Chapter VIII: Front Matter (8)

"It would be better, Miss Stanford," lie explained, gently, "if you would tell me all you know about this affair. The things which are now in my possession are fragmentary--if you could give me any new detail it would be only serving the ends of justice."

For a little while the girl was silent, then she arose and faced him.

"Is Mr. Willis yet under arrest?" she asked, calmly now.

"Not yet," said the reporter.

"Then I will say nothing else," she declared, and her lips closed in a straight line.

"What was the motive for murder?" Hatch insisted.

"I will say nothing else," she replied, firmly.

"And what makes you positive there was murder?"

"Good-night. You need not come again, for I will not see you."

Miss Stanford turned and left the room.

Hatch, sadly puzzled, bewildered, stood staring after her a moment, then went out, his brain alive with possibilities, with intangible ends which would not be connected. He was eager to lay the new facts before The Thinking Machine.

From Dorchester the reporter took a car for his home. In his room, with the tangible threads of the mystery spread out on a table, he thought and surmised far into the night, and when he finally replaced them all in his pocket and turned down the light it was with a hopeless shake of his head.

On the following morning when Hatch arose he picked up a paper and went to breakfast. He spread the paper before him and there--the first thing he saw--was a huge headline, stating that a burglar had entered the room of Constans St. George and had tried to kill Mr. St. George. A shot had been fired at him and had passed through his left arm.

Mr. St. George had been asleep when the door of his apartments was burst in by the thief. The artist arose at the noise, and as he stepped into the reception-room had been shot. The wound was trivial. The burglar escaped; there was no clew.

IV

It was a long story of seemingly hopeless complications that Hatch told The Thinking Machine that morning. Nothing connected with anything, and yet here was a series of happenings, all apparently growing out of the disappearance of Miss Field, and which must have some relation one to the other. At the conclusion of the story, Hatch passed over the newspaper containing the account of the burglary in the studio. The artist had been removed to a hospital.

The Thinking Machine read the newspaper account and turned to the reporter with a question:

"Did you see Willis's handwriting?"

"Not yet," replied the reporter.

"See it at once," instructed the other. "If possible, bring me a sample of it. Did you see St. George's handwriting?"

"No," the reporter confessed.

"See that and bring me a sample if you can. Find out first if Willis has a revolver now or has ever had. If so, see it and see if it is loaded or empty--its exact condition. Find out also if St. George has a revolver--and if he has one, get possession of it if it is in your power."

The scientist twisted the two gloves and the veil which Hatch had given to him in his fingers idly, then passed them to the reporter again.

Hatch arose and stood waiting, hat in hand.

"Also find out," The Thinking Machine went on, "the exact condition of St. George--his mental condition particularly. Find out if Willis is at his office in the bank to-day, and, if possible, where and how he spent last night. That's all."

"And Miss Stanford?" asked Hatch.

"Never mind her," replied The Thinking Machine. "I may see her myself. These other things are of immediate consequence. The minute you satisfy yourself come back to me. Quickness on your part may prevent a tragedy."

The reporter went away hurriedly. At four o'clock that afternoon he returned. The Thinking Machine greeted him; he held a piece of letter-paper in his hand.

"Well?" he asked.

"The handwriting is Willis's," said Hatch, without hesitation. "I saw a sample--it is identical, and the paper on which he writes is identical."

The scientist grunted.

"I also saw some of St. George's writing," the reporter went on, as if he were reciting a lesson. "It is wholly dissimilar."

The Thinking Machine nodded.

"Willis has no revolver that anyone ever heard of," Hatch continued. "He was at dinner with several of his fellow employees last night, and left the restaurant at eight o'clock."

"Been drinking?"

"Might have had a few drinks," responded the reporter. "He is not a drinking man."

"Has St. George a revolver?"

"I was unable to find that out or do anything except get a sample of his writing from another artist," the reporter explained. "He is in a hospital, raving crazy. It seems to be a return of the trouble he had once before, except it is worse. The wound itself is not bad."

The scientist was studying the sheet of paper.

"Have you that scrap?" he asked.

Hatch produced it, and the scientist placed it on the sheet; Hatch could only conjecture that he was fitting it to something else already there. He was engaged in this work when Martha entered.

