"Be on the terrace of Shepheard's in half an hour."

The mysterious figure melted again into the shadows about us.

II

On the deserted hotel balcony, Ab Tabah awaited me.

"It was indeed fortunate, Kernaby Pasha," he said, "that I observed you this evening."

"I am greatly obliged to you," I replied, "for watching over me with such paternal solicitude. May I inquire what danger I have incurred?"

I was angrily conscious of feeling like a schoolboy suffering reproof.

"A very great danger," Ab Tabah a.s.sured me, his gentle, musical voice expressing real concern. "Ahmad es-Kebir is the lover of the dancer called Shejeret ed-Durr, although she who is of the _ghawazi_, of Keneh does not return his affections."

"Ahmad es-Kebir?--do you refer to a malignant looking person in a black turban?" I inquired.

Ab Tabah gravely inclined his head.

"He is one of the _Rifa'iyeh_, the Black _Darwishes_. They practise strange rites and are by some accredited with supernatural powers. For you the danger is not so great as for your friend, who seemed to be speaking words of love to the _ghaziyeh_."

I laughed shortly.

"You are mistaken, Ab Tabah," I replied; "his interest was not of the character which you suppose. He is an artist and merely desired the girl to pose for him."

Ab Tabah shrugged his shoulders.

"She is an unveiled woman," he said contemptuously, "but love in the heart of such a one as Ahmad is a terrible pa.s.sion, consuming the vitals and rendering whom it afflicts either a partaker of Paradise or as one of the evil _ginn_."

"In the particular case under consideration," I said, "it would seem distinctly to have produced the latter and less agreeable symptoms."

"Let your friend step warily," advised Ab Tabah; "for some who have aroused the enmity of the Black _Darwishes_ have met with strange ends, nor has it been possible to fix responsibility upon any member of the order."

"You think my poor friend, Felix Breton, may be discovered some morning in an unpleasantly messy condition?"

"The Black _Darwishes_ do not employ the knife," answered Ab Tabah; "they employ strange and more subtle weapons."

I stared hard at him in the darkness. I thought I knew my Cairo, but this sounded unpleasantly mysterious. However--

"I am indebted to you, Ab Tabah," I said, "for your timely warning.

As you know, I always personally avoid any possibility of misunderstanding in regard to my relations with Egyptian womenfolk."

"With some rare exceptions," agreed Ab Tabah, "particulars of which escape my memory at the moment, you have always been a model of discretion, Kernaby Pasha."

"I will warn my friend," I said hastily, "of the view of his conduct mistakenly taken by the gentleman in the black turban."

"It is well," replied Ab Tabah; "we shall meet again ere long."

With that and the customary dignified salutations he departed, leaving me wondering what hidden significance lay in his words, "we shall meet again ere long."

Experience had taught me that Ab Tabah's warnings were not to be lightly dismissed, and I knew enough of the fanaticism of those strange Eastern sects whereof the _Rifa'iyeh_, or Black _Darwishes_, was one, to realize that it would prove an unhealthy amus.e.m.e.nt to interfere with their domestic affairs. Felix Breton, who possessed the rare gift of capturing and transferring to canvas the atmosphere of the East with the opulent colorings and vivid contrasts which const.i.tute its charm, had nevertheless but little practical experience of the manners and customs of the golden Orient. He had leased a large studio situated on the roof of a fine old Cairene palace hidden away behind the Street of the Booksellers and almost in the shadow of the Mosque of el-Azhar. His romantic spirit had prompted him after a time to give up his rooms at the Continental and to take up his abode in the apartment adjoining the studio; that is to say, completely to cut himself off from European life and to become an inhabitant of the Oriental city. With his imperfect knowledge of the practical side of native life in the East, I did not envy him; but I was fully alive to his danger, isolated as he was from the European community, indeed from modernity; for out of the boulevards of modern Cairo into the streets of the _Arabian Nights_ is but a step, yet a step that bridges the gulf of centuries.

As I entered his studio on the following morning, I discovered him at work upon the extraordinary picture "Danse Funebre." Shejeret ed-Durr was posing in the dress of an ancient priestess of Isis. Breton briefly greeted me, waving his hand towards a cushioned _diwan_ before which stood a little coffee-table bearing decanters, siphons, cigarettes, and other companionable paraphernalia. Making myself comfortable, I studied the picture and the model.

