The answer came with much emotion.
"The bow! The bow which sped the arrow which killed Miss Willetts. I do not want to see it. It hurts me—hurts me physically. Let me go, I entreat."
"Mr. Travis," urged the Coroner as they again emerged upon the open gallery, "you have said that there was no one with you in the section where you stood. If that was so, how came this bow to be where you have just seen it?"
A bewildered look, a slow shake of the head and nothing more.
"Did you know it was there? Did you see it thrown there?"
"No, I saw nothing. I am an honest man. You may believe me."
The Coroner scrutinized him closely but not unkindly.
"We shall know before night who handled that bow, Mr. Travis. It carries its own clue with it."
A gleam of unmistakable joy lighted up the Englishman's features.
"I am glad," he cried. "I am glad."
Coroner Price was a man of experience. He recognized the ring of truth in the Englishman's tones, and saying no more, led the way from the gallery.
A few minutes later he was on the lower floor. He had a short conversation with the two doormen; then he proceeded to the telephone and called up the Universal.
The result was startling.
Asked if the name of Rupert Henry Travis, Hertfordshire, England, was on their register, the answer was yes.
"The date of his arrival?"
"Early this morning."
"Any other arrivals to-day from the other side?"
"Yes, a Madame Duclos and a Miss Willetts."
The Coroner's tone altered. So much of the stranger's story was true, then.
"Will you connect me with Madame Duclos. I have important news to give her. Some woman had better be with her when she receives it."
"I am sorry, but I cannot do this. Madame Duclos has left."
"Left? Gone out, you mean?"
"No, left the hotel. She's been gone about half an hour. The young lady who came with her has gone out too, but we expect her back."
"You do. And what took the older woman away? What excuse did she give, and where has she gone?"
"I cannot tell you where she has gone. She left after receiving a telephone message from some one in town. Came down to the desk looking extremely distressed, said that she had had bad news and must go at once. I made out her bill and, at her request, that of the young lady, whom she said would be called for by a friend on her return to the hotel. These bills she paid; after that she left the hotel on foot, carrying her own bag. The young lady has not returned——"
"Enough. The young lady is dead, killed by chance here at the museum. A plain-clothes man will be with you shortly from Headquarters. Meanwhile keep your eyes and ears open. If a message comes for either Madame Duclos or Miss Willetts, notify me here; and if anyone calls, detain the party at all hazards. That's all; no time to talk."
And now Gryce entered the room. He was accompanied by an inspector. This was a welcome addition to their force. Coroner Price greeted him with cordiality:
"You've come in good time, Inspector. The death of this young girl struck down by an arrow shot by an unknown hand from the opposite side of the building bids fair to make a greater call on your resources than on mine. The woman who appears to have acted as companion to Miss Willetts has fled the hotel where they both took rooms immediately upon leaving the steamer. Either she has heard of the accident which has occurred here—and if so, how?—or she's but carrying out some deep-laid plan which it is highly important for us to know. It looks now like a premeditated crime."
"With this Englishman involved?"
"I doubt that; I seriously doubt that—don't you, Gryce? A more subtle head than his planned this strange crime."
"Yes; there can be little doubt about that. Shall I set the boys to work, Inspector? This Frenchwoman must be found."
"At once—a general alarm. You can get a description of her from the clerk at the Universal. She must not be allowed to leave town."
Mr. Gryce sat down before the telephone. Coroner Price proceeded to acquaint the Inspector with such details of the affair as were now known. The Curator moved restlessly about. Gloom had settled upon the museum. On only one face was there a smile to be seen, but that was a heavenly one, irradiating the countenance of her who had passed from the lesser to the larger world with the joy of earth still warm in her innocent heart.
It was late in the afternoon. The Inspector's office had hummed for hours with messages and reports, and the lull which had finally come seemed grateful to him. With relaxed brow and a fresh cigar, he sat in quiet contemplation of the facts brought out by the afternoon's inquiries. He was on the point of dismissing even these from his mind, when the door opened and Gryce came in.
Instantly his responsibilities returned upon him in full force. He did not wait for the expected report, but questioned the detective at once.
"You have been to the hotel," he said, pointing out a chair into which the old man dropped with a sigh as eloquent of anxiety as of fatigue. "What more did you learn there?"
"Very little. No message has come; no persons called. For them and for us these two women, Madame Duclos and Miss Willetts, are still an unknown quantity. Their baggage, which arrived while I was there, supplied the only information I was able to obtain."
"Their baggage! But that should tell us everything."
"It may if you think best to go through it. It is not heavy—a trunk for each, besides the one they brought with them from the steamer. From the pasters to be seen on them, they have come from the Continental Hotel, Paris, by way of the Ritz, London. At this latter place their stay was short. This is proved by the fact that only the steamer-trunk is pasted with the Ritz label. And this trunk was the one I found in their room at the Universal. From it Miss Willetts had taken the dress she wore to the museum. Her other clothes—I mean those she wore on arriving—lay in disorder on the bed and chairs. I should say that they had been tossed about by a careless if not hasty hand, while the trunk——"
"Well?"