"The young lady who was here earlier to-day wants to see you again," she announced.

"Show her in," directed The Thinking Machine, without raising his eyes.

Martha disappeared, and after a moment Miss Stanford entered. Hatch, himself unnoticed, stared at her curiously, and arose, as did the scientist. The girl's face was flushed a little, and there was an eager expression in her eyes.

"I know he didn't do it," she began. "I've just gotten a letter from Springfield stating that he was there on the day Grace went away--and--"

"Know who didn't do what?" asked the scientist.

"That Mr. Willis didn't kill Grace," replied the girl, her enthusiasm suddenly checked. "See here."

The scientist read a letter which she offered, and the girl sank into a chair. Then for the first time she saw Hatch and her eyes expressed her surprise. She stared at him a moment, then nodded a greeting, after which she fell to watching The Thinking Machine.

"Miss Stanford," he said, at length, "you made several mistakes when you were here before in not telling me the truth--all of it. If you will tell me all you know of this case I may be able to see it more clearly."

The girl reddened and stammered a little, then her lips trembled.

"Do you _know_--not conjecture, but _know_--whether or not Miss Field, or Grace, as you call her, was engaged to Willis?" the irritated voice asked.

"I--I know it, yes," she stammered.

"And you were in love with Mr. Willis--you _are_ in love with him?"

Again the tell-tale blush swept over her face. She glanced at Hatch; it was the nervousness of a girl who is driven to a confession of love.

"I regard Mr. Willis very highly," she said, finally, her voice low.

"Well," and the scientist arose and crossed to where the girl sat, "don't you see that a very grave charge might be brought home to you if you don't tell all of this? The girl has disappeared. There might be even a hint of murder in which your name would be mentioned. Don't you see?"

There was a long pause, and the girl stared steadily into the squint eyes above her. Finally her eyes fell.

"I think I understand. Just what is it you want me to answer?"

"Did or did you not ever hear Mr. Willis threaten Miss Field?"

"I did once, yes."

"Did or did you not know that Miss Field was the original of the painting?"

"I did not."

"It is a semi-nude picture, isn't it?"

Again there was a flush in the girl's face.

"I have heard it was," she said. "I have never seen it. I suggested to Grace several times that we go to see it, but she never would. I understand why now."

"Did Willis know she was the original of that painting? That is, knowing it yourself now, do you have any reason to suppose that he previously knew?"

"I don't know," she said, frankly. "I know that there was something which was always causing friction between them--something they quarreled about. It might have been that. That was when I heard Mr. Willis threaten her--it was something about shooting her if she ever did something--I don't know what."

"Miss Field knew him before you did, I think you said?"

"She introduced me to him."

The Thinking Machine fingered the sheet of paper he held.

"Did you know what those scraps of paper you brought me contained?"

"Yes, in a way," said the girl.

"Why did you bring them, then?"

"Because you told me you knew I had them, and I was afraid it might make more trouble for me and for Mr. Willis if I did not."

The Thinking Machine passed the sheet to Hatch.

"This will interest you, Mr. Hatch," he explained. "Those words and letters in parentheses are what I have supplied to complete the full text of the note, of which you had a mere scrap. You will notice how the scrap you had fitted into it."

The reporter read this:

"If you go to th(at stud)io Wednesday to see that artist, (I will k)ill you bec(ause I w)on't have it known to the world tha(t you a)re a model. I hope you will heed this warning. "V. W."

The reporter stared at the patched-up letter, pasted together with infinite care, and then glanced at The Thinking Machine, who settled himself again comfortably in the chair.

"And now, Miss Stanford," asked the scientist, in a most matter-of-fact tone, "where is the body of Miss Field?"

V

The blunt question aroused the girl, and she arose suddenly, staring at The Thinking Machine. He did not move. She stood as if transfixed, and Hatch saw her bosom rise and fall rapidly with the emotion she was seeking to repress.

"Well?" asked The Thinking Machine.

"I don't know," flamed Miss Stanford, suddenly, almost fiercely. "I don't even know she is dead. I know that Mr. Willis did not kill her, because, as that letter I gave you shows, he was in Springfield. I won't be tricked into saying anything further."