"Danse Funebre" was an extraordinary conception, representing an elaborately furnished modern room, apparently that of an antiquary or Egyptologist; for a mult.i.tude of queer relics decorated the walls, cabinets, and the large table at which a man was seated. Boldly represented immediately to the left of his chair stood a mummy in an ornate sarcophagus, and forth from the swathed figure into the light cast downwards from an antique lamp, floated a beautiful spirit shape--that of an Egyptian priestess. Upon her face was an expression of intense anger, as, her fingers crooked in sinister fashion, she bent over the man at the table.

The mummy and sarcophagus depicted on the canvas stood before me against the wall of the studio, the lid resting beside the case. It was moulded, as is sometimes seen, to represent the face and figure of the occupant and was as fine an example of the kind as I had met with.

The mummy was that of a priestess and dancer of the Great Temple at Philae, and it had been lent by the museum authorities for the purpose of Breton's picture.

His enthusiasm at first seeing Shejeret ed-Durr was explainable by the really uncanny resemblance which the girl bore to the modeled figure.

Studying her, from my seat on the _diwan_, as she posed in that gauzy raiment depicted upon the lid of the sarcophagus, it seemed indeed that the ancient priestess was reborn in the form of Shejeret ed-Durr the _ghaziyeh_. Breton had evidently tabooed make-up, with the exception of the characteristic black bordering to the eyes (which appeared in the presentment of the servant of Isis); and seen now in its natural coloring the face of the dancing-girl had undoubted beauty.

Presently, whilst the model rested, I informed Breton of my conversation with Ab Tabah; but, as I had antic.i.p.ated, he was sceptical to the point of derision.

"My dear Kernaby," he said, "is it likely that I am going to interrupt my work now that I have found such an inspiring model, because some ridiculous _darwish_ disapproves?"

"It is highly unlikely," I admitted; "but do not make the mistake of treating the matter lightly. You are right off the map here, and Cairo is not Paris."

"It is a great deal safer!" he cried in his boisterous fashion, "and infinitely more interesting."

But my mind was far from easy; for in the dark eyes of the model, when their glance rested upon Felix Breton, there was that to have aroused poisonous sentiments in the bosom of the Man of the Glare.

III

During the course of the following month I saw Felix Breton two or three times, and he was enthusiastic about the progress of his picture and the beauty of his model. The first hint that I received of the strange idea which was to lead to stranger happenings came one afternoon when he had called upon me at Shepheard's.

"Do you believe in reincarnation, Kernaby?" he asked suddenly.

I stared at him in surprise.

"Regardless of my personal views on the matter," I replied, "in what way does the subject interest you?"

Momentarily he hesitated; then--

"The resemblance between Yasmina" (this was the real name of Shejeret ed-Durr) "and the priestess of Isis," he said, "appears to me too marked to be explainable by mere coincidence. If the mummy were my personal property I should unwrap it----"

"Do you seriously desire me to believe that you regard Yasmina as a reincarnation of the elder lady?"

"That or a lineal descendant," he answered. "The tribe of the _Ghawazi_ is of unknown antiquity and may very well be descended from those temple dancers of the days of the Pharaohs. If you have studied the ancient wall paintings, you cannot have failed to observe that the dancing girls represented have entirely different forms from those of any other women depicted and from those of the ordinary Egyptian women of to-day."

His enthusiasm was tremendous; he was one of those uncomfortable fanatics who will ride a theory to the death.

"I cannot say that I have noticed it," I replied. "Your knowledge of the female form divine is doubtless more extensive than mine."

"My dear Kernaby," he cried excitedly, "to the trained eye the difference is extraordinary. Until I saw Yasmina I had believed the peculiar form to which I refer to be extinct like the blue enamel and the sacred lotus. If it is not reincarnation it is heredity."

I could not help thinking that it more closely resembled insanity than either; but since Breton had made no reference to the wearer of the black turban, I experienced less anxiety respecting his physical than his mental welfare.