"Stood open on the floor."
"Stood open?"
"Yes, I went through it, of course."
"And found nothing?"
"Nothing to help us to-day. No letters—no cards. Some clothing—some little trifles (bought in Paris, by the way) and one little book."
"A name in it?"
"Yes—Angeline; and one line of writing from some poem, I judge. I put it back where I found it. When we know more, it may help us to find her friends."
"And is that all?"
"Almost, but not quite. The young girl had a bag too. It stood on a table——"
"Well?"
"Empty. Everything had been tumbled out—turned upside down and the contents scattered. I looked them carefully over. Nothing, positively nothing, but what you would be likely to find in any young girl's traveling-bag. There's but one conclusion to be drawn."
"And what is that?"
"That all these things, such as they were, had been pushed hastily about after being emptied out on the table. That was not the young girl's work."
"Madame Duclos'!"
"You've hit it. She was in search of some one thing she wanted, and she took the quickest way of finding it. And——"
"Yes, Gryce?"
"She was in a desperate hurry, or she wouldn't have left the trunk open or all those dainty things lying about. Frenchwomen are methodical and very careful of their belongings. One other thing I noted. There was a loose nail in the lock of the trunk. Sticking to this nail was a raveling of brown wool. Here it is, sir. The woman—Madame Duclos—wore a dress of brown serge. If my calculations are not wrong and we succeed in getting a glimpse of that dress, we shall find a tear in the skirt—and what is more, one very near the hem."
"Made to-day?"
"Yes—another token of haste. She probably jerked at the skirt when she found herself caught. She could not have been herself to have done this—for which we may be glad."
"You mean that by this thoughtless action she has left a clue in our hands?"
"That and something more. That tear in her decent skirt will bother her. She will either make an immediate attempt to mend it, or else do the other obvious thing—buy a new one. In either case it gives us something by which to trace her. I have put Sweetwater on that job. He never tires, never wearies, never lets go. No report in yet from the terminals?"
"Not a word. But she will not get far. Sooner or later we shall find her if she does not come forward herself after reading the evening papers."
"She will never come forward."
"I am not so sure. Something not a little peculiar happened at the museum after you left. We had Reynolds up, and he made a most careful examination of that bow for finger-prints. He did not find any. But fortune favored us in another way almost as good."
"Now you interestme."
"We had brought the bow into the Curator's office, and it lay on the long table in the middle of the room. I had been looking it over (this was after Reynolds had gone, of course) and had already noted a certain defect in it, when on chancing to look up, my eyes fell on a mirror hanging in a closet the door of which stood wide open. A face was visible in it—a very white face which altered under my scrutiny into a semblance more natural. It was that of Correy—you remember Correy, one of the assistants, and an honest fellow enough, but more troubled at this moment than I had ever seen him. What could have happened?
"Wheeling quickly about, I caught him just as he started to go. He had openly declared that he did not know this bow; but it was evident that he did, and I did not hesitate to say so. Taken unawares, he could not hide his distress, which he proceeded to explain thus: He did remember the bow, now that he had the opportunity of seeing it closer. He pointed to the nick I had myself noticed and said that owing to this defect the bow had been cast aside, and the last time he had handled it——Here he caught his breath and stopped. Another memory had evidently returned to embarrass him."
"Did you succeed in getting him to acknowledge what it was?"
"Yes, after I had worked with him for some time. He didn't want to talk. In a moment you will see why. Going back to the time he had seen it before, he said that he had found it in the cellar in an old box, the contents of which he had been pulling over in a search for something very different. Amazed to find it there, he had taken it out, examined it carefully, noted the nick I mentioned and tossed it back again into the box. This he told, but reluctantly.
"Why reluctantly, I was soon to find out. He was not alone in the cellar. The shadow of some person at his back had fallen across the lid of the box as he was closing it. He did not recognize the shadow and had not given it at the time a second thought, but the remembrance of it came back vividly when he saw the bow lying before him and realized the part it had played in the morning's tragedy. Was it because he knew that only a person actively connected with the museum would have access to that part of the cellar? I asked. I did not expect an answer, and I did not get it. We looked at each other for a moment, then I let him go."
A momentary silence, which the Inspector broke by saying:
"Later I called the Curator in, and he also recognized the bow as belonging to the museum. But he volunteered no explanations and in fact had little to say on the subject. He was evidently too much startled by the direct connection which had thus been made between the crime (or accident, if you will) and the personnel of the museum."
"That was natural. He should be the first to see that the bow which shot the arrow must of necessity have been brought into the building by some other door than those at which the doormen stood guard. I had a talk with those men, and they both declared that no sticks or umbrellas or anything of that nature ever went by them or would be allowed to go by them, no matter how concealed or wrapped up. But to revert to the matter in hand. So Correy made absolutely no attempt to explain how this weapon had been carried from cellar to gallery without his knowledge?"
"No. He for one will have a sleepless night."
