CHAPTER XXXI
THE MOUNTAIN OF THE GOLDEN PYRAMID
There was not much room in our hearts for mountains or gold just then: yet somehow, before we left the Palace, Anthony and I had told Brigit and Monny the secret which had been the romance of our lives, until they came into it to paint dead gold with the living rose of love.
Victorian women would have been grieved or angry with men who could leave them at such a time; but these two, instead of reproaching us, urged us on. Naturally, they wanted to go with us. They said, if there were danger, they wished to share it. And if there were to be a "find," they wished to be among the first to see what no eyes had seen for two thousand years. But when Anthony explained that there wasn't time to get tents together and make a decent camp for ladies, even if we were sure not to tumble into trouble, they said no more. This was surprising in Monny, if not in Brigit. I supposed, however, that she was being on her best behaviour, as a kind of thank-offering to Providence for its unexpected gift of legitimate happiness.
Our secret was to be kept. Only the Sirdar knew—and gave Fenton leave of absence for a few days. The Set did not suspect the existence of a mountain at Meröe more important than its neighbours. They did not even know what had become of Antoun Effendi after he bade them farewell, and "good luck." From the first, he had given it out that he must leave the party at Khartum. The object of returning to Meröe was to "meet Sir Marcus;" and I promised to be back in plenty of time to organize the return trip to Cairo. My departure, therefore, was all in the day's work: and the great sensation was Mrs. East's engagement. Even though, for obvious reasons, Monny's love affair was kept dark, Cleopatra could not resist parading hers, the minute her wire to Sir Marcus had been safely sent. I got an invitation for all the members of the Set to a tennis party in the Palace gardens, at which the Sultan of Dafur and a bodyguard armed with battle axes would be the chief attraction. Also I induced the landlord of our hotel to promise special illuminations, music, and an impromptu dance for the evening. This was to make sure that none of our friends should find time to see me off at the train. Anthony was to join me there, in mufti, and might be recognised by sharp eyes on the lookout for mysteries. Once we got away, that danger would be past: unless Cleopatra told. But I was certain that she would not to any one ever again mention the name of Antoun.
It was a full train that night, but no one in it who knew Antoun. Many people who had been visiting friends or staying at an hotel for weeks, were saying good-bye. The narrow corridors of the sleeping-cars had African spears piled up on the floor against the wall, very long and inconvenient. Ladies struggled in, with rainbow-coloured baskets almost too big for their compartments. Seats were littered with snake-skins like immense, decayed apple parings; fearsome, crescent-shaped knives; leopard rugs in embryo; and strange headgear in many varieties. Stuffed crocodiles fell down from racks and got underfoot: men walked about with elephant tusks under their arms; dragomans solicited a last tip; a six-foot seven Dinka, black as ink and splendid as a Greek statue, brought flowers from the Palace for some departing acquaintance of the Sirdar and his wife. Officers in evening dress dashed up through the sand, on donkey-back, to see the last of friends, their mess jackets making vivid spots of colour in the electric light. All the fragrant blossoms of Khartum seemed to be sending farewell messages of perfume on the cool evening air. No more fantastic scene at a railway-station could be imagined. If the world and its doings is but a moving picture for the gods on Olympus they must enjoy the film of "a train departing from Khartum."
Anthony did not join me until just as the train was crawling out of the station, for we had asked Brigit and Monny not to see us off, and they had been startlingly acquiescent. We had a two-berthed compartment together, and talked most of the night, in low voices; of the mountain; of the legends concerning it, and the papers of the dead Egyptologist Ferlini, which indirectly had brought Fenton into Monny Gilder's life, and given Brigit back to me. There was the out-of-doors breakfast party, too, on the terrace at Shepheard's. Had it not been for this incident Antoun, the green-turbaned Hadji, would never have been selected by Miss Gilder, in words she might now like to forget. "I'll have that!" But, had not a distressed artist called on me one morning in Rome, months ago, with an old notebook to sell, I should not have come to Egypt for my sick-leave; and none of us would have met. I had visited the artist's studio to please a friend, and bought a picture to please him (not myself); therefore he regarded me as a charitable dilettante, likely to buy anything if properly approached. Bad luck had come to him; he wanted to try pastures new, and needed money at short notice: therefore he wished to dispose of a secret which might be the key to fortune. Why didn't he use the key himself? was the obvious question; which he answered by saying that a poor man would not be able to find the lock to fit it.
The notebook he had to sell had been the property of a distinguished distant relative, long since dead; the Italian, Ferlini, who about 1834 ransacked the ruins of Meröe in the kingdom of Candace. Ferlini had given treasure in gold, scarabs, and jewels to Berlin, all of which he had discovered in a secret cache in the masonry of a pyramid, in the so-called "pyramid field" of Meröe. But he had been blamed for unscientific work, and in some quarters it was not believed that he had found the hoard at Meröe. This jealousy and injustice had prevented Ferlini's obtaining a grant for further explorations he wished to make. He claimed to have proof that in a certain mountain not far from the Meröe pyramids, and much resembling them in shape, was hidden the tomb of a Candace who lived two hundred years earlier than the queen of that name mentioned in the New Testament, mistress of the eunuch baptized by St. Philip. In the notebook which had come down with other belongings of Ferlini the Egyptologist, to Ferlini the artist, was a copy of certain Demotic writing, of a peculiar and little known form. The original had existed, according to the dead Ferlini's notes, on the wall of an antechapel in one of the most ruinous pyramids at Meröe, decorated in a peculiarly barbaric Ethiopian style. The wall-writing described the making of the mountain tomb, ordered by Candace in fear that her body might be disturbed, according to a prophecy which predicted the destruction of the kingdom if the jewels of the dead were found.
Ferlini, a student of the Demotic writings which had superseded hieroglyphics, doubted not that he had translated the revelation aright, though he admitted supplying many missing words in accordance with his own deductions. He was in disfavour at the time he tried to organize an expedition in search of the queen's hoard, and though legends of the mountain confirmed the writings which Ferlini was the first to translate, the Italian could induce no one to finance his scheme. The one person he succeeded in interesting had a relative, already excavating in Egypt: but eventually addressed on the subject, this young man replied that the antechapel in question had fallen completely into ruin. It would be impossible, therefore, to find the wall-writing, "if indeed it ever existed."