Chapter VII: Front Matter (7)

Half an hour later The Thinking Machine was talking over the long-distance 'phone to the Providence correspondent of Hatch's paper. What he said or what he learned there was not revealed to the wondering reporter, but he came out after several minutes, only to re-enter the booth and remain for another half an hour.

"Now," he said,

Together they went to the haunted house. At the entrance to the grounds something else occurred to The Thinking Machine.

"Run over to the 'phone and call Weston," he directed. "Ask him if he has a motor-boat or if his cousin has one. We might need one. Also find out what kind of a boat it is--electric or gasoline."

Hatch returned to the village and left the scientist alone, sitting on the veranda gazing out over the sea. When Hatch returned he was still in the same position.

"Well?" he asked.

"Ernest Weston has no motor-boat," the reporter informed him. "George Weston has an electric, but we can't get it because it is away. Maybe I can get one somewhere else if you particularly want it."

"Never mind," said The Thinking Machine. He spoke as if he had entirely lost interest in the matter.

Together they started around the house to the kitchen door.

"What's the next move?" asked Hatch.

"I'm going to find the jewels," was the startling reply.

"Find them?" Hatch repeated.

"Certainly."

They entered the house through the kitchen and the scientist squinted this way and that, through the reception-room, the library, and finally the back hallway. Here a closed door in the flooring led to a cellar.

In the cellar they found heaps of litter. It was damp and chilly and dark. The Thinking Machine stood in the center, or as near the center as he could stand, because the base of the chimney occupied this precise spot, and apparently did some mental calculation.

From that point he started around the walls, solidly built of stone, stooping and running his fingers along the stones as he walked. He made the entire circuit as Hatch looked on. Then he made it again, but this time with his hands raised above his head, feeling the walls carefully as he went. He repeated this at the chimney, going carefully around the masonry, high and low.

"Dear me, dear me!" he exclaimed, petulantly. "You are taller than I am, Mr. Hatch. Please feel carefully around the top of this chimney base and see if the rocks are all solidly set."

Hatch then began a tour. At last one of the great stones which made this base trembled under his hand.

"It's loose," he said.

"Take it out."

It came out after a deal of tugging.

"Put your hand in there and pull out what you find," was the nest order. Hatch obeyed. He found a wooden box, about eight inches square, and handed it to The Thinking Machine.

"Ah!" exclaimed that gentleman.

A quick wrench, caused the decaying wood to crumble. Tumbling out of the box were the jewels which had been lost for fifty years.

V

Excitement, long restrained, burst from Hatch in a laugh--almost hysterical. He stooped and gathered up the fallen jewelry and handed it to The Thinking Machine, who stared at him in mild surprise.

"What's the matter?" inquired the scientist.

"Nothing," Hatch assured him, but again he laughed.

The heavy stone which had been rolled out of place was lifted up and forced back into position, and together they returned to the village, with the long-lost jewelry loose in their pockets.

"How did you do it?" asked Hatch.

"Two and two always make four," was the enigmatic reply. "It was merely a sum in addition." There was a pause as they walked on, then: "Don't say anything about finding this, or even hint at it in any way, until you have my permission to do so."

Hatch had no intention of doing so. In his mind's eye he saw a story, a great, vivid, startling story spread all over his newspaper about flaming phantoms and treasure trove--$100,000 in jewels. It staggered him. Of course he would say nothing about it--even hint at it, yet. But when he did say something about it--!

In the village The Thinking Machine found the constable.

"I understand some blood was thrown on you at the Weston place the other night?"

"Yes. Blood--warm blood."

"You wiped it off with your handkerchief?"

"Yes."

"Have you the handkerchief?"

"I suppose I might get it," was the doubtful reply. "It might have gone into the wash."

"Astute person," remarked The Thinking Machine. "There might have been a crime and you throw away the one thing which would indicate it--the blood stains."

The constable suddenly took notice.

"By ginger!" he said, "Wait here and I'll go see if I can find it."

He disappeared and returned shortly with the handkerchief. There were half a dozen blood stains on it, now dark brown.

The Thinking Machine dropped into the village drug store and had a short conversation with the owner, after which he disappeared into the compounding room at the back and remained for an hour or more--until darkness set in. Then he cams out and joined Hatch, who, with the constable, had been waiting.

The reporter did not ask any questions, and The Thinking Machine volunteered no information.

"Is it too late for anyone to get down from Boston to-night?" he asked the constable.

"No. He could take the eight o'clock train and be here about half-past nine."

"Mr. Hatch, will you wire to Mr. Weston--Ernest Weston--and ask him to come to-night, sure. Impress on him the fact that it is a matter of the greatest importance."

Instead of telegraphing, Hatch went to the telephone and spoke to Weston at his club. The trip would interfere with some other plans, the broker explained, but he would come. The Thinking Machine had meanwhile been conversing with the constable and had given some sort of instructions which evidently amazed that official exceedingly, for he kept repeating "By ginger!" with considerable fervor.

"And not one word or hint of it to anyone," said The Thinking Machine. "Least of all to the members of your family."

"By ginger!" was the response, and the constable went to supper.

The Thinking Machine and Hatch had their supper thoughtfully that evening in the little village "hotel." Only once did Hatch break this silence.

