"Where is she?"
"In t'blacksmith's shed."
Rutter pointed to a low shed that might have been a cow-house, but in point of fact contained a forge and some broken ploughshares.
"Landlord," said Pinckney, severely, "you ought to turn that low blackguard out, and not take another farthing of his money until he finds the woman a fit place to sleep in!"
And with that young Pinckney splashed indignantly out into the darkness, and along the watery road to the shooting-box. There he found everyone on the point of going to bed. He was obliged, for that night, to keep to himself the details of his adventures; but, long after the rest of the premises were in darkness, a ruby-coloured light burned in Mr. Pinckney's room; he had actually the energy to turn his dry-plates into finished negatives before getting into bed, though he had tramped sixteen miles with accoutrements! Not only that, but he got up early, and had obtained a sun-print of each negative before going over to breakfast. His impatience came of his newness to photography; it has probably been experienced by every beginner in this most fascinating of crafts.
These prints he stowed carefully in his pocket, closely buttoning his coat to shield them from the light. At breakfast he produced them one by one, and handed them round the table on the strict understanding that each person should glance at each print for one second only. They were in their raw and perishable state; but a few seconds' exposure to the light of the room, said the perpetrator, would not affect them. In truth, no one wished to look at them longer; they were poor productions: the light had got in here, the focus was wrong in that one. But Mr. Pinckney knew their faults, and he produced the last print, and the best, with the more satisfaction.
"This one," said he, "will astonish you. It's a success, though I say it. Moreover, it's the one I most wanted to come out well—a couple of tramps taken unawares. This print you must look at only half-a-second each."
He handed it to Alice, who pronounced it a triumph—as it was—and glanced curiously at the downcast face of the woman in the foreground. She handed it to the doctor, sitting next her. The doctor put the print in his uncle's hand, at the head of the table. The Colonel's comment was good-natured. He held out the print to Miles, who took it carelessly from him, and leant back in his chair.
Now as Miles leant back, the sunlight fell full upon him. It streamed through a narrow slit of a window at the end of the room—the big windows faced southwest—and its rays just missed the curve of table-cloth between the Colonel and Miles. But on Miles the rays fell: on his curly light-brown hair, clear dark skin, blond beard and moustache; and his blue eyes twinkled pleasantly under their touch. As he idly raised the print, leaning back in the loose rough jacket that became him so well, the others there had never seen him more handsome, tranquil, and unconcerned.
Miles raised the print with slow indifference, glanced at it, jerked it suddenly upward, and held it with both hands close before his eyes. They could not see his face. But the sunlight fell upon the print, and Pinckney cried out an excited protest: