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Soon came the ~Karlsefin~ again–she of the trampish habits–gleaning a cargo of coconuts for a speculative descent upon the New York market. Keogh was booked for a passage on the return trip.

“Yes, I’m going to New York,” he explained to the group of his countrymen that had gathered on the beach to see him off. “But I’ll be back before you miss me. I’ve undertaken the art education of this piebald country, and I’m not the man to desert it while it’s in the early throes of tintypes.”

With this mysterious declaration of his intentions Keogh boarded the ~Karlsefin~.

Ten days later, shivering, with the collar of his thin coat turned high, he burst into the studio of Carolus White at the top of a tall building in Tenth Street, New York City.

Carolus White was smoking a cigarette and frying sausages over an oil stove. He was only twenty-three, and had noble theories about art.

“Billy Knight!” exclaimed White, extending the hand that was not busy with the frying pan. “From what part of the uncivilized world, I wonder!”

“Hello, Carry,” said Keogh, dragging forward a stool, and holding his fingers close to the stove. “I’m glad I found you so soon. I’ve been looking for you all day in the directories and art galleries. The free-lunch man on the corner told me where you were, quick. I was sure you’d be painting pictures yet.”

Keogh glanced about the studio with the shrewd eye of a connoisseur in business.

“Yes, you can do it,” he declared, with many gentle nods of his head. “That big one in the corner with the angels and greeh clouds and band-wagon is just the sort of thing we want. What would you call that, Carry–scene from Coney Island, ain’t it?”

‘That,” said White, “I had intended to call The Translation of Elijah,’ but you may be nearer right than I am.”

“Name doesn’t matter,” said Keogh, largely; “it’s the frame and the varieties of paint that does the trick. Now, I can tell you in a minute what I want. I’ve come on a little voyage of two thousand miles to take you in with me on a scheme. I thought of you as soon as the scheme showed itself to me. How would you like to go back with me and paint a picture? Ninety days for the trip, and five thousand dollars for the job.”

“Cereal food or hair-tonic posters?” asked White.

“It isn’t an ad.”

“What kind of a picture is it to be?”

“It’s a long story,” said Keogh.

“Go ahead with it. If you don’t mind, while you talk I’ll just keep my eye on these sausages. Let ’em get one shade deeper than a Vandyke brown and you spoil ’em.”

Keogh explained his project. They were to return to Coralio, where White was to pose as a distinguished American portrait painter who was touring in the tropics as a relaxation from his arduous and remunerative professional labors. It was not an unreasonable hope, even to those who trod in the beaten paths of business, that an artist with so much prestige might secure a commission to perpetuate upon canvas the lineaments of the president, and secure a share of the ~pesos~ that were raining upon the caterers to his weaknesses.

Keogh had set his price at ten thousand dollars. Artists had been paid more for portraits. He and White were to share the expenses of the trip, and divide the possible profits. Thus he laid the scheme before White, whom he had known in the West before one declared for Art and the other became a Bedouin.

Before long the two machinators abandoned the rigor of the bare studio for a snug corner of a cafe. There they sat far into the night, with old envelopes and Keogh’s stub of blue pencil between them.