"You told me to see Weston's handwriting," he said. "Of course you knew he was with the constable and myself when we saw the THING, therefore it would Have been impossible--"

"Nothing is impossible," broke in The Thinking Machine. "Don't say that, please."

"I mean that, as he was with us--"

"We'll end the ghost story to-night," interrupted the scientist.

Ernest Weston arrived on the nine-thirty train and had a long, earnest conversation with The Thinking Machine, while Hatch was permitted to cool his toes in solitude. At last they joined the reporter.

"Take a revolver by all means," instructed The Thinking Machine.

"Do you think that necessary?" asked Weston.

"It is--absolutely," was the emphatic response.

Weston left them after awhile. Hatch wondered where he had gone, but no information was forthcoming. In a general sort of way he knew that The Thinking Machine was to go to the haunted house, but he didn't know when; he didn't even know if he was to accompany him.

At last they started, The Thinking Machine swinging a hammer he had borrowed from his landlord. The night was perfectly black, even the road at their feet was invisible. They stumbled frequently as they walked on up the cliff toward the house, dimly standing out against the sky. They entered by way of the kitchen, passed through to the stairs in the main hall, and there Hatch indicated in the darkness the spot from which he had twice seen the flaming phantom.

"You go in the drawing-room behind here," The Thinking Machine instructed. "Don't make any noise whatever."

For hours they waited, neither seeing the other. Hatch heard his heart thumping heavily; if only he could see the other man; with an effort he recovered from a rapidly growing nervousness and waited, waited. The Thinking Machine sat perfectly rigid on the stair, the hammer in his right hand, squinting steadily through the darkness.

At last he heard a noise, a slight nothing; it might almost Have been his imagination. It was as if something had glided across the floor, and he was more alert than ever. Then came the dread misty light in the reception-hall, or was it in the library? He could not say. But he looked, looked, with every sense alert.

Gradually the light grew and spread, a misty whiteness which was unmistakably light, but which did not illuminate anything around it. The Thinking Machine saw it without the tremor of a nerve; saw the mistiness grow more marked in certain places, saw these lines gradually grow into the figure of a person, a person who was the center of a white light.

Then the mistiness fell away and The Thinking Machine saw the outline in bold relief. It was that of a tall figure, clothed in a robe, with head covered by a sort of hood, also luminous. As The Thinking Machine looked he saw an arm raised, and in the hand he saw a dagger. The attitude of the figure was distinctly a threat. And yet The Thinking Machine had not begun to grow nervous; he was only interested.

As he looked, the other hand of the apparition was raised and seemed to point directly at him. It moved through the air in bold sweeps, and The Thinking Machine saw the word "Death," written in air luminously, swimming before his eyes. Then he blinked incredulously. There came a wild, demoniacal shriek of laughter from somewhere. Slowly, slowly the scientist crept down the steps in his stocking feet, silent as the apparition itself, with the hammer still in his hand. He crept on, on toward the figure. Hatch, not knowing the movements of The Thinking Machine, stood waiting for something, he didn't know what. Then the thing he had been waiting for happened. There was a sudden loud clatter as of broken glass, the phantom and writing faded, crumbled up, disappeared, and somewhere in the old house there was the hurried sound of steps. At last the reporter heard his name called quietly. It was The Thinking Machine.

"Mr. Hatch, come here."

The reporter started, blundering through the darkness toward the point whence the voice had come. Some irresistible thing swept down upon him; a crashing blow descended on his head, vivid lights flashed before his eyes; he fell. After a while, from a great distance, it seemed, he heard faintly a pistol shot.

VI

When Hatch fully recovered consciousness it was with the flickering light of a match in his eyes--a match in the hand of The Thinking Machine, who squinted anxiously at him as he grasped his left wrist. Hatch, instantly himself again, sat up suddenly.

"What's the matter?" he demanded.

"How's your head?" came the answering question.

"Oh," and Hatch suddenly recalled those incidents which had immediately preceded the crash on his head. "Oh, it's all right, my head, I mean. What happened?"

"Get up and come along," requested The Thinking Machine, tartly. "There's a man shot down here."

Hatch arose and followed the slight figure of the scientist through the front door, and toward the water. A light glimmered down near the water and was dimly reflected; above, the clouds had cleared somewhat and the moon was struggling through.

"What hit me, anyhow?" Hatch demanded, as they went. He rubbed his head ruefully.

"The ghost," said the scientist. "I think probably he has a bullet in him now--the ghost."

Then the figure of the town constable separated itself from the night and approached.

"Who's that?"

"Professor Van Dusen and Mr. Hatch."

"Mr. Weston got him all right," said the constable, and there was satisfaction in his tone. "He tried to come out the back way, but I had that fastened, as you told me, and he came through the front way. Mr. Weston tried to stop him, and he raised the knife to stick him; then Mr. Weston shot. It broke his arm, I think. Mr. Weston is down there with him now."

The Thinking Machine turned to the reporter.

"Wait here for me, with the constable," he directed. "If the man is hurt he needs attention. I happen to be a doctor; I can aid him. Don't come unless I call."

For a long while the constable and the reporter waited. The constable talked, talked with all the bottled-up vigor of days. Hatch listened impatiently; he was eager to go down there where The Thinking Machine and Weston and the phantom were.