"Not he alone. I must and will see a way through this maze. To-morrow may bring luck. Ah, I forgot to say that I spent an hour of the three you allowed me with the captain of the steamer which brought over these two women. As might be expected, he had no information of any significance to give me; nor could I obtain much from such members of the crew as I could get hold of. One steward remembered the Englishman, chiefly because he never showed himself unless the young lady was on deck. But he never saw them speak."
"Which bears out Travis' story to the last detail."
"Exactly. I think we can depend uponhim; otherwise weshouldbe at sea."
"Yet his story is a very strange one."
"The whole affair is strange—the strangest I ever knew. But that isn't against it. It's the commonplace case which baffles. We shall get the key to the whole mystery yet."
"I've no doubt. Is Mr. Travis to be detained?"
"Yes, as witness."
"Does he object?"
"Not at all. Having spoken—told his whole story, as he says—he is rather glad than otherwise to be relieved from the common curiosity of strangers. He's a rare bird, Gryce. If he stops to think, he must see that he stands in a more or less ticklish position. But he does not betray by look or action any doubt of our entire belief in the truth of all his statements. His only trouble seems to be that he has lost, by these inhuman means, the girl upon whom he had set his heart. To-morrow we will confront him with Mrs. Taylor. She should be able to say whether he did or did not stand out in the open gallery at the moment Miss Willetts fell."
But Mr. Gryce had no encouragement to give him on this head.
"Mrs. Taylor is ill—very ill, as I take it. I stopped at her hotel to inquire. I was anxious about her for more than one reason and the report I got of her condition was far from favorable. She is suffering cruelly from shock. How occasioned, whether by the peculiar and startling death to which she was a witness or by the strangely coincident fancy to which she herself attributes her deep emotion, will have to be decided by further developments. Nothing which I was able to learn from doctor or nurse settled this interesting question. Meanwhile, no one is allowed to see her—or will be till she is on the direct road to recovery. Let us hope that this may be soon, or the inquest may be delayed indefinitely."
"I don't know as that is to be deplored. I imagine we shall find enough to fill in our time.... Any communications made by her before she collapsed? Did she send out or receive messages of any kind since her return from the museum?"
"She received none; but it is impossible to say whether or not she sent any out. There is a letter-chute very near her door. She may have dropped a letter in that any time before a watch was put upon her. You are thinking, of course, of the anxiety she expressed about her husband, and whether she took any measures for ascertaining if her fears for him had any foundation in fact?"
"I was, yes; but I presume this fancy had passed, or else she is too ill to remember her own aberrations. Were you able to effect an understanding with her nurse?"
"Yes; that's fixed. I had a short talk, too, with the proprietor of the hotel. He thinks very highly of Mrs. Taylor. She has lived in the one apartment for years, and he cannot say enough of her discreet and uniform life. Though she made no secret of the fact that she does not live with her husband, her conduct has always been such as to insure universal respect. He did not even make mention of eccentricities. If she is crazy, it is a late development. She seemed to have been all right up to this morning. Whichever way you turn, you encounter mystery and a closed door."
"The papers may spring the lock of that door at any moment. Publication does much in a case of this kind. To-morrow we may be in a much more favorable position. Meantime, let us recount the facts it is our business to clear up."
"On what hypothesis?"
"On all hypotheses. We are not sure enough of our premises, as yet, to confine ourselves to one."
"Very good, these are the ones which seem to me to be of the greatest importance:
"Whose hand carried the bow from cellar to gallery?
"Was it the same which carried the arrow from one gallery to the other?
"Is it possible for an arrow, shot through the loophole made by the curving-in of the vase, to reach the mark set for it by Mr. Travis' testimony?
"Which one of the men or women known to be in the museum when this arrow was released has enough knowledge of archery to string a bow? A mark can be reached by chance; but only an accustomed hand can string a bow as unyielding as this one.
"Who telephoned to Madame Duclos; and of what nature was the message which sent her from the hotel so precipitately that she not only left the most important part of her baggage behind but went away without making adequate provision for the young girl confided to her charge?
"Does this mean that she had been made acquainted with the fate of the young girl; and if so, by whom?"
"Business enough for us all," was the Inspector's comment as Gryce paused in this enumeration. "As you put it, I am more and more convinced that the key you spoke of a short time ago will be found in this missing woman's tightly shut hand."
"Which brings us round full-circle to our first conclusion: that Miss Willetts' death is not only a crime, but a premeditated one."
"Carried out, not by the one benefited, but by an agent selected for the purpose."
"An agent, moreover, who knew the ways and possibilities of the place."
"A logical conclusion; but still too incredible for belief. I find it hard to trust to appearances in this case."
"And I also. But as we have both said, time may clear away some of its incongruities. Meanwhile I have an experiment to propose." And leaning close to the Inspector, notwithstanding the fact that there was nobody within hearing and he knew it, he whispered a few words in his ear.
The Inspector stared.
"To-night?" he asked.
The detective nodded.
Night—the night of a great city with its myriad of garish lights and its many curious and incongruous activities.
Who has not felt his imagination stirred by the contrasts thus offered—contrasts never more apparent than at these hours of supposed rest? Grim walls, with dimpled children sleeping behind them! Places of merrymaking athrob with music and dazzling with jets of incandescent light, with grief in the heart of the dancer and despair making raucous the enforced laugh!
But nowhere in the great city of which we write on this night of May 23, 1913, was there to be found a scene of greater contradictions than in the court and galleries of its famous museum.
Lighted as for a reception, the architectural beauties of its Moorish arcades and carven balustrades flashed in full splendor. Gems of antique art, casts in which genius had stored its soul and caused to live before us the story of the ancients, pillars from desert sands, friezes from the Parthenon and bas-reliefs from Nineveh and Heliopolis, filled every corner, commanding the eye to satisfy itself in forms of deathless grace or superhuman power. And no one to heed! Not an eye to note that the Venus in one corner seemed to smile in the soft light with more than its accustomed allurement, or that the armor in which kings had fought wore a menacing sparkle exceeding that of other times and quieter days. Ghosts of vanished ages might parade at will among the chattels of their time or drain the iridescent beaker to their unknown gods—no one would have noticed or turned aside to see. For there was something else within these walls to-night for the men assembled there to look upon, and a story to be read which shut the imagination upon the past by amply filling it with the present.
What is this something? Let us follow the gaze of the half-dozen persons grouped in front of the tapestry hanging in the northern gallery, and see.
But first, of whom is this small and mystic group composed? Who are these men who in the middle of the night, in the security of a completely shuttered building, busy themselves, not with the inestimable treasures surrounding them, but with an odd and seemingly mountebank adventure totally out of keeping with the place and their absorbed demeanor? We will name them:
Mr. Roberts and a second director seen here for the first time, Inspector Jackson, Mr. Gryce, two lesser detectives, and a strange young man of undoubted Indian extraction who kept much in the background and yet stood always at attention like one awaiting orders.
Are these all? Yes, in the one gallery; but in the other, shadowy figures are visible among the arches at one end, with whose identity we shall probably soon be made acquainted.
At what are these various persons, in the one gallery as in the other, looking so intently that all are turned one way—the way of greatest interest—the way the fatal arrow had flown some fourteen hours before, carrying death to the innocent girl smiling upon life in youthful exuberance? Is it at some image of herself they see restored to hope and joy? An image is there, but alas! it is but a dummy taken from one of the exhibits and so set up as to present the same angle to the gallery-front as her young body had done, according to Mr. Travis' reluctant declaration.
Why so placed, and why regarded with such concentrated interest by the men confronting it from the opposite gallery, will become apparent when, upon the Indian's being summoned from his place of modest retirement, it can be seen that the bow he carries in one hand is offset by the arrow he holds in the other. A test is to be made which will settle, or so they hope, the truth of Mr. Travis' story. If an arrow launched from before the pedestal or even from behind it through the loophole made by the curving-in of the vase toward its base can be made to reach its mark in the breast of this dummy, then they would feel some justification in doubting his statement that the arrow, whatever the appearances, was not shot from this gallery. If it could not, belief in his statements would be confirmed and their minds be cleared of a doubt which must hamper all their future movements.
The second director, whose name was Clayton, stood at the left of the Inspector and close against the tapestry. To him that official now turned with this explanation:
"The bow you see in Mr. La Flèche's hand is similar in length and weight to the one found lying strung for use in the doorway back of where you are now standing. The arrow is from the same quiver as the one which entered Miss Willetts' breast.... Did you speak?"
No, Mr. Clayton had not spoken; yet for some reason a thrill had passed through the small group surrounding him, which had heightened the consciousness of them all. Eyes and ears became alert; only the Indian showed stolidity.
"Mr. La Flèche, you will first stand here," continued the Inspector, pointing to the spot which Mr. Travis had finally settled upon as the one where he had been standing at the moment he saw Miss Willetts fall.
The Indian took the place, sighted the figure diagonally opposite and laid his finger on the string.
"An inch to the left of the bunch of flowers pinned on the dummy's breast," murmured Mr. Gryce almost in his ear.
It was a breathless moment; even the two detectives showed excitement.
But the Indian failed to shoot. Instead, he looked around at the Inspector and quietly remarked:
"I will shoot standing, since you so request, but I think you will find that the arrow which caused death was delivered by a man kneeling."
A flash of the eye between the two detectives, which only one man saw! All the others were watching the lightning flight of the arrow. It struck the dummy full and square. Everyone shuddered, even the Inspector; it brought the real tragedy so vividly to mind.
Meanwhile a movement had taken place in the small group of men watching from the other side. One of them stepped fully into view and approaching the figure thus attacked, drew out the arrow and made close examination of the hole it had made and shook his head. It was Coroner Price.
"Try again, and from behind the pedestal this time," he called out across the intervening space as he stepped back into his former place of observation.
The Inspector motioned his wishes to the Indian, who with a subtle twist of his body slipped behind the pedestal.
"That's better," was the Inspector's quick comment. "Can you handle the bow easily from where you now stand?"
"There is plenty of room."
