the flesh revealed
Faraj approaches, looking like a profitable sex merchant, not a hopeful seducer. She enjoys his attentions for two weeks before he reveals his true nature. Hamida finds it odd that someone who has never known love would build a life around love. He plays the role of ardent lover with every girl that falls into his net, and then cools once she is grown dependent on him financially and emotionally—and he holds over her the threat of arrest. Hamida assumes his indifference stems from having so many girls vying for his attention. She is suspicious as he approaches, apparently in a hurry, and ignores him. She feels independent only when soliciting; the rest of the time, she is a humiliated prisoner. Faraj is aware of her animosity and hopes she will get used to his coldness so he can push off completely. He delays the final blow. When he reminds her, “Time is money”, Hamida resents the vulgarity. As he speaks sarcastically of love and demands she put work first—a speech she has heard many times before—Hamida he recalls how cleverly he begins criticizing her: first of her hands, then her voice. His words hurt and humiliate her, but he then soothes her and flatters her work. Lately, he has dropped all pretense of affection and told her “love” is just a silly word. Hamida is indignant. He knows she works hard and earns him more than all the other girls combined. When she demands to know if he loves her, Faraj temporizes, but Hamida will not be put off. She will die of grief if he says no. Faraj does not want to lose a day’s profits, so he says he loves her.
The sound of these words is filthy and mortifying, but Hamida rises to the battle and demands they get married, if that is the case. Faraj is astonished, then loses patience, and finally decides to be candid. He laughs loud, sarcastically disparaging marriage as déclassé. Hamida can restrain herself no longer and leaps at his throat, but Faraj anticipates her move and restrains her, smiling mockingly. Hamida slaps him hard. Faraj knows physical combat will only strengthen the bonds he wants to break, so he withdraws, reminding her it is time for work. Hamida knows what this means and wants to kill Faraj. Instead, she runs away. Nostalgia for her opulent room nearly overcome Hamida. On the street, hot air takes her breath away. Knowing she is scarred but too strong to be destroyed, she hails a carriage to get some air and rest. She is oblivious to passersby staring at the flesh revealed as she crosses her legs in a short silk dress. Hamida daydreams about finding a new love. As the carriage circles the Opera House, Hamida thinks of her old neighborhood and wonders if anyone would recognize her now. She does not care. She is an orphan. As the carriage turns toward the tavern where Hamida works, she hears “Hamida!” called loudly, and sees Abbas an arm’s length away.
Abbas is panting, having chased the carriage since Opera Square. Hussain first points to a beautiful woman passing by, but fails to recognize Hamida. Abbas looks, finds her vaguely familiar, and suddenly shouts, “Stop!” Leaving Hussain behind, Abbas sprints after the carriage towards Ezbekiya Gardens, and catches up as she is about to enter a tavern. Both are overcome by what they see. Hamida signals Abbas to follow into into a flower shop where Hamida is obviously a frequent customer. The discrete shopkeeper leaves them along. Face to face with his “mortal enemy”, Abbas trembles with excitement and bewilderment. He has no idea why he has not simply let her pass, rather than pursuing her. He had run out of blind instinct, like a sleepwalker. Returning to his senses, Abbas finds no trace of the girl he once loved. Clearly, the rumors are
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