After half an hour the light disappeared, then he heard the swift, quick churning of waters, a sound as of a powerful motor-boat maneuvering, and a long body shot out on the waters.

"All right down there?" Hatch called.

"All right," came the response.

There was again silence, then Ernest Weston and The Thinking Machine came up.

"Where is the other man?" asked Hatch.

"The ghost--where is he?" echoed the constable.

"He escaped in the motor-boat," replied Mr. Weston, easily.

"Escaped?" exclaimed Hatch and the constable together.

"Yes, escaped," repeated The Thinking Machine, irritably. "Mr. Hatch, let's go to the hotel."

Struggling with a sense of keen disappointment, Hatch followed the other two men silently. The constable walked beside him, also silent. At last they reached the hotel and bade the constable, a sadly puzzled, bewildered and crestfallen man, good-night.

"By ginger!" he remarked, as he walked away into the dark.

Upstairs the three men sat, Hatch impatiently waiting to hear the story. Weston lighted a cigarette and lounged back; The Thinking Machine sat with finger tips pressed together, studying the ceiling.

"Mr. Weston, you understand, of course, that I came into this thing to aid Mr. Hatch?" he asked.

"Certainly," was the response. "I will only ask a favor of him when you conclude."

The Thinking Machine changed his position slightly, readjusted his thick glasses for a long, comfortable squint, and told the story, from the beginning, as he always told a story. Here it is:

"Mr. Hatch came to me in a state of abject, cringing fear and told me of the mystery. It would be needless to go over his examination of the house, and all that. It is enough, to say that he noted and told me of four large mirrors in the dining-room and living-room of the house; that he heard and brought to me the stories in detail of a tragedy in the old house and missing jewels, valued at a hundred thousand dollars, or more.

"He told me of his trip to the house that night, and of actually seeing the phantom. I have found in the past that Mr. Hatch is a cool, level-headed young man, not given to imagining things which are not there, and controls himself well. Therefore I knew that anything of charlatanism must be clever, exceedingly clever, to bring about such a condition of mind in him.

"Mr. Hatch saw, as others had seen, the figure of a phantom in the reception-room near the door of the library, or in the library near the door of the reception-room, he couldn't tell exactly. He knew it was near the door. Preceding the appearance of the figure he heard a slight noise which he attributed to a rat running across the floor. Yet the house had not been occupied for five years. Rodents rarely remain in a house--I may say never--for that long if it is uninhabited. Therefore what was this noise? A noise made by the apparition itself? How?

"Now, there is only one white light of the kind Mr. Hatch described known to science. It seems almost superfluous to name it. It is phosphorus, compounded with Fuller's earth and glycerine and one or two other chemicals, so it will not instantly flame as it does in the pure state when exposed to air. Phosphorus has a very pronounced odor if one is within, say, twenty feet of it. Did Mr. Hatch smell anything? No.

"Now, here we have several facts, these being that the apparition in appearing made a slight noise; that phosphorus was the luminous quality; that Mr. Hatch did not smell phosphorus even when he ran though the spot where the phantom had appeared. Two and two make four; Mr. Hatch saw phosphorus, passed through the spot where he had seen it, but did not smell it, therefore it was not there. It was a reflection he saw--a reflection of phosphorus. So far, so good.

"Mr. Hatch saw a finger lifted and write a luminous word in the air. Again he did not actually see this; he saw a reflection of it. This first impression of mine was substantiated by the fact that when he rushed for the phantom _a part of it_ disappeared, first half of it, he said--then the other half. So his extended hands grasped only air.

"Obviously those reflections had been made on something, probably a mirror as the most perfect ordinary reflecting surface. Yet he actually passed through the spot where he had seen the apparition and had not struck a mirror. He found himself in another room, the library, having gone through a door which, that afternoon, he had himself closed. He did not open it then.

"Instantly a sliding mirror suggested itself to me to fit all these conditions. He saw the apparition in the door, then saw only half of it, then all of it disappeared. He passed through the spot where it had been. All of this would have happened easily if a large mirror, working as a sliding door, and hidden in the wall, were there. Is it clear?"

"Perfectly," said Mr. Weston.

"Yes," said Hatch, eagerly. "Go on."

"This sliding mirror, too, might have made the noise which Mr. Hatch imagined was a rat. Mr. Hatch had previously told me of four large mirrors in the living and dining-rooms. With these, from the position in which he said they were, I readily saw how the reflection could have been made.

"In a general sort of way, in my own mind, I had accounted for the phantom. Why was it there? This seemed a more difficult problem. It was possible that it had been put there for amusement, but I did not wholly accept this. Why? Partly because no one had ever heard of it until the Italian workmen went there. Why did it appear just at the moment they went to begin the work Mr. Weston had ordered? Was it the purpose to keep the workmen away?

"These questions arose in my mind in order. Then, as Mr. Hatch had told me of a tragedy in the house and hidden jewels, I asked him to learn more of these. I called his attention to the fact that it would be a queer circumstance if these jewels were still somewhere in the old house. Suppose some one who knew of their existence were searching for them, believed he could find them, and wanted something which would effectually drive away any inquiring persons, tramps or villagers, who might appear there at night. A ghost? Perhaps.

"Suppose some one wanted to give the old house such a reputation that Mr. Weston would not care to undertake the work of repair and refurnishing. A ghost? Again perhaps. In a shallow mind this ghost might have been interpreted even as an effort to prevent the marriage of Miss Everard and Mr. Weston. Therefore Mr. Hatch was instructed to get all the facts possible about you, Mr. Weston, and members of your family. I reasoned that members of your own family would be more likely to know of the lost jewels than anyone else after a lapse of fifty years.

"Well, what Mr. Hatch learned from you and your cousin, George Weston, instantly, in my mind, established a motive for the ghost. It was, as I had supposed, an effort to drive workmen away, perhaps only for a time, while a search was made for the jewels. The old tragedy in the house was a good pretext to hang a ghost on. A clever mind conceived it and a clever mind put it into operation.

"Now, what one person knew most about the jewels? Your cousin George, Mr. Weston. Had he recently acquired any new information as to these jewels? I didn't know. I thought it possible. Why? On his own statement that his mother, then a bride, got the story of the entire affair direct from his grandmother, who remembered more of it than anybody else--who might even have heard his grandfather say where he intended hiding the jewels."

The Thinking Machine paused for a little while, shifted his position, then went on.

"George Weston refused to go with you, Mr. Weston, and Mr. Hatch, to the ghost party, as you called it, because he said he was going to a ball in Providence that night. He did not go to Providence; I learned that from your correspondent there, Mr. Hatch; so George Weston might, possibly, have gone to the ghost party after all.

"After I looked over the situation down there it occurred to me that the most feasible way for a person, who wished to avoid being seen in the village, as the perpetrator of the ghost did, was to go to and from the place at night in a motor-boat. He could easily run in the dark and land at the foot of the cliff, and no soul in the village would be any the wiser. Did George Weston have a motor-boat? Yes, an electric, which runs almost silently.

"From this point the entire matter was comparatively simple. I knew--the pure logic of it told me--how the ghost was made to appear and disappear; one look at the house inside convinced me beyond all doubt. I knew the motive for the ghost--a search for the jewels. I knew, or thought I knew, the name of the man who was seeking the jewels; the man who had fullest knowledge and fullest opportunity, the man whose brain was clever enough to devise the scheme. Then, the next step to prove what I knew. The first thing to do was to find the jewels."

"Find the jewels?" Weston repeated, with a slight smile.

"Here they are," said The Thinking Machine, quietly.

And there, before the astonished eyes of the broker, he drew out the gems which had been lost for fifty years. Mr. Weston was not amazed; he was petrified with astonishment and sat staring at the glittering heap in silence. Finally he recovered his voice.

"How did you do it?" he demanded. "Where?"

"I used my brain, that's all," was the reply. "I went into the old house seeking them where the owner, under all conditions, would have been most likely to hide them, and there I found them."

"But--but--" stammered the broker.

"The man who hid these jewels hid them only temporarily, or at least that was his purpose," said The Thinking Machine, irritably. "Naturally he would not hide them in the woodwork of the house, because that might burn; he did not bury them in the cellar, because that has been carefully searched. Now, in that house there is nothing except woodwork and chimneys above the cellar. Yet he hid them in the house, proven by the fact that the man he killed was killed in the house, and that the outside ground, covered with snow, showed two sets of tracks into the house and none out. Therefore he did hide them in the cellar. Where? In the stonework. There was no other place.

"Naturally he would not hide them on a level with the eye, because the spot where he took out and replaced a stone would be apparent if a close search were made. He would, therefore, place them either above or below the eye level. He placed them above. A large loose stone in the chimney was taken out and there was the box with these things."

Mr. Weston stared at The Thinking Machine with a new wonder and admiration in his eyes.

"With the jewels found and disposed of, there remained only to prove the ghost theory by an actual test. I sent for you, Mr. Weston, because I thought possibly, as no actual crime had been committed, it would be better to leave the guilty man to you. When you came I went into the haunted house with a hammer--an ordinary hammer--and waited on the steps.

"At last the ghost laughed and appeared. I crept down the steps where I was sitting in my stocking feet. I knew what it was. Just when I reached the luminous phantom I disposed of it for all time by smashing it with a hammer. It shattered a large sliding mirror which ran in the door inside the frame, as I had thought. The crash startled the man who operated the ghost from the top of a box, giving it the appearance of extreme height, and he started out through the kitchen, as he had entered. The constable had barred that door after the man entered; therefore the ghost turned and came toward the front door of the house. There he ran into and struck down Mr. Hatch, and ran out through the front door, which I afterward found was not securely fastened. You know the rest of it; how you found the motorboat and waited there for him; how he came there, and--"

"Tried to stab me," Weston supplied. "I had to shoot to save myself."

"Well, the wound is trivial," said The Thinking Machine. "His arm will heal up in a little while. I think then, perhaps, a little trip of four or five years in Europe, at your expense, in return for the jewels, might restore him to health."

"I was thinking of that myself," said the broker, quietly. "Of course, I couldn't prosecute."

"The ghost, then, was--?" Hatch began.

"George Weston, my cousin," said the broker. "There are some things in this story which I hope you may see fit to leave unsaid, if you can do so with justice to yourself."