"Very well. But wait! Before we proceed further, there is a matter to which I wish to call the attention of these gentlemen. It must have been apparent to you all that a person standing where Mr. La Flèche did a moment ago would be easily visible to anyone looking up from the court or across from the opposite gallery, or even from the broad corridors at either end of the building. But would the same hold true if instead of being in front he had been behind the pedestal, as Mr. La Flèche is now? Run below, Barney; and, gentlemen, disperse yourselves in different directions and give me your opinion. Now!" he demanded after a few minutes' wait, during which there had been a scattering to right and left along the galleries, "what do you say?"
"If anyone chanced to be looking directly there, yes," was shouted up from below.
"What do you say, Coroner Price?"
"Ask the man to kneel."
The Inspector gave the word.
"Ah, that's different! The bulge of the vase hides the upper part of his head, and the pedestal itself the lower. He might shoot from his present position with impunity."
"Do you all agree?"
"Yes, yes!" came from different parts of the building.
"Then, Mr. La Flèche, here's another arrow from the same quiver. Take fresh aim and shoot."
Another breathless moment—more breathless than the other; then a second arrow flew across the court and hung quivering in the breast of the dummy.
From both ends of the gallery men came running, and leaning eagerly over the gallery-rail they watched the Coroner as he stepped again into view to make a second examination.
This time he kept them several minutes in suspense, and when he had drawn out the arrow, he looked long at the hole it had made. Then, instead of shouting his decision across the court, he could be seen leaving the gallery and coming around their way.
What had he to say? As they waited, a clock struck from some neighboring steeple—three sonorous peals! The two directors glanced at each other. Doubtless they felt the weirdness of the hour as well as of the occasion. It was a new experience for these amateurs in police procedure.
Arrived on their side, the Coroner advanced quickly. When close upon the reassembled group, he remarked quickly but with great decision:
"Mr. Travis seems to have been correct in denying that the arrow flew either from before or behind this pedestal. The first arrow sent by Mr. La Flèche entered the dummy almost at a right angle; the last departed but a little from this same line. But the real wound which I probed and located to a hair was a decidedly slanting one. It must have been sent from a place further off."
"From behind the other pedestal!" spoke up Mr. Gryce, all fire and interest at once. "Either the Englishman deceived us, or each pedestal had its man."
"We'll see! Another shot, and from behind the further pedestal, Mr. La Flèche!"
The Indian glided into view and started for the other end of the tapestry, followed by the Inspector, his detectives and the two directors. As they passed one by one across the face of the great hanging, they had the appearance not of living men but of a parade of specters, so silent their step and so somber their air. The dread of some development hitherto unacknowledged made their movements slow instead of hasty. The upper pedestal instead of the lower! Why should this possible fact make any difference in their feelings. Yet it did—perhaps because it meant deception on the part of one they had instinctively believed trustworthy, or—
But why pursue conjecture when actuality only is of moment? Let us proceed with our relation and await the result.
Arrived at the upper pedestal, Mr. La Flèche took his place, received the third arrow and presently delivered it. The Coroner, who had already started for the other side, hastily approached the dummy, made his examination and threw up his hand with the loud shout:
"The shot was made from there; the matter is settled!"
Question: Had Mr. Travis wilfully misled them, or had the presumption in his favor been strengthened by this proof that it had been shown possible for another hand than his to have shot the arrow from this same section of the gallery, without disturbing his belief that he was the only person in it at the time?
The Inspector, finding himself very much disturbed by the doubt just mentioned, felt inclined to question whether any perceptible advancement had been made by this freak business of his canny subordinate. He was hardly ready to say yes, and was not a little surprised when on his way toward the head of the staircase he heard the exultant voice of Mr. Gryce whisper in his ear:
"That's all right. We've gained a point. We know now the exact place from which the arrow was shot."
"But not who shot it."
"No—except that it was not the man Travis."
"How can you be sure of that?"
"For two reasons. This is the first one: If it is difficult to understand how a man could slip from behind the eastern pedestal and make his way along the open gallery to Room H, without attracting the attention of the officer posted opposite, how next to impossible we should find it, if thirty feet were added to his course—which is the distance between the two pedestals!"
"What was that fellow doing, that he shouldn't have seen this effort at escape, whether it involved a short flight or a long one?"
"He says he was not given detective-duty—that he was placed there to keep watch over the body of the young girl;—that at a certain moment he imagined himself to hear a stealthy footstep approaching from the farther end of the gallery, and anxious to spot the man yielding to so doubtful a curiosity, he approached the arch separating his section from the adjoining one, and stopping just inside, stood for a moment or so, listening. As this involved the turning of his back upon the court and consequently upon the opposite gallery, it gave Travis just the opportunity he needed for an unobserved escape. But I see you are not very much impressed by the reason I have advanced for believing his story and placing him where he says he was placed, behind the eastern pedestal. You doubtless think that if the officer opposite had stood long enough with his back to the court, Travis might have taken those extra thirty steps as easily as the twenty he had confessed to. Listen, then, to my second reason, or rather, step this way."
