"I have no eat breakfast, effendi--very hungry--you please permit Joe go cafe with Yusuf--we stay ONE hour, no more. Then I bring coffee. You see me when I come--I bring the coffee myselluf." He could not have pleased me more. How to get rid of them both was what had been bothering me. I painted on, both of us backed into the low gate with the sliding panel, my eyes on the mosque, my ears open for the slightest sound. We talked of the wonderful architecture of the East, of the taper of the minarets, of the grace and dignity of the priests, of the social life of the people, I leading and he following, until I had brought the conversation down to the question: "And when you young men decide to marry are you free to choose, as we Europeans are?" I was feeling about, wondering how much of his confidence he would give me. "No; that's why, sometimes, I wish I was like one of the white gulls that fly over the water." "I don't understand." "I would be out at sea with my mate--that's what I mean." "Have you a mate?" "I had. She is lost." "Dead?" "Worse." I kept at work. White clouds sailed over the mosque; a flurry of pigeons swept by; the air blew fresh. With the exception of my companion and myself the street was deserted. I dared not go any further in my inquiries. If I betrayed any more interest or previous knowledge he might think I was in league against him. "The girl, then, suffers equally with the man?" I said, tightening one of the legs of my easel. "More. He can keep his body clean; she must often barter hers in exchange for her life. A woman doesn't count much in Turkey. This is one of the things we young men who have seen something of the outside world--I lived a year in Paris--will improve when we get the power," and his eyes flashed. "And yet it is dangerous to help one of them to escape, is it not?" "Yes." The hour was nearly up. Joe, I knew, had fixed it, consulting his watch and comparing it with mine so that I might know the coast was clear during that brief period should anything happen. "I was tempted to help one yesterday," I answered. "I saw a woman's face that has haunted me ever since. She may not have been in trouble, but she looked so." Then quietly, and as if it was only one of the many incidents that cross a painter's path, I described in minute detail the gate, the sliding panel, the veiled face and wondrous eyes, the approach of the officer, the smothered cry of terror, the black finger and thumb that reached out, and the noiseless closing of the panel. What I omitted was all reference to Joe or his knowledge of the girl. Mahmoud was staring into my eyes now. "Where was this?"