Hatch considered it.

"I think there are," he said, finally, and he turned to The Thinking Machine. "Just where was the man who operated the phantom?"

"In the dining-room, beside the butler's pantry," was the reply. "With that pantry door closed he put on the robe already covered with phosphorus, and merely stepped out. The figure was reflected in the tall mirror directly in front, as you enter the dining-room from the back, from there reflected to the mirror on the opposite wall in the living-room, and thence reflected to the sliding mirror in the door which led from the reception-hall to the library. This is the one I smashed."

"And how was the writing done?"

"Oh, that? Of course that was done by reversed writing on a piece of clear glass held before the apparition as he posed. This made it read straight to anyone who might see the last reflection in the reception-hall."

"And the blood thrown on the constable and the others when the ghost was in the yard?" Hatch went on.

"Was from a dog. A test I made in the drug store showed that. It was a desperate effort to drive the villagers away and keep them away. The ghost cat and the tying of the watchman to his bed were easily done."

All sat silent for a time. At length Mr. Weston arose, thanked the scientist for the recovery of the jewels, bade them all good-night and was about to go out. Mechanically Hatch was following. At the door he turned back for the last question.

"How was it that the shot the constable fired didn't break the mirror?"

"Because he was nervous and the bullet struck the door beside the mirror," was the reply. "I dug it out with a knife. Good-night."

The Mystery of a Studio

BY JACQUES FUTRELLE

I

Where the light slants down softly into one corner of a noted art museum in Boston there hangs a large picture. Its title is "Fulfillment." Discriminating art critics have alternately raved at it and praised it; from the day it appeared there it has been a fruitful source of acrimonious discussion. As for the public, it accepts the picture as a startling, amazing thing of beauty, and there is always a crowd around it.

"Fulfillment" is typified by a woman. She stands boldly forth against a languorous background of deep tones. Flesh tints are daringly laid on the semi-nude figure, diaphanous draperies hide, yet, reveal, the exquisite lines of the body. Her arms are outstretched straight toward the spectator, the black hair ripples down over her shoulders, the red lips are slightly parted. The mysteries of complete achievement and perfect life lie in her eyes.

Into this picture the artist wove the spiritual and the worldly; here he placed on canvas an elusive portrayal of success in its fullest and widest meaning. One's first impression of the picture is that it is sensual; another glance shows the underlying typification of success, and love and life are there. One by one the qualities stand forth.

The artist was Constans St. George. After the first flurry of excitement which the picture caused there came a whirlwind of criticism. Then the artist, who had labored for months on the work which he had intended and which proved to be his masterpiece, collapsed. Some said it was overwork--they were partly right; others that it was grief at the attacks of critics who did not see beyond the surface of the painting. Perhaps they, too, were partly right.

However that may be, it is a fact that for several months after the picture was exhibited St. George was in a sanitarium. The physicians said it was nervous collapse--a total breaking-down, and there were fears for his sanity. At length there came an improvement in his condition, and he returned to the world. Since then he had lived quietly in his studio, one of many in a large office building. From time to time he had been approached with offers for the picture, but always he refused to sell. A New York millionaire made a flat proposition of fifty thousand dollars, which was as flatly refused.

The artist loved the picture as a child of his own brain; every day he visited the museum where it was exhibited and stood looking at it with something almost like adoration in his eyes. Then he went away quietly, tugging at his straggling beard and with the dim blindness of tears in his eyes. He never spoke to anyone; and always avoided that moment when a crowd was about.

Whatever the verdict of the critics or of the public on "Fulfillment," it was an admitted fact that the artist had placed on canvas a representation of a wonderfully beautiful woman. Therefore, after a while the question of who had been the model for "Fulfillment" was aroused. No one knew, apparently. Artists who knew St. George could give no idea--they only knew that the woman who had posed was not a professional model.

This led to speculation, in which the names of some of the most beautiful women in the United States were mentioned. Then a romance was woven. This was that the artist was in love with the original and that his collapse was partly due to her refusal to wed him. This story, as it went, was elaborated until the artist was said to be pining away for love of one whom he had immortalized in oils.

As the story grew it gained credence, and a search was still made occasionally for the model. Half a dozen times Hutchinson Hatch, a newspaper reporter of more than usual astuteness, had been on the story without success; he had seen and studied the picture until every line of it was firmly in his mind. He had seen and talked to St. George twice. The artist would answer no questions as to the identity of the model.

This, then, was the situation on the morning of Friday, November 27, when Hatch entered the reportorial rooms of his newspaper. At sight of him the City Editor removed his cigar, placed it carefully on the "official block" which adorned his flat-topped desk, and called to the reporter.

"Girl reported missing," he said, brusquely. "Name is Grace Field, and she lived at No. 195 ---- Street, Dorchester. Employed in the photographic department of the Star, a big department store. Report of her disappearance made to the police early to-day by Ellen Stanford, her room-mate, also employed at the Star. Jump out on it and get all you can. Here is the official police description."

Hatch took a slip of paper and read:

"Grace Field, twenty-one years, five feet seven inches tall, weight 151 pounds, profuse black hair, dark-brown eyes, superb figure, oval face, said to be beautiful."