Leading his superior toward Room B, the door of which stood wide open, he paused just outside the threshold to note the effect produced upon the Inspector by what he saw inside. Evidently it was as marked with surprise as the detective had calculated upon, for with an air of great astonishment the Inspector turned upon him with the whispered exclamation:
"Travis here! where he could listen—see——"
"Yes. Take a good look at him, Inspector. It won't trouble him any. I doubt if he would notice us if we stepped into the room."
And such was the opinion of the Inspector himself, as he remarked the extreme excitement under which the Englishman was laboring. Absorbed in thoughts of his own, he was pacing the room with long strides, turning mechanically as he met some impediment, but otherwise oblivious to his surroundings, even to the point of not noting the presence of Sweetwater, who stood quietly watching him from one of the corners.
This display of feeling was certainly eloquent enough to attract anyone's attention, but what gave it impressiveness to the official mind was this: his excitement was that of triumph, not fear, of hope without any trace of confusion.
"It is not of himself he is thinking," muttered Gryce.
"And he stoodhere?"
"No—we left him free to move about at will, and his will carried him into full view of the whole performance."
"And Sweetwater?"
"Was near enough to note his every move, but of course kept himself well out of sight."
Then as they both stepped back from the doorway: "Mr. Travis didn't know he was being watched. He thought himself alone; and having an expressive countenance,—very expressive for an Englishman,—it was easy enough for Sweetwater to read his thoughts."
"And those thoughts?"
"Relief to find an explanation of the phenomenon he had doubtless been puzzling over for hours. The moments he had spent in hiding behind one pedestal had evidently failed to suggest that another man might have been in hiding behind the other."
"I am not surprised. Coincidences of this astonishing kind are not often met with even by us," was the Inspector's dry retort.
During the interchange of these hurried sentences, they had withdrawn still farther out of sight and hearing of the man discussed. But at this point Inspector Jackson reapproached the doorway, and entering in a manner to intercept Mr. Travis in his nervous goings to and fro, remarked in an off-hand way:
"I see that you have met with a surprise, Mr. Travis. Like ourselves, you gave little thought to what that upper pedestal might conceal."
"You are right. I never even glanced that way. But if I had, I should have seen nothing. He was well hid, exceedingly well hid, whoever he was. But he cannot escape now; you'll get him, won't you, Inspector? He could not have left the building—all say that this was impossible. He was one, then, of the people I saw moving about when I went down into the court. Find him! Find this murderer of innocence! of the sweetest, purest child——"
He turned away; grief was taking the place of indignation and revenge. At this sight the two men left him. The Inspector was at last convinced, both of the man's probity and of one stern, disconcerting fact: that the real culprit—the man whose guilty fingers had launched the fatal arrow—had been, as Travis said, one of the twenty-two persons who had been moving about for hours not only under his eyes but under those of the famous detective posted there.
WANTED—A WOMAN CALLING HERSELF ANTOINETTE Duclos, just arrived from Europe on the steamerCastania, who after taking rooms at the Universal for herself and her steamer companion, Angeline Willetts, left the hotel in great haste late in the afternoon of May twenty-third and has not been heard of since.In person she is of medium height, but stocky for a Frenchwoman. Dark hair, black eyes, with an affection of the lid which causes the left one to droop. Her dress consisted of skirt and jacket of a soft shade of brown. Hat indistinguishable. She carried, on leaving the hotel, a dark brown leather bag of medium size, long and narrow in shape. Her only peculiarity, saving the one drooping eyelid, is a hesitating walk. This is particularly obvious when she attempts to hasten.It is to be hoped that this person on hearing of Miss Willetts' death, will communicate at once with the clerk of the hotel.If in two days this does not occur, a reward of five hundred dollars will be given to the man or woman who can give definite news of this Frenchwoman's whereabouts.Police Headquarters, Mulberry St.
WANTED—A WOMAN CALLING HERSELF ANTOINETTE Duclos, just arrived from Europe on the steamerCastania, who after taking rooms at the Universal for herself and her steamer companion, Angeline Willetts, left the hotel in great haste late in the afternoon of May twenty-third and has not been heard of since.
In person she is of medium height, but stocky for a Frenchwoman. Dark hair, black eyes, with an affection of the lid which causes the left one to droop. Her dress consisted of skirt and jacket of a soft shade of brown. Hat indistinguishable. She carried, on leaving the hotel, a dark brown leather bag of medium size, long and narrow in shape. Her only peculiarity, saving the one drooping eyelid, is a hesitating walk. This is particularly obvious when she attempts to hasten.
It is to be hoped that this person on hearing of Miss Willetts' death, will communicate at once with the clerk of the hotel.
If in two days this does not occur, a reward of five hundred dollars will be given to the man or woman who can give definite news of this Frenchwoman's whereabouts.
Police Headquarters, Mulberry St.
This notice, appended to such particulars of the tragedy as appeared in all the morning papers, roused the city—I may even say the country—to even greater wonder and excitement than had followed the first details given in the journals of the evening before.
Would anything come of it?
Morning passed; no news of Antoinette Duclos.
Afternoon: messages of all kinds leading to much work, but bringing no result.
