."
In such light ways is the gate of opportunity closed and opened. Everything that happened afterwards with such appalling64 startlingness hung on that instant's decision.
For the moment he felt himself a donkey as Lady Claire turned quietly away and the victoria rattled65 off with brisk finality. Then the door opened again, and again the girl peered out, and furtively, stealthily slipped just outside.
Billy caught up a pad and a pencil and called out a request to sketch42 her, holding up some silver. Instantly she assumed a fixed66 pose, with a nervous giggle67 behind her veil, and he came quickly near her, pretending to be drawing. Her dark, curious eyes met his with questioning significance, and he threw all caution aside and plunged68 into his demands.
Did she want to earn money, he said quickly, in the Arabic he had been preparing for such an encounter, and on her eager assent69, he asked if there was a foreign lady in the palace, an American.
The flash of her eyes told him that he had struck the mark before her half-frightened words came.
His heart quickened with excitement. He might have suspected this thing—but he had not really believed it! He asked, stammering70 in his haste, "Does she want to get away?"
Again that knowing nod and the quick assent. Then the girl burst into low-toned speech, glancing back constantly through the door she held nearly shut behind her. Billy was forced to shake his head. It was one thing to have picked up a little casual Arabic, and another, and horribly different, thing to comprehend the rapid outpourings behind that muffling71 veil.
Baffled, he went hurriedly on with his own questionings. Was this lady safe? Again the nod and murmur48 of assent. Did she want help? Vehement72 the confirmation73. He repeated, with careful emphasis, "I will reward you well for your help," and this time the direct simplicity74 of her reply was entirely75 intelligible76:
"How much?"
"One pound.... Two," he added, as she shook her head.
"Four," she demanded.
It was maddening to haggle77, but it would be worse to yield.
"Two—and this," said Billy, drawing out the gold and some silver with it.
She gave a frightened upward glance at the windows over them and stepped closer. "I take it," she said. "Listen—" and that was all that Billy could understand of the swift words she whispered to him.
"Slower—slower," he begged. "Once more—slower."
She frowned, and then, very slowly and distinctly, she articulated, "T'ala lil genaina ... 'end eltura."
He wrote down what he thought it sounded like. "Go on."
"Allailade," she continued.
"That's to-night," he repeated. "What else?"
"Assaa 'ashara," she added hurriedly, and then, intelligible again, "Now, quick, the money."
"Hold on, hold on." He was in despair. "Go over that again, please," and hastily the girl whispered the words again and he wrote down his corrections. Then with a flourish he appeared to finish the sketch and held out the gold and silver to her, saying, "Thank you," carelessly.
Quick as a flash she seized the money, leaving a little crumpled78 ball of white linen79 in his hand, and then, apparently by lightning, she secreted80 the gold, and with the silver shining in her dark palm she came closer to him, urging him for another shilling, another shilling for having a picture made. In an undertone she demanded, "Is it yes? Shall I say yes to the lady?"
"Yes, yes, yes," said Billy, desperately81, to whatever the unknown message might be. "Take a note to her for me?" he demanded, starting to scribble82 one, but she drew back with a quick negation83, and as a sound came from the palace she slipped back through the door and was gone like a shadow when a blind is thrown open.
Only the crumpled little ball of linen remained in Billy's hand. He straightened it out. It was a lady's handkerchief, a dainty thing, delicately scented84. In the corners were marvels85 of sheer embroidery86 and among the leaves he found the initial he was seeking. It was the letter B.
As he stared down on it, that tiny, telltale initial, his face went white under its tan and his mouth compressed till all the humor and kindliness87 of it were lost in a line of stark88 grimness. And then he swung on his heel and packed up his painting kit89 in a fury of haste, and with one last, upturned look at those mocking windows, he was off down the road like a shot.
There were just two things to do. The first was to discover the message hidden in those unknown words.
The second was to do exactly as that message bade.