Then the description went into details of her dress and other things which the police note in their minute records for a search. Hatch absorbed all these things and left his office. He went first to the department store, where he was told Miss Stanford had not appeared that day, sending a note that she was ill.

From the store Hatch went at once to the address given in Dorchester. Miss Stanford was in. Would she see a reporter? Yes. So Hatch was ushered into the modest little parlor of a boarding-house, and after a while Miss Stanford entered. She was a petite blonde, with pink cheeks and blue eyes, now reddened by weeping.

Briefly Hatch explained the purpose of his visit--an effort to find Grace Field, and Miss Stanford eagerly and tearfully expressed herself as willing to tell him all she knew.

"I have known Grace for five months," she explained; "that is, from the time she came to work at the Star. Her counter is next to mine. A friendship grew up between us, and we began rooming together. Each of us is alone in the East. She comes from the West, somewhere in Nevada, and I come from Quebec.

"Grace has never said much about herself, but I know that she had been in Boston a year or so before I met her. She lived somewhere in Brookline, I believe, but it seems that she had some funds and did not go to work until she came to the Star. This is as I understand it.

"Three days ago, on Tuesday it was, there was a letter for Grace when we came in from work. It seemed to agitate her, although she said nothing to me about what was in it, and I did not ask. She did not sleep well that night, but next morning, when we started to work, she seemed all right. That is, she was all right until we got to the subway station, and then she told me to go on to the store, saying she would be there after a while.

"I left her, and at her request explained to the manager of our floor that she would be late. From that time to this no one has seen her or heard of her. I don't know where she could have gone," and the girl burst into tears. "I'm sure something dreadful has happened to her."

"Possibly an elopement?" Hatch suggested.

"No," said the girl, quickly. "No. She was in love, but the man she was in love with has not heard of her either. I saw him the night after she disappeared. He called here and asked for her, and seemed surprised that she had not returned home, or had not been at work."

"What's his name?" asked Hatch.

"He's a clerk in a bank," said Miss Stanford. "His name is Willis--Victor Willis. If she had eloped with him I would not have been surprised, but I am positive she did not, and if she did not, where is she?"

"Were there any other admirers you know of?" Hatch asked.

"No," said the girl, stoutly. "There may have been others who admired her, but none she cared for. She has told me too much--I--I know," she faltered.

"How long have you known Mr. Willis?" asked Hatch.

The girl's face flamed scarlet instantly.

"Only since I've known Grace," she replied. "She introduced us."

"Has Mr. Willis ever shown you any attention?"

"Certainly not," Miss Stanford flashed, angrily. "All his attention was for Grace."

There was the least trace of bitterness in the tone, and Hatch imagined he read it aright. Willis was a man whom both perhaps loved; it might be in that event that Miss Stanford knew more than she had said of the whereabouts of Grace Field. The next step was to see Willis.

"I suppose you'll do everything possible to find Miss Field?" he asked.

"Certainly," said the girl.

"Have you her photograph?"

"I have one, yes, but I don't think--I don't believe Grace--"

"Would like to have it published?" asked Hatch. "Possibly not, under ordinary circumstances--but now that she is missing it is the surest way of getting a trace of her. Will you give it to me?"

Miss Stanford was silent for a time. Then apparently she made up her mind, for she arose.

"It might be well, too," Hatch suggested, "to see if you can find the letter you mentioned."

The girl nodded and went out. When she returned she had a photograph in her hand; a glimpse of it told Hatch it was a bust picture of a woman in evening dress. The girl was studying a scrap of paper.

"What is it?" asked Hatch, quickly.

"I don't know," she responded. "I was searching for the letter when I remembered she frequently tore them up and dropped them into the waste-basket. It had been emptied every day, but I looked and found this clinging to the bottom, caught between the cane."

"May I see it?" asked the reporter.

The girl handed it to him. It was evidently a piece of a letter torn from the outer edge just where the paper was folded to put it into the envelope. On it were these words and detached letters, written in a bold hand:

sday
ill you
to the
ho

Hatch's eyes opened wide.

"Do you know the handwriting?" he asked.

The girl faltered an instant.

"No," she answered, finally.

Hatch studied her face a moment with cold eyes, then turned the scrap of paper over. The other side was blank. Staring down at it he veiled a glitter of anxious interest.

"And the picture?" he asked, quietly.

The girl handed him the photograph. Hatch took it and as he looked it was with difficulty he restrained an exclamation of astonishment--triumphant astonishment. Finally, with his brain teeming with possibilities, he left the house, taking the photograph and the scrap of paper. Ten minutes later he was talking to his City Editor over the 'phone.

"It's a great story," he explained, briefly. "The missing girl is the mysterious model of St. George's picture, 'Fulfillment.'"

"Great," came the voice of the City Editor.

II

Having laid his story before his City Editor, Hatch sat down to consider the fragmentary writing. Obviously "sday" represented a day of the week--either Tuesday, Wednesday, or Thursday, these being the only days where the letter "s" preceded the "day." This seemed to be a definite fact, but still it meant nothing. True, Miss Field had last been seen on Wednesday, but then?--nothing.

To the next part of the fragment Hatch attached the greatest importance It was the possibility of a threat, ---- "ill you." Did it mean "kill you" or "will you" or "till you" or--or what? There might be dozens of other words ending in "ill" which he did not recall at the moment. His imagination hammered the phrase into his brain as "kill you." The "to the"--the next words--were clear, but meant nothing at all. The last letters were distinctly "ho," possibly "hope."

Then Hatch began real work on the story. First he saw the bank clerk, Victor Willis, who Miss Stanford had said loved Grace Field, and whom Hatch suspected Miss Stanford loved. He found Willis a grim, sullen-faced young man of twenty-eight years, who would say nothing.

From that point Hatch worked vigorously for several hours. At the end of that time he had found out that on Wednesday, the day of Miss Field's disappearance, a veiled woman--probably Grace Field--had called at the bank and inquired for Willis. Later, Willis, urging necessity, had asked to be allowed the day off and left the bank. He did not appear again until next morning. His actions did not impress any of his associates with the idea that he was a bridegroom; in fact, Hatch himself had given up the idea that Miss Field had eloped. There seemed no reason for an elopement.

When Hatch called at the studio, and home, of Constans St. George, to inform him of the disappearance of the model whose identity had been so long guarded, he was told that Mr. St. George was not in; that is, St. George refused to answer knocks at the door, and had not been seen for a day or so. He frequently disappeared this way, his informant said.

With these facts--and lack of facts--in his possession on Friday evening, Hatch called on Professor S. F. X. Van Dusen. The Thinking Machine received him as cordially as he ever received anybody.

"Well, what is it?" he asked.

"I don't believe this is really worth your while, Professor," Hatch said, finally. "It's just a case of a girl who disappeared. There are some things about it which are puzzling, but I'm afraid it's only an elopement."

The Thinking Machine dragged up a footstool, planted his small feet on it comfortably and leaned back in his chair.

"Go on," he directed.

Then Hatch told the story, beginning at the time when the picture was placed in the art museum, and continuing up to the point where he had seen Willis after finding the photograph and the scrap of paper. He had always found that it saved time to begin at the beginning with The Thinking Machine; he did it now as a matter of course.

"And the scrap of paper?" asked The Thinking Machine.

"I have it here," replied the reporter.

For several minutes the scientist examined the fragment and then handed it back to the reporter.

"If one could establish some clear connection between that and the disappearance of the girl it might be valuable," he said. "As it is now, it means nothing. Any number of letters might be thrown into the waste-basket in the room the two girls occupied, therefore dismiss this for the moment."

"But isn't it possible--" Hatch began.

"Anything is possible, Mr. Hatch," retorted the other, belligerently. "You might take occasion to see the handwriting of St. George, the artist, and see if that is his--also look at Willis's. Even if it were Willis's, however, it may mean nothing in connection with this."

"But what could have happened to Miss Field?"

"Any one of fifty things," responded the other. "She might have fallen dead in the street and been removed to a hospital or undertaking establishment; she might have been arrested for shoplifting and given a wrong name; she might have gone mad and gone away; she might have eloped with another man; she might have committed suicide; she might have been murdered. The question is not what could have happened, but what did happen."

"Yes, I thoroughly understand that," Hatch replied, with a slight smile. "But still I don't see--"

"Probably you don't," snapped the other. "We'll take it for granted that she did none of these things, with the possible exception of eloping, killing herself, or was murdered. You are convinced that she did not elope. Yet you have only run down one possible end of this--that is, the possibility of her elopement with Willis. You don't believe she did elope with him. Well, why not with St. George?"

"St. George?" gasped Hatch. "A great artist elope with a shop-girl?"

"She was his ideal in a picture which you say is one of the greatest in the world," replied the other, testily. "That being true, it is perfectly possible that she was his ideal for a wife, isn't it?"

The matter had not occurred to Hatch in just that light. He nodded his head, with a feeling of having been weighed and found wanting.

"Now, you say, too, that St. George has not been seen around his studio for a couple of days," said the scientist. "What is more possible than that they are together somewhere?"

"I see," said the reporter.

"It was understood, too, as I understand it, that St. George was in love with her," went on The Thinking Machine. "So, I should imagine a solution of the mystery might be reached by taking St. George as the center of the affair. Suicide may be passed by for the moment, because she had no known motive for suicide--rather, if she loved Willis, she had every reason to live. Murder, too, may be passed for the moment--although there is a possibility that we might come back to that. Question St. George. He will listen if you make him, and then he must answer."

"But his place is all closed up," said Hatch. "It is supposed he is half crazy."

"Possibly he might be," said The Thinking Machine. "Or it is possible that he is keeping to his studio at work--or he might even be married to Miss Field and she might be there with him."

"Well, I see no way to ascertain definitely that he is there," said the reporter, and a puzzled wrinkle came into his face. "Of course I might remain on watch night and day to see if he comes out for food, or if anything to eat is sent in."

"That would take too long, and besides it might not happen at all," said The Thinking Machine. He arose and went into the adjoining room. He returned after a moment, and glanced at the clock on the mantel. "It is just nine o'clock now," he commented. "How long would it take you to get to the studio?"

"Half an hour."

"Well, go there now," directed the scientist. "If Mr. St. George is in his studio he will come out of it to-night at thirty-two minutes past nine. He will be running, and may not wear either a hat or coat."

"What?" and Hatch grinned, a weak, puzzled grin.

"You wait where he can't see you when he comes out," the scientist went on. "When he goes he may leave the door open. If he does go on see if you find any trace of Miss Field, and then, on his return, meet him at the outer door, ask him what you please, and come to see me to-morrow morning. He will be out of his studio about twenty minutes."

Vaguely Hatch felt that the scientist was talking rot, but he had seen this strange mind bring so many odd things to pass that he could not doubt this, even if it were absurd on its face.

"At thirty-two minutes past nine to-night," said the reporter, and he glanced at his watch.

"Come to see me to-morrow after you see the handwriting of Willis and St. George," directed the scientist. "Then you may also tell me just what happens to-night."

* * * * * * * *

Hatch was feeling like a fool. He was waiting in a darkened corner, just a few feet from St. George's studio. It was precisely half-past nine o'clock. He had been there for seven minutes. What strange power was to bring St. George, who for two days had denied himself to everyone, out of that studio, if, indeed, he were there?

For the twentieth time Hatch glanced at his watch, which he had set with the little clock in The Thinking Machine's home. Slowly the minute hand crept around, to 9:31, 9:31½, and he heard the door of the studio rattle. Then suddenly it was thrown open and St. George appeared.

Without a glance to right or left, hatless and coatless, he rushed out of the building. Hatch got only a glimpse of his face; his lips were pressed tightly together; there was a glint of madness in his eyes. He jerked at the door once, then ran through the hall and disappeared down the stairs leading to the street. The studio door stood open behind him.

III

When the clatter of the running footsteps had died away and Hatch heard the outer door slam, he entered the studio, closing the door behind him. It was close here, and there was a breath of Chinese incense which was almost stifling. One quick glance by the light of an incandescent told Hatch that he stood in the reception-room. Typically, from floor to ceiling, the place was the abode of an artist; there was a rich gradation of color and everywhere were scraps of art and half-finished studies.

The reporter had given up the idea of solving the mystery of why St. George had so suddenly left his apartments; now he devoted himself to a quick, minute search of the place. He found nothing to interest him in the reception-room, and went on into the studio where the artist did his work.

Hatch glanced around quickly, his eyes taking in all the details, then went to a little table which stood, half-covered with newspapers. He turned these over, then bent forward suddenly and picked up--a woman's glove. Beside it lay its mate. He stuffed them into his pocket.

Eagerly he sought now for anything that might come to hand. At last he reached another door, leading into the bedroom. Here on a large table was a chafing dish, many dishes which had not been washed, and all the other evidences of a careless man who did a great deal of his own cooking. There was a dresser here, too, a gorgeous, mahogany affair. Hatch didn't stop to admire this because his eye was attracted by a woman's veil which lay on it. He thrust it into his pocket.

"Quite a haul I'm making," he mused, grimly.

From this room a door, half open, led into a bathroom. Hatch merely glanced in, then looked at his watch. Fifteen minutes had elapsed. He must get out, and he started for the outer door. As he opened it quietly and stepped into the hall he heard the street door open one flight below, and started down the steps. There, half way, he met St. George.

"Mr. St. George?" he asked.

"No," was the reply.

Hatch knew his man perfectly, because he had seen him half a dozen times and had talked to him twice. The denial of identity therefore was futile.

"I came to tell you that Grace Field, the model for your 'Fulfillment,' has disappeared," Hatch went on, as the other glared at him.

"I don't care," snapped the other. He darted up the steps. Hatch listened until he heard the door of the studio close.

It was ten minutes to ten o'clock when Hatch left the building. Now he would see Miss Stanford and have her identify the gloves and the veil. He boarded a car and drew out and closely examined the gloves and veil. The gloves were tan, rather heavy, but small, and the veil was of some light, cobwebby material which he didn't know by name.

"If these are Grace Field's," the reporter argued, to himself, "it means something. If they are not, I'm simply a burglar."

There was a light in the Dorchester house where Miss Stanford lived, and the reporter rang the bell. A servant appeared.

"Would it be possible for me to see Miss Stanford for just a moment?" he asked.

"If she has not gone to bed."

He was ushered into the little parlor again. The servant disappeared, and after a moment Miss Stanford came in.

"I hated to trouble you so late," said the reporter, and she smiled at him frankly, "but I would like to ask if you have ever seen these?"

He laid in her hands the gloves and the veil. Miss Stanford studied them carefully and her hands trembled.

"The gloves, I know, are Grace's--the veil I am not so positive about," she replied.

Hatch felt a great wave of exultation sweep over him, and it stopped his tongue for an instant.

"Did you--did you find them in Mr. Willis's possession?" asked the girl.

"I am not at liberty to tell just where I found them," Hatch replied. "If they are Miss Field's--and you can swear to that, I suppose--it may mean that we have a clew."

"Oh, I was afraid it would be this way," gasped the girl, and she sank down weeping on a couch.

"Knew what would be which way?" asked Hatch, puzzled.

"I knew it! I knew it!" she sobbed. "Is there anything to connect Mr. Willis directly with the--_the murder_?"

The reporter started to say something, then paused. He wasn't quite sure of himself. He had uncovered something, he didn't know what yet.