The outburst had no appreciable effect on The Thinking Machine beyond causing him to raise his eyebrows slightly as he looked at the defiant little figure.

"When did you last see Mr. Willis have a revolver?"

"I know nothing of any revolver. I know only that Victor Willis is innocent as you are, and that I love him. Whatever has become of Grace Field I don't know."

Tears leaped suddenly to her eyes, and, turning, she left the room. After a moment they heard the outer door slam as she passed out. Hatch turned to the scientist with a question in his eyes.

"Did you smell anything like chloroform or ether when you were in St. George's apartments?" asked The Thinking Machine as he arose.

"No," said Hatch. "I only noticed that the place seemed close, and there was an odor of Chinese incense--joss sticks--which was almost stifling."

The Thinking Machine looked at the reporter quickly, but said nothing. Instead, he passed out of the room, to return a few minutes later with his hat and coat on.

"Where are we going?" asked Hatch.

"To St. George's studio," was the answer.

Just then the telephone bell in the next room rang. The scientist answered it in person.

"Your City Editor," he called to Hatch.

Hatch went to the 'phone and remained there several minutes. When he came back there was a new excitement in his face.

"What is it?" asked the scientist.

"Another queer thing my City Editor told me," Hatch responded. "Constans St. George, raving mad, has escaped from the hospital and disappeared."

"Dear me, dear me!" exclaimed the scientist, quickly. It was as near surprise as he ever showed. "Then there is danger."

With quick steps he went to the telephone and called up Police Headquarters.

"Detective Mallory," Hatch heard him ask for. "Yes. This is Professor Van Dusen. Please meet me immediately here at my house. Be here in ten minutes? Good. I'll wait. It's a matter of great importance. Good-by."

Then impatiently The Thinking Machine moved about, waiting. The reporter, whose acquaintance with the logician was an extended one, had never seen him in just such a state. It started when he heard St. George had escaped.

At last they left the house and stood waiting on the steps until Detective Mallory appeared in a cab. Into that Hatch and The Thinking Machine climbed, after the latter had given some direction, and the cabby drove rapidly away. It was all a mystery to Hatch, and he was rather glad of it when Detective Mallory asked what it meant.

"Means that there is danger of a tragedy," said The Thinking Machine, crustily. "We may be in time to avert it. There is just a chance. If I'd only known this an hour ago--even half an hour ago--it might have been stopped."

The Thinking Machine was the first man out of the cab when it stopped, and Hatch and the detective followed quickly.

"Is Mr. St. George in his apartments?" asked the scientist of the elevator boy.

"No, sir," said the boy. "He's in hospital, shot."

"Is there a key to his place? Quick."

"I think so, sir, but I can't give it to you."

"Here, give it to me, then!" exclaimed the detective. He flashed a badge in the boy's eyes, and the youth immediately lost a deal of his coolness.

"Gee, a detective! Yes, sir."

"How many rooms has Mr. St. George?" asked the scientist.

"Three and a bath," the boy responded.

Two minutes later the three men stood in the reception-room of the apartments. There came to them from somewhere inside a deadly, stifling odor of chloroform. After one glance around The Thinking Machine rushed into the next room, the studio.

"Dear me, dear me!" he exclaimed.

There on the floor lay huddled the figure of a man. Blood had run from several wounds on his head. The Thinking Machine stooped a moment, and his slender fingers fumbled over the heart.

"Unconscious, that's all," he said, and he raised the man up.

"Victor Willis!" exclaimed Hatch.

"Victor Willis!" repeated The Thinking Machine, as if puzzled. "Are you sure?"

"Certain," said Hatch, positively. "It's the bank clerk."

"Then we are too late," declared the scientist.

He arose and looked about the room. A door to his right attracted his attention. He jerked it open and peered in. It was a clothes press. Another small door on the other side of the room was also thrown open. Here was a kitchenette, with a great quantity of canned stuffs.

The Thinking Machine went on into the little bedroom which Hatch had searched. He flung open the bathroom and peered in, only to shut it immediately. Then he tried the handle of another door, a closet. It was fastened.

"Ah!" he exclaimed.