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1
kin
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| n.家族，亲属，血缘关系；adj.亲属关系的，同类的 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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3
recollected
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| adj.冷静的；镇定的；被回忆起的；沉思默想的v.记起，想起( recollect的过去式和过去分词 ) | |
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limousine
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| n.豪华轿车 | |
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bough
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| n.大树枝，主枝 | |
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hesitation
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| n.犹豫，踌躇 | |
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7
braggart
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| n.吹牛者；adj.吹牛的，自夸的 | |
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8
foul
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| adj.污秽的；邪恶的；v.弄脏；妨害；犯规；n.犯规 | |
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determined
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| adj.坚定的；有决心的 | |
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10
investigations
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| （正式的）调查( investigation的名词复数 )； 侦查； 科学研究； 学术研究 | |
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11
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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12
allay
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| v.消除，减轻(恐惧、怀疑等) | |
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extraordinarily
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| adv.格外地；极端地 | |
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14
nagging
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| adj.唠叨的，挑剔的；使人不得安宁的v.不断地挑剔或批评（某人）( nag的现在分词 )；不断地烦扰或伤害（某人）；无休止地抱怨；不断指责 | |
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continental
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| adj.大陆的，大陆性的，欧洲大陆的 | |
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veneer
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| n.(墙上的)饰面，虚饰 | |
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industriously
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tinting
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| 着色，染色（的阶段或过程） | |
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cemetery
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| n.坟墓，墓地，坟场 | |
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mariner
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| n.水手号不载人航天探测器，海员，航海者 | |
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hue
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| n.色度；色调；样子 | |
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warily
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| adv.留心地 | |
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23
mantles
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| vt.&vi.覆盖（mantle的第三人称单数形式） | |
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doggedly
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| adv.顽强地，固执地 | |
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pompously
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| adv.傲慢地，盛大壮观地；大模大样 | |
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haughtily
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| adv. 傲慢地, 高傲地 | |
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scowl
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| vi.(at)生气地皱眉，沉下脸，怒视；n.怒容 | |
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28
irate
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| adj.发怒的，生气 | |
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yearning
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| a.渴望的；向往的；怀念的 | |
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30
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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thermos
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| n.保湿瓶，热水瓶 | |
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feigning
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| 假装，伪装( feign的现在分词 )； 捏造（借口、理由等） | |
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ponies
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| 矮种马，小型马( pony的名词复数 )； ￡25 25 英镑 | |
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galloped
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| （使马）飞奔，奔驰( gallop的过去式和过去分词 )； 快速做[说]某事 | |
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gallop
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| v./n.(马或骑马等)飞奔；飞速发展 | |
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36
shrouded
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| v.隐瞒( shroud的过去式和过去分词 )；保密 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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hoofs
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| n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 ) | |
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39
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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40
descending
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| n. 下行 adj. 下降的 | |
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41
sketching
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| n.草图 | |
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42
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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43
lashes
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| n.鞭挞( lash的名词复数 )；鞭子；突然猛烈的一击；急速挥动v.鞭打( lash的第三人称单数 )；煽动；紧系；怒斥 | |
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44
lavished
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| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
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45
rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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46
planks
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| （厚）木板( plank的名词复数 )； 政纲条目，政策要点 | |
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47
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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48
murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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49
stiffening
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| n. (使衣服等)变硬的材料, 硬化 动词stiffen的现在分词形式 | |
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50
slant
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| v.倾斜，倾向性地编写或报道；n.斜面，倾向 | |
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51
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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52
vaguely
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| adv.含糊地，暖昧地 | |
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53
radical
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| n.激进份子，原子团，根号；adj.根本的，激进的，彻底的 | |
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54
mere
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| adj.纯粹的；仅仅，只不过 | |
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55
vibrations
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| n.摆动( vibration的名词复数 )；震动；感受；（偏离平衡位置的）一次性往复振动 | |
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56
mentality
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| n.心理，思想，脑力 | |
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ripening
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| v.成熟，使熟( ripen的现在分词 )；熟化；熟成 | |
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swelling
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| n.肿胀 | |
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carving
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| n.雕刻品，雕花 | |
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solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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asylum
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| n.避难所，庇护所，避难 | |
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mischievous
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| adj.调皮的，恶作剧的，有害的，伤人的 | |
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furtively
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| adv. 偷偷地, 暗中地 | |
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appalling
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| adj.骇人听闻的，令人震惊的，可怕的 | |
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rattled
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| 慌乱的，恼火的 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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giggle
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| n.痴笑，咯咯地笑；v.咯咯地笑着说 | |
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plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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assent
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| v.批准，认可；n.批准，认可 | |
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stammering
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| v.结巴地说出( stammer的现在分词 ) | |
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muffling
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| v.压抑，捂住( muffle的现在分词 )；用厚厚的衣帽包着（自己） | |
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vehement
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| adj.感情强烈的；热烈的；(人)有强烈感情的 | |
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confirmation
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| n.证实，确认，批准 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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haggle
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| vi.讨价还价，争论不休 | |
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crumpled
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| adj. 弯扭的, 变皱的 动词crumple的过去式和过去分词形式 | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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secreted
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| v.（尤指动物或植物器官）分泌( secrete的过去式和过去分词 )；隐匿，隐藏 | |
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desperately
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| adv.极度渴望地，绝望地，孤注一掷地 | |
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scribble
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| v.潦草地书写，乱写，滥写；n.潦草的写法，潦草写成的东西，杂文 | |
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negation
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| n.否定；否认 | |
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scented
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| adj.有香味的；洒香水的；有气味的v.嗅到(scent的过去分词) | |
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marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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86
embroidery
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| n.绣花，刺绣；绣制品 | |
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87
kindliness
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| n.厚道，亲切，友好的行为 | |
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stark
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| adj.荒凉的；严酷的；完全的；adv.完全地 | |
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kit
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| n.用具包，成套工具；随身携带物 | |
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