Five o'clock: a missive from the directors of the museum to the effect that under the peculiar circumstances and the seeming absence of any friends of the deceased, they would be glad to furnish the means necessary to the proper care and burial of the young woman killed in such an unhappy manner within their walls.
A half-hour later, Gryce, for whose appearance the Inspector had been anxiously waiting, came in with his report. A chair was pushed up for him, for he was an old man and had had a sleepless night, as we know, besides two days of continued work. But he did not drop into it, as the Inspector expected, or give any other signs of exceptional fatigue; yet when he had seated himself and they were left alone, he did not hasten to speak, though he evidently had much to say, but remained quiet, holding counsel, as it were, in his old way, with some small object he had picked up from the desk before him.
At last the Inspector spoke:
"You have been on the hunt; what did you find?"
"Not much, Inspector—and yet enough to disturb me in a way I was not looking for. Of course, in studying the situation carefully, you have asked yourself how the man who shot the arrow from behind the upper pedestal got away. He did not wait as Travis did till the first excitement had abated and the way was, in a manner, cleared for an escape into the court. For X, as we will call him, was certainly among those I saw lined up before me at the moment I bade them one and all to return and stand until released, in the exact spot occupied by them when the first alarm rang out. After the surprise Travis gave us we had the building searched from roof to cellar. Not another soul was found in it whose name was not registered on the chart. As I have already said, the guilty one had managed to escape immediately upon the flight of the arrow, though how, even then, he could have got below in the time he did is a mystery which trips me up every time I think of it. But letting that go for the present, he did get there and get there unnoticed. How? Now, there are three ways of escape from behind either of those pedestals. The way Travis took, that is, toward the front, and round through the suite of rooms headed by the one marked H, to the rear staircase; the more direct one of an immediate exit from the gallery through Sections VI and VII to this same staircase; and (the only one worth considering) a straight plunge for the door behind the tapestry and so down by the winding staircase beyond, into the Curator's office. The unknown never went Travis' way, and he couldn't have gone the other without running into the arms of Correy; so he must have made use of the hidden door. So convinced was I of this, after last night's discovery eliminated Travis as a suspect, that I made it my first duty this morning to examine this door and the mysterious little passageway back of it. When first notified of this door, we had been assured that it had not been opened in years, that the only key remaining to it was the one the Curator showed us hanging from the ring he drew from his own pocket; and acting upon these statements, which I would not allow myself to doubt for a moment, we decided to open the door in our own way, which we immediately did. The result was the instant discovery that some one had passed through this door and down these stairs very much later than years ago. We could see, without taking a step beyond the doorway, traces of a well-shod foot in the dust lying thickly on every tread. These traces were so many and so confused that I left them for Stevens' experienced eye and deft manipulation to separate and make plain to us. He is making an examination of them now, and will be able to report to you before night."
The Inspector was a man of little pretense. He felt startled and showed it.
"But this is a serious matter, Gryce."
"Very serious."
"No mere visitor to the museum would have presumed upon this venture."
"No."
"Which means——"
"That some one actively connected with it had a guilty hand in this deplorable affair."
"I am afraid so."
"Some one well acquainted with the existence of this door and who had means of opening it. The question is—who?"
In saying this, Mr. Gryce studiously avoided the Inspector's eye; while the Inspector in his turn looked up, then down—anywhere but in the detective's direction. It was a moment of mutual embarrassment, broken, when it was broken, by a remark which manifestly avoided the issue.
"Possibly those traces you speak of were not made at the time you specify. They may have been made since, or they may have been made before. Perhaps the Curator was curious and tried his hand at a little detective work on his own account."
"He hadn't the chance. Every portion of the building has been very thoroughly guarded since first we entered it. He may have gone up prior to the shooting. That is open to dispute; but if he had done so, why did he not inform us of the fact when he showed us the key? The Curator is the soul of honor. He would hardly deceive us in so important a matter."
The quick glance which this elicited from the Inspector awoke no corresponding flash in the eye of the imperturbable detective. He continued to shake his head over the small object he was twirling thoughtfully about between his thumb and finger, and only from his general seriousness could the Inspector gather that his mind was no more at rest than his fingers. Was this why his remark took the form of a question?
"Where was the Curator when you forced open that door behind the tapestry? Was he anywhere in the building?"
"No, sir; he has not been there to-day. He was ill last night, and he is ill to-day. He sent us his excuses. If he had been in the building, I doubt whether I would have given the order to burst open the door. I would simply have requested him to use his key. And he would have done so and kept his own counsel. I do not know as I can say as much for any of his subordinates. Happily, no spying eye was about at that time; and Stevens will be sure to see that he is not watched at his work if he has to lock the door upon the whole bunch of directors."
"This is to be a secret investigation, then?"
"I would so advise."
"With every reporter headed off, and anyone likely to report to a reporter headed off also?"
"Do notyouadvise this?"
"I do. Anything more?"
"Not till we hear from Stevens."
