Bella Donna Part 86

"Poor Ruby! What a time for you! You never guessed you'd married a miserable crock, did you?"

"I haven't. Any one may get a sunstroke. In two or three weeks you'll be laughing at all this. Directly it pa.s.ses you'll forget it."

"But I have a feeling sometimes that--it's a feeling--of death."

"When? When?"

"Last night, in the night. I felt like a man just simply going out."

"I never ought to have let Doctor Hartley go. But you said you wanted to be alone with me, didn't you, Nigel?"

"Yes. I felt somehow that Hartley could be of no use--that no ordinary man could do anything. I felt as if it were Fate, and as if you and I must fight it together. I felt as if--perhaps--our love--"

The voice died away.

Isaacson clenched his hands, and moved a step backward. The s.h.i.+vering pariah dog slunk away, fearing a blow.

"What was that?" Nigel said.

"Did you hear something?"

"Yes--a step."

"Oh, it's one of the men, no doubt. Shall I play to you a little more?"

"Can you without putting on the light? I'm afraid of the light now and--and how I used to love it!"

"I'll manage."

"But you'll have to take away your hand! Wait a minute. Oh, Ruby, it's terrible! To-night I feel like a man on the edge of an abyss, and as if, without a hand, I must fall--I--"

Isaacson heard a dry, horrid sound, that was checked almost at once.

"I never--never thought I should come to this, Ruby."

"Never mind, dearest. Any one--"

"Yes--yes--I know. But I hate--it isn't like a man to--Go and play to me again."

"I won't play 'Gerontius.' It makes you think sad things, dreadful things."

"No, play it again. It was on your piano that day I called--in London. I shall always a.s.sociate it with you."

The dress rustled. She was getting up.

Isaacson hesitated no longer. He went instantly up the bank. When he had reached the top he stood still for a moment. His breath came quickly.

Below, the piano sounded. Bella Donna had not seen him, had not, without seeing him, divined his presence. He might go while she played, and she would never know he had been there eavesdropping in the night. No one would ever know. And to-morrow, with the sun, he could come back openly, defying her request. He could come back boldly and ask for his friend.

"Proficiscere, anima Christiana, de hoc mundo!"

He would come back and see the face that went with that changed voice, that voice which he had hardly recognized.

"Go forth upon thy journey, Christian soul! Go from this world!"

He moved to go away to those far-off lights which showed where the _Fatma_ lay, by Edfou.

"Go forth ... go from this world!"

Was it the voice of a priest? Or was it the irreparable voice of a woman?

Suddenly Isaacson breathed quietly. He unclenched his hands. A wave--it was like that--a wave of strong self-possession seemed to inundate him.

Now, in the darkness on the bank, a great doctor stood. And this doctor had nothing to do with the far-off lights by Edfou. His mission lay elsewhere.

"Go forth--go forth from this world!"

He walked along the bank, down the bank to the gangway which connected the deck of the _Loulia_ forward with the sh.o.r.e. He pushed aside the dropped canvas, and he stepped upon the deck. A number of dark eyes gravely regarded him. Then Hamza detached himself from the hooded crowd and came up to where Isaacson was standing.

"Give that card to your master, and ask if I can see him."

"Yes!" said Hamza.

He went away with the card. There was a pause.

Then abruptly, the sound of the piano ceased.

x.x.xIV

After the cessation of the music there was a pause, which seemed to Isaacson almost interminably prolonged. In it he felt no excitement. In a man of his type excitement is the child of uncertainty. Now all uncertainty as to what he meant to do had left him. Calm, decided, master of himself as when he sat in his consulting-room to receive the suffering world, he waited quietly for the return of his messenger. The many dark eyes stared solemnly at him, and he looked back at them, and he knew that his eyes told them no more than theirs told him.

When Hamza went with the card, he had shut behind him the door at the foot of the stairs, which divided the rooms on the _Loulia_ from the deck. Presently as no one came, Isaacson looked at this door. He saw above it the Arabic inscription which Baroudi had translated for Mrs.

Armine and he wondered what it meant. His eyes were almost fascinated by it and he felt it must be significant, that the man he had seen crouching beneath the black roof of the has.h.i.+sh cafe had set it there to be the motto of his wonderful boat. But he knew no Arabic, and there was no one to translate the golden characters. For Ibrahim that night was unwell, and was sleeping smothered in his haik.

The white door opened gently, and Hamza reappeared. He made a gesture which invited Isaacson to come to him. Isaacson felt that he consciously braced himself, as a strong man braces himself for a conflict. Then he went over the deck, down the shallow steps, and was led by Hamza into the first saloon of the _Loulia_, that room which Baroudi had called his "den," and which Mrs. Armine had taken as her boudoir. It was lit up.

The door on the far side, beyond the dining-room, was shut. And Mrs.

Armine was standing by the writing-table, holding Isaacson's card in her hand.

As soon as Isaacson had crossed the threshold, Hamza went out and shut the door gently.

Mrs. Armine was dressed in black, and on her cheeks were two patches of vivid red, of red that was artificial and not well put on. Isaacson believed that she had rushed from the piano to make up her face when she had learnt of his coming. She looked towards him with hard interrogation, at the same time lifting her hand.

"Hush, please!" she said, in a low voice. "He doesn't know you are here.

He's asleep."

Her eyes went over his face with a horrible swiftness, and she added, "I was playing. I have been playing him to sleep."