"Here we'll find the rainbow key—on this side the bridge, in the keeping of the Border Saints or Wizards," said I; for the hills and lowlands that rolled away to the making of Scotland had a colour as if stained with the fadeless, dried rainbows of centuries. Mingled with peat was the tea-rose scent of summer rain and of running water, which is as the fragrance of fresh-cut melons. Clouds like huge white brooms swept the sky, and surging suddenly round us was a wave of sheep, charming, reserved, Scottish sheep with ears of a different shape from the English kind, like those of exaggerated rabbits. They looked at us with horizontal eyes of pale brass cut across with narrow slits of jet, and their thick wool, wet with rain, sparkled as if encrusted with diamond dust. With them was a collie, much collie-er than English collies, with a pawky Scottish smile. Not that I know what pawky means, but it seems a word I ought to use at once, now we are on Scottish soil.
Nobody need tell me that the first houses of Scotland have any resemblance to the last houses of England. Maybe the country hasn't had time to change much, just in crossing the bridge. I won't argue about that. But the houses are as different from English houses as Scotsmen are from Englishmen. Could you ever mistake a Scot for an un-Scot? No! Our wide-apart eyes and our dreamy yet practical expression, our high cheekbones, our sensitive, clear-cut nostrils, and the something mysterious in our gaze which no one can explain or understand, not even ourselves, is all our own. I have just found this out since crossing the border. And am I not a MacDonald of Dhrum?
I can't say that the first Scots I met—men, women, or children—looked like descendants of the robber hordes who used to make the Borderland their home; yet I paid them the compliment to believe they were such. And you never would dream that the great-great-grandchildren of raiders could have built for themselves the mild, solid, self-respecting houses these people have dotted along the road where King Arthur passed, and where some of the most romantic battles of history have been fought. But so it is. And there the houses are. The people have found a kind of stone to build them with, which looks like pressed roses; and there are door-stones and even gate-stones of such an incredible cleanness, that some women must devote their whole lives to their service, as nuns do to prayer.
Soon we came to the village and the post-office of Gretna Green, bristling with picture post cards. There was the expected group of whitewashed, one-story houses plastered with exciting notices: "Old Priests' Relics," "Marriage Registers Kept," and delightful things like that. So far, the scene was just what I'd imagined; but there was one feature in the picture which made me feel I must be dreaming, it was so surprising and extraordinary.
In front of the Blacksmith's Shop stood the quaintest vehicle out of a museum. It was an antique chaise such as no one in the last five generations can have seen except in an illustrated book, or an old coloured print. Two handsome gray horses were harnessed to it, looking quite embarrassed, as if they hated being made conspicuous, and hoped that they might not be recognized by their smart acquaintances. As we came gliding past, they turned away their faces, lest our motor—christened by me Gray Dragon—should regard them with contempt. By the horses' heads stood a gorgeous, grinning man, dressed in livery such as postilions may have worn a hundred years ago. Talking to him was a blacksmith of the same remote epoch, with knee-breeches showing under a leather apron, a great hammer in his hand, and on his head a high, broad-brimmed beaver hat balanced on a white wig. Not far off were two men in modern clothes; and they were placing in position some kind of a photographic camera.
When they saw that we meant to stop at the Blacksmith's Shop, they brightened up, and seemed as much interested as if they had never before seen an automobile.
"They're going to take photographs of a Gretna Green wedding of ancient times, for a biograph show, evidently," said Sir Somerled MacDonald, and quickly explained to the late prisoner of the glass retort the nature of a biograph. "Rather a good idea that! Apparently they're waiting for their chief characters, the bride and groom."
He was helping Mrs. James to get down from the car, and I had already jumped out, for, of course, we wanted to visit the old house, and see everything there was to see, in the place where Shelley (maybe!) and hundreds of other famous people have been married. But before going in, we lingered to stare at the chaise, which was rather like an immense bathtub, the kind we used at Hillard House, where Grandma would have no such new-fangled innovation as a bathroom. As we stood there, one of the men with the camera came up, hovered undecidedly, and then said, with a cough to draw attention to himself: "Excuse me, sir, but will you pardon the liberty of my asking if you and the young lady will oblige us with a great favour?"
Sir Somerled frowned slightly, with his millionaire manner, which is not so nice as the other. "What is the favour?" he inquired.
"Why, sir," the man explained, "we're in a bit of a hole. You can see we're here to reconstruct a runaway wedding for a cinema show. We represent the North British Biograph Company, and we've been to a lot of trouble and expense to get our props together. Pretty soon the father's coach will be along, and we've got all we want except the two principal figures. The bride and groom we engaged have failed to turn up. We can't make out what's happened, but they ain't here, and we've searched the neighbourhood without finding anything we can do with in their place. The light's just right now, after the flurry o' rain, but by the look o' the sky it won't last; and altogether it seems as if we'd have our trouble for our pains unless you and the young lady'd consent to help us out. If you'll allow me to say so, sir, in costume you'd be the Ideal Thing."