"We won't touch them," he said after a moment, replacing the bear skin that had covered them. "It's good etiquette up here not to disturb another man's cache and that's Bram's. I can't imagine any one but a madman doing that. And yet—"
He looked suddenly at Celie.
"Do you suppose he was afraid of YOU?" he asked her. "Is that why he doesn't leave even the butcher-knife in this shack? Was he afraid you might shoot him in his sleep if he left the temptation in your way?"
A commotion among the wolves drew him to the window. Two of the beasts were fighting. While his back was turned Celie entered her room and returned a moment or two later with a handful of loose bits of paper. The pack held Philip's attention. He wondered what chance he would have in an encounter with the beasts which Bram had left behind as a guard. Even if he killed Bram or made him a prisoner he would still have that horde of murderous brutes to deal with. If he could in some way induce the wolf-man to bring his rifle into the cabin the matter would be easy. With Bram out of the way he could shoot the wolves one by one from the window. Without a weapon their situation would be hopeless. The pack—with the exception of one huge, gaunt beast directly under the window—had swung around the end of the cabin out of his vision. The remaining wolf in spite of the excitement of battle was gnawing hungrily at a bone. Philip could hear the savage grind of its powerful jaws, and all at once the thought of how they might work out their salvation flashed upon him. They could starve the wolves! It would take a week, perhaps ten days, but with Bram out of the way and the pack helplessly imprisoned within the corral it could be done. His first impulse now was to impress on Celie the necessity of taking physical action against Bram.
The sound of his own name turned him from the window with a sudden thrill.
If the last few minutes had inspired an eagerness for action in his own mind he saw at a glance that something equally exciting had possessed Celie Armin. Spread out on the table were the bits of paper she had brought from her room, and, pointing to them, she again called him by name. That she was laboring under a new and unusual emotion impressed him immediately. He could see that she was fighting to restrain an impulse to pour out in words what would have been meaningless to him, and that she was telling him the bits of paper were to take the place of voice. For one swift moment as he advanced to the table the papers meant less to him than the fact that she had twice spoken his name. Her soft lips seemed to whisper it again as she pointed, and the look in her eyes and the poise of her body recalled to him vividly the picture of her as he had first seen her in the cabin. He looked at the bits of paper. There were fifteen or twenty pieces, and on each was sketched a picture.
He heard a low catch in Celie's breath as he bent over them, and his own pulse quickened. A glance was sufficient to show him that with the pictures Celie was trying to tell him what he wanted to know. They told her own story—who she was, why she was at Bram Johnson's cabin, and how she had come. This, at least, was the first thought that impressed him. He observed then that the bits of paper were soiled and worn as though they had been handled a great deal. He made no effort to restrain the exclamation that followed this discovery.
"You drew these pictures for Bram," he scanning them more carefully. "That settles one thing. Bram doesn't know much more about you than, I do. Ships, and dogs, and men—and fighting—a lot of fighting—and—"
His eyes stopped at one of the pictures and his heart gave a sudden excited thump. He picked up the bit of paper which had evidently been part of a small sack. Slowly he turned to the girl and met her eyes. She was trembling in her eagerness for him to understand.
"That is YOU," he said, tapping the central figure in the sketch, and nodding at her. "You—with your hair down, and fighting a bunch of men who look as though they were about to beat your brains out with clubs! Now—what in God's name does it mean? And here's a ship up in the corner. That evidently came first. You landed from that ship, didn't you? From the ship—the ship—the ship—"