The Complete Works of O. Henry

With this mysterious declaration of his intentions Keogh boarded the Karlsefin.

Ten days later, shivering, with the collar of his thin coat turned high, he burst into the studio of Carolus White at the top of a tall building in Tenth Street, New York City.

Carolus White was smoking a cigarette and frying sausages over an oil stove. He was only twenty-three, and had noble theories about art.

'Billy Knight!' exclaimed White, extending the hand that was not busy with the frying pan. 'From what part of the uncivilized world, I wonder!'

'Hello, Carry,' said Keogh, dragging forward a stool, and holding his fingers close to the stove. 'I'm glad I found you so soon. I've been looking for you all day in the directories and art galleries. The free-lunch man on the corner told me where you were, quick. I was sure you'd be painting pictures yet.'

Keogh glanced about the studio with the shrewd eye of a connoisseur in business.

'Yes, you can do it,' he declared, with many gentle nods of his head. 'That big one in the corner with the angels and greeh clouds and band-wagon is just the sort of thing we want. What would you call that, Carry--scene from Coney Island, ain't it?'

'That,' said White, 'I had intended to call The Translation of Elijah,' but you may be nearer right than I am.'

'Name doesn't matter,' said Keogh, largely; 'it's the frame and the varieties of paint that does the trick. Now, I can tell you in a minute what I want. I've come on a little voyage of two thousand miles to take you in with me on a scheme. I thought of you as soon as the scheme showed itself to me. How would you like to go back with me and paint a picture? Ninety days for the trip, and five thousand dollars for the job.'

'Cereal food or hair-tonic posters?' asked White.

'It isn't an ad.'

'What kind of a picture is it to be?'

'It's a long story,' said Keogh.

'Go ahead with it. If you don't mind, while you talk I'll just keep my eye on these sausages. Let 'em get one shade deeper than a Vandyke brown and you spoil 'em.'

Keogh explained his project. They were to return to Coralio, where White was to pose as a distinguished American portrait painter who was touring in the tropics as a relaxation from his arduous and remunerative professional labors. It was not an unreasonable hope, even to those who trod in the beaten paths of business, that an artist with so much prestige might secure a commission to perpetuate upon canvas the lineaments of the president, and secure a share of the pesos that were raining upon the caterers to his weaknesses.

Keogh had set his price at ten thousand dollars. Artists had been paid more for portraits. He and White were to share the expenses of the trip, and divide the possible profits. Thus he laid the scheme before White, whom he had known in the West before one declared for Art and the other became a Bedouin.

Before long the two machinators abandoned the rigor of the bare studio for a snug corner of a cafe. There they sat far into the night, with old envelopes and Keogh's stub of blue pencil between them.

At twelve o'clock White doubled up in his chair, with his chin on his fist, and shut his eyes at the unbeautiful wall-paper.

'I'll go you, Billy,' he said, in the quiet tones of decision. 'I've got two or three hundred saved up for sausages and rent; and I'll take the chance with you. Five thousand! It will give me two years in Paris and one in Italy. I'll begin to pack tomorrow.'

'You'll begin in ten minutes,' said Keogh. 'It's to-morrow now. The Karlsefin starts back at four P.M. Come on to your painting shop, and I'll help you.'

For five months in the year Coralio is the Newport of Anchuria. Then only does the town possess life. From November to March it is practically the seat of government. The president with his official family sojourns there; and society follows him. The pleasure-loving people make the season one long holiday of amusement and rejoicing. Fiestas, balls, games, sea bathing, processions and small theatres contribute to their enjoyment. The famous Swiss band from the capital plays in the little plaza every evening, while the fourteen carriages and vehicles in the town circle in funereal but complacent procession. Indians from the interior mountains, looking like pre-historic stone idols, come down to peddle their handiwork in the streets. The people throng the narrow ways, a chattering, happy, careless stream of buoyant humanity. Preposterous children rigged out with the shortest of ballet skirts and gilt wings, howl, underfoot, among the effervescent crowds. Especially is the arrival of the presidential party, at the opening of the season, attended with pomp, show and patriotic demonstrations of enthusiasm and delight.

When Keogh and White reached their destination, on the return trip of the Karlsefin, the gay winter season was well begun. As they stepped upon the beach they could hear the band playing in the plaza. The village maidens, with fireflies already fixed in their dark locks, were gliding, barefoot and coy-eyed, along the paths. Dandies in white linen, swinging their canes, were beginning their seductive strolls. The air was full of human essence, of artificial enticement, of coquetry, indolence, pleasure--the man-made sense of existence.

The first two or three days after their arrival were spent in preliminaries. Keogh escorted the artist about town, introducing him to the little circle of English-speaking residents and pulling whatever wires he could to effect the spreading of White's fame as a painter. And then Keogh planned a more spectacular demonstration of the idea he wished to keep before the public.

He and White engaged rooms in the Hotel de los Extranjeros. The two were clad in new suits of immaculate duck, with American straw hats, and carried canes of remarkable uniqueness and inutility. Few caballeros in Coralio--even the gorgeously uniformed officers of the Anchurian army--were as conspicuous for ease and elegance of demeanor as Keogh and his friend, the great American painter, Senor White.

White set up his easel on the beach and made striking sketches of the mountain and sea views. The native population formed at his rear in a vast, chattering semicircle to watch his work. Keogh, with his care for details, had arranged for himself a pose which he carried out with fidelity. His ro1e was that of friend to the great artist, a man of affairs and leisure. The visible emblem of his position was a pocket camera.