Then on his hands and knees he sniffed at the crack between the door and the flooring. Suddenly, as if satisfied, he arose and stepped away from the door.

"Smash that door in," he directed.

Detective Mallory looked at him stupefied. There was a similar expression on Hatch's face.

"What's--what's in there?" the detective asked.

"Smash it," said the other, tartly. "Smash it, or God knows what you'll find in there."

The detective, a powerful man, and Hatch threw their weight against the door; it stood rigid. They pulled at the handle; it refused to yield.

"Lend me your revolver?" asked The Thinking Machine.

The weapon was in his hand almost before the detective was aware of it, and, placing the barrel to the keyhole, The Thinking Machine pulled the trigger. There was a resonant report, the lock was smashed and the detective put out his hand to open the door.

"Look out for a shot," warned The Thinking Machine, sharply.

VI

The Thinking Machine drew Detective Mallory and Hatch to one side, out of immediate range of any person who might rush out, then pulled the closet door open. A cloud of suffocating fumes--the sweet, sickening odor of chloroform--gushed out, but there was no sound from inside. The detective looked at The Thinking Machine inquiringly.

Carefully, almost gingerly, the scientist peered around the edge of the door. What he saw did not startle him, because it was what he expected. It was Constans St. George lying prone on the floor as if dead, with a blood-spattered revolver clasped loosely in one hand; the other hand grasped the throat of a woman, a woman of superb physical beauty, who also lay with face upturned, staring glassily.

"Open the windows--all of them, then help me," commanded the scientist.

As Detective Mallory and Hatch turned to obey the instructions, The Thinking Machine took the revolver from the inert fingers of the artist. Then Hatch and Mallory returned and together they lifted the unconscious forms toward a window.

"It's Grace Field," said the reporter.

In silence for half an hour the scientist labored over the unconscious forms of his three patients. The detective and reporter stood by, doing only what they were told to do. The wind, cold and stinging, came pouring through the windows, and it was only a few minutes until the chloroform odor was dissipated. The first of the three unconscious ones to show any sign of returning comprehension was Victor Willis, whose presence at all in the apartments furnished one of the mysteries which Hatch could not fathom.

It was evident that his condition was primarily due to the wounds on his head--two of which bled profusely. The chloroform had merely served to further deaden his mentality. The wounds were made with the butt of the revolver, evidently in the hands of the artist. Willis's eyes opened finally and he stared at the faces bending over him with uncomprehending eyes.

"What happened?" he asked.

"You're all right now," was the scientist's assuring answer. "This man is your prisoner, Detective Mallory, for breaking and entering and for the attempted murder of Mr. St. George."

Detective Mallory was delighted. Here was something he could readily understand; a human being given over to his care; a tangible thing to put handcuffs on and hold. He immediately proceeded to put the handcuffs on.

"Any need of an ambulance?" he asked.

"No," replied The Thinking Machine. "He'll be all right in half an hour."

Gradually as reason came back Willis remembered. He turned his head at last and saw the inert bodies of St. George and Grace Field, the girl whom he had loved.

"She was here, then!" he exclaimed suddenly, violently. "I knew it. Is she dead?"

"Shut up that young fool's mouth, Mr. Mallory," commanded the scientist, sharply. "Take him in the other room or send him away."

Obediently Mallory did as directed; there was that in the voice of this cold, calm being, The Thinking Machine, which compelled obedience. Mallory never questioned motives or orders.

Willis was able to walk to the other room with help. Miss Field and St. George lay side by side in the cold wind from the open window. The Thinking Machine had forced a little whisky down their throats, and after a time St. George opened his eyes.

The artist was instantly alert and tried to rise. He was weak, however, and even a strength given to him by the madness which blazed in his eyes did not avail. At last he lay raving, cursing, shrieking. The Thinking Machine regarded him closely.

"Hopeless," he said, at last.

Again for many minutes the scientist worked with the girl. Finally he asked that an ambulance be sent for. The detective called up the City Hospital on the telephone in the apartments and made the request. The Thinking Machine stared alternately at the girl and at the artist.

"Hopeless," he said again. "St. George, I mean."

"Will the girl recover?" asked Hatch.

"I don't know," was the frank reply. "She's been partly stupefied for days--ever since she disappeared, as a matter of fact. If her physical condition was as good as her appearance indicates she may recover. Now the hospital is the best place for her."

It was only a few minutes before two ambulances came and the three persons were taken away; Willis a prisoner, and a sullen, defiant prisoner, who refused to speak or answer questions; St. George raving hideously and cursing frightfully; the woman, beautiful as a marble statue, and colorless as death.

When they had all gone, The Thinking Machine went back into the bedroom and examined more carefully the little closet in which he had found the artist and Grace Field. It was practically a padded cell, relatively six feet each way. Heavy cushion of felt two or three inches thick covered the interior of the little room closely. In the top of it there was a small aperture, which had permitted some of the fumes of the chloroform to escape. The place was saturated with the poison.

"Let's go," he said, finally.

Detective Mallory and Hatch followed him out and a few minutes later sat opposite him in his little laboratory. Hatch had told a story over the telephone that made his City Editor rejoice madly; it was news, great, big, vital news.

"Now, Mr. Hatch, I suppose you want some details," said The Thinking Machine, as he relapsed into his accustomed attitude. "And you, too, Mr. Mallory, since you are holding Willis a prisoner on my say-so. Would you like to know why?"

"Sure," said the detective.

"Let's go back a little--begin at the beginning, where Mr. Hatch called on me," said The Thinking Machine. "I can make the matter clearer that way. And I believe the cause of justice, Mr. Mallory, requires absolute accuracy and clarity in all things, does it not?"

"Sure," said the detective again.

"Well, Mr. Hatch told me at some length of the preliminaries of this case," explained The Thinking Machine. "He told me the history of the picture; the mystery as to the identity of the model; her great beauty; how he found her to be Grace Field, a shop-girl. He also told me of the mental condition of the artist, St. George, and repeated the rumor as he knew it about the artist being heartbroken because the girl--his model--would not marry him.

"All this brought the artist into the matter of the girl's disappearance. She represented to him, physically, the highest ideal of which he could conceive--hope, success, life itself. Therefore it was not astonishing that he should fall in love with her; and it is not difficult to imagine that the girl did not fall in love with him. She is a beautiful woman, but not necessarily a woman of mentality; he is a great artist, eccentric, childish even in certain things. They were two natures totally opposed.

"These things I could see instantly. Mr. Hatch showed me the photograph and also the scrap of paper. At the time the scrap of paper meant nothing. As I pointed out, it might have no bearing at all, yet it made it necessary for me to know whose handwriting it was. If Willis's, it still might mean nothing; if St. George's, a great deal, because it showed a direct thread to him. There was reason to believe that any friendship between them had ended when the picture was exhibited.

"It was necessary, therefore, even that early in the work of reducing the mystery to logic to center it about St. George. This I explained to Mr. Hatch and pointed out the fact that the girl and the artist might have eloped--were possibly together somewhere. First it was necessary to get to the artist; Mr. Hatch had not been able to do so.

"A childishly simple trick, which seemed to amaze Mr. Hatch considerably, brought the artist out of his rooms after he had been there closely for two days. I told Mr. Hatch. that the artist would leave his rooms, if he were there, one night at 9:32, and told him to wait in the hall, then if he left the door open to enter the apartments and search for some trace of the girl. Mr. St. George did leave his apartments at the time I mentioned, and--"

"But why, how?" asked Hatch.

"There was one thing in the world that St. George loved with all his heart," explained the scientist. "That was his picture. Every act of his life has demonstrated that. I looked at a telephone book; I found he had a 'phone. If he were in his rooms, locked in, it was a bit of common sense that his telephone was the best means of reaching him. He answered the 'phone; I told him, just at 9:30, that the Art Museum was on fire and his picture in danger.

"St George left his apartments to go and see, just as I knew he would, hatless and coatless, and leaving the door open. Mr. Hatch went inside and found two gloves and a veil, all belonging to Miss Field. Miss Stanford identified them and asked if he had gotten them from Willis, and if Willis had been arrested. Why did she ask these questions? Obviously because she knew, or thought she knew, that Willis had some connection with the affair.

"Mr. Hatch detailed all his discoveries and the conversation with Miss Stanford to me on the day after I 'phoned to St. George, who, of course, had found no fire. It showed that Miss Stanford suspected Willis, whom she loved, of the murder of Miss Field. Why? Because she had heard him threaten. He's a hare-brained young fool, anyway. What motive? Jealousy. Jealousy of what? He knew in some way that she had posed for a semi-nude picture, and that the man who painted it loved her. There is your jealousy. It explains Willis's every act."

The Thinking Machine paused a moment, then went on:

"This conversation with Mr. Hatch made me believe Miss Stanford knew more than she was willing to tell. In what way? By a letter? Possibly. She had given Mr. Hatch a scrap of a letter; perhaps she had found another letter, or more of this. I sent her a note, telling her I knew she had these scraps of letters, and she promptly brought them to me. She had found them after Mr. Hatch saw her first somewhere in the house--in a bureau drawer she said, I think.

"Meanwhile, Mr. Hatch had called my attention to the burglary of St. George's apartments. One reading of that convinced me that it was Willis who did this. Why? Because burglars don't burst in doors when they think anyone is inside; they pick the lock. Knowing, too, Willis's insane jealousy, I figured that he would be the type of man who would go there to kill St. George if he could, particularly if he thought the girl was there.

"Thus it happened that I was not the only one to think that St. George knew where the girl was. Willis, the one most interested, thought she was there. I questioned Miss Stanford mercilessly, trying to get more facts about the young man from her which would bear on this, trying to trick her into some statement, but she was loyal to the last.

"All these things indicated several things. First, that Willis didn't actually know where the girl was, as he would have known had he killed her; second, that if she had disappeared with a man, it was St. George, as there was no other apparent possibility; third, that St. George would be with her or near her, even if he had killed her; fourth, the pistol shot through the arm had brought on again a mental condition which threatened his entire future, and now as it happens has blighted it.

"Thus, Miss Field and St. George were together. She loved Willis devotedly, therefore she was with St. George against her will, or she was dead. Where? In his rooms? Possibly. I determined to search there. I had just reached this determination when I heard St. George, violently insane, had escaped from the hospital. He had only one purpose then--to get to the woman. Then she was in danger.

"I reasoned along these lines, rushed to the artist's apartments, found Willis there wounded. He had evidently been there searching when St. George returned, and St. George had attacked him, as a madman will, and with the greater strength of a madman. Then I knew the madman's first step. It would be the end of everything for him; therefore the death of the girl and his own. How? By poison preferably, because he would not shoot her--he loved beauty too much. Where? Possibly in the place where she had been all along, the closet, carefully padded and prepared to withstand noises. It is really a padded cell. I have an idea that the artist, sometimes overcome by his insane fits, and knowing when they would come, prepared this closet and used it himself occasionally. Here the girl could have been kept and her shrieks would never have been heard. You know the rest."

The Thinking Machine stopped and arose, as if to end the matter. The others arose, too.

"I took you, Mr. Mallory, because you were a detective, and I knew I could force a way into the apartments which I imagined would be locked. I think that's all."

"But how did the girl get there?" asked Hatch.

"St George evidently asked her to come, possibly to pose again. It was a gratification to the girl to do this--a little touch of vanity that Willis was fighting so hard, and which led to his threats and his efforts to kill St. George. Of course the artist was insane when she came; his frantic love for her led him to make her a prisoner and hold her against her will. You saw how well he did it."

There was an awed pause. Hatch was rubbing the nap of his hat against his sleeve, thoughtfully. Detective Mallory had nothing to say, it was all said. Both turned as if to go, but the reporter had two more questions.

"I suppose St George's case is hopeless?"

"Absolutely. It will end in a few months with his death."

"And Miss Field?"

"If she is not dead by this time she will recover. Wait a minute." He went into the next room and they heard the telephone bell jingle. After a time he came out. "She will recover," he said. "Good-afternoon."

Wonderingly, Hutchinson Hatch, reporter, and Detective Mallory passed down the street together.

Gentleman Coggins: Alias Towers

BY OSWALD CRAWFURD, C.M.G.