They had not long to wait. Sooner than they expected the expert mentioned came in. He held a batch of papers in his hand, which at a gesture from the Inspector he spread out before them. Then he spoke:
"One man and one man only has passed down those stairs. But that man has passed down them twice—once with rubbers on and once without. There are signs equally plain of his having gone up them, but only once, and at the time he wore the rubbers. I took every pains possible to preserve and photograph the prints, but as you see, great confusion was caused by the second line of steps falling half on and half off the other. All I dare read there is this: A quick run up and a quick run down by a man in rubbers, and then a second run down by the same man in shoes. That's the whole story. These other scraps of paper," he went on as he saw the Inspector's eye travel to some small bits lying on the side, "are what I have to show as the result of my search on and about the western pedestal for finger-prints. A gloved hand drew that bow. See here: this is an impression I obtained from the inner edge of the pedestal in question."
He pulled forward a small square of paper; the sewing of a kid glove was plainly indicated there.
When Stevens had gone, the Inspector exclaimed meaningly:
"Gryce! Name your man; we shall get on faster."
The aged detective rose.
"I dare not," he said. "Give me one—two days. I must have time to think—to collect my evidence. A name once mentioned leaves an echo. When my echo rings, it must carry no false sound. Remember, I did not sleep last night. When I present this case to you as I see it, I must be at my best. I am not at my best to-day."
This was doubtless true, but the Inspector had not discovered it.
On his way home Mr. Gryce stopped at the Calderon to inquire how Mrs. Taylor was doing, and what his prospects were for a limited interview with her.
He was told that no such interview could be considered for days—that she still lay in a stupor, with brief flashes of acute consciousness, during which she would scream "No! no!"—that brain fever was feared and that increased excitement might be fatal.
Another bar to progress! He had hoped to help her memory into supplying him with a fact which would greatly simplify a task whose anomalies secretly alarmed him. She had been in a fair state of mind before her nerve was attacked by the event which robbed the little Angeline of life and herself of reason, and if carefully approached, might possibly recall some of the impressions made upon her previous to that moment. If, for instance, she could describe even in a general way the appearance of any person she may have seen advancing in the direction of the northern gallery at the moment she herself turned to enter the southern one, what a stability it would give to his theory, and what certainty to his future procedure!
But he must wait for this, as he must wait for Angeline's story from Madame Duclos. Meantime, a word with Sweetwater—after which, rest.
It was Mr. Gryce's custom, especially when engaged upon a case of marked importance, to receive this, his recognized factotum, in his own home. No prying ears, no watchful eyes, were to be feared there. He was the absolute master of everything, even of Sweetwater, he sometimes thought. For this young fellow loved him—had reason to; and when Sweetwater played the violin, as he sometimes did after one of their long talks, the aged detective came as near happiness as he ever did, now that his little grandchild was married and had gone with her husband to the other side of the world.
To-night he was not anticipating any such relaxation as this, yet to Sweetwater, arriving later than he wished, he had never looked more in need of it, as, sitting in his old and somewhat dingy library, he mused over some little object he held in his half-closed palm, with an intent, care-worn gaze which it distressed his young subordinate to see. Uncertainty incites the young and fires them to action; but it wearies the old and saps what little strength they have; and Sweetwater detected uncertainty in his patron's troubled brow and prolonged stare at the insignificant article absorbing his attention.
However, Gryce roused quickly at the young detective's cheery greeting, and looking up with an answering welcome, plunged at once into business.
"So you have seen Turnbull! What did the man say?"
"That it was the left-hand upper corner of the tapestry he saw shaking, and not the right-hand one as we had blindly supposed."
"Good! Then we can take it for granted that our new theory is well founded. Certain things have come to light in your absence. That tapestry was pulled aside not merely for the purpose of flinging in the bow, but to let the flinger pass through the door at its back down to the Curator's office and so out into the court."
"Whew! And who...."
"If this fact had been made known to me sooner, you would have had a different day's work; not getting it until late this afternoon, we have perhaps wasted some valuable hours. But we won't fret about that. Mrs. Taylor being no better, we are likely to have all the time we want for substantiating my idea. It cannot take long if we succeed either in tracing the Duclos woman or in drawing the net I am quietly manufacturing, so closely about—well, I've decided to call him X—that it will hold against all opposition. I have hopes of finding the woman, but great doubts as to the efficacy of the net I have mentioned; it will have to be so wide and deep, and so absolutely without a single weak strand."
Sweetwater sat astonished, and what was more, silent—he who had a word for everything. Accustomed as he was to the varying moods of his remarkable friend, he had never before been met with a reticence so absolute. It made him think; but for once in his life did not make him loquacious.
Mr. Gryce seemed to be gratified by this, though he made no remark to that effect and continued to preserve his abstracted look and quiet demeanor. So Sweetwater waited, and while waiting managed to steal a glimpse at the small object to which his professional friend still paid his undivided attention.
It looked like a narrow bit of dingy black cloth—just that and nothing more—a thing as trivial as the band which clips a closed umbrella. Was it such a band, and would he presently be asked to find the umbrella from which it had fallen or been twisted away? No. Umbrellas are not carried about museum buildings. Besides, this strip of cloth had no ring on the end of it. Consequently it could not have served