Alone, the woman watched him as long as he was in sight, her head to one side with an effect of critical amusement. Then with a low laugh she crossed the veranda and entered the lighted room. At the same time, Whitaker, lingering and watching without in the least understanding or even questioning why he was doing this thing so contrary to his instincts, heard the heavy rumble of a motor-car on the far side of the house and saw the machine swing off across the clearing and into the woods.
In the living-room the woman was saying: "You may go now, Elise. I'll be ready for bed before long."
"Yes, madam." The maid rose and moved briskly out of sight.
Her mistress, casting aside a scarf of embroidered Chinese brocade, moved about the room with an air at once languid and distrait. Pausing beside a table, she took up a book, opened it, shut it smartly, discarding it as if hopeless of finding therein any sort of diversion. She stood for a moment in deep thought, her head bowed, the knuckle of a slender forefinger tapping her chin—charmingly posed. Whitaker abruptly understood why it was he loitered, peeping: she was absolutely beautiful, a creature both exquisite and superb, a matchless portrait for the galleries of his memory.
With a sigh and a quick movement of impatience, seating herself at a cottage piano she ran her fingers over the keys. Whitaker recognized the opening bars of something or other of Beethoven's—he couldn't say precisely what, at the instant; and even as he tried a thing happened which drove the music altogether from his mind: in short, he discovered that he was not the only watcher below the window.
Something—a movement or perhaps a slight sound—had drawn his attention from the woman. He saw the other man standing boldly in full moonlight, all his attention concentrated on the brilliant picture framed by the window. He was unquestionably without knowledge of the nearness of the other—of Whitaker in the shadows. And though his back was to the moon and his face further shadowed by a peaked cap, Whitaker was absolutely sure of the man: he was certainly Drummond.
Without pause for thought he sprang toward him, in a guarded voice uttering his name—"Drummond!" But the fellow proved too alert and quick for him. Whitaker's hands closed on nothing more substantial than thin air; at the same time he received a blow upon his bruised shoulder smart and forcible enough to stagger him and evoke an involuntary grunt of pain. And before he could regain his balance the fellow was thrashing noisily away through the woodland underbrush.
Involuntarily Whitaker glanced through the window to see if the woman had been alarmed. But apparently a succession of sonorous chords from the piano had deafened her to all other sounds. She played on with every sign of total unconsciousness.
Forthwith he struck off and blundered senselessly through the forest, misled by its elusive phantasmagoria, until, realizing at length he did but duplicate an earlier folly, he gave up the chase in disgust and slowly made his way back to the bungalow.
And yet (for all the mystery and the wonder of his experience) it was with a somewhat sheepish feeling that he took the precaution of locking the doors and windows before turning in. After all, what grounds had he for his suspicions? Merely a hasty guess at the identity of one who might turn out to be nothing more than a hapchance tramp—a skulking vagabond on the watch for a chance to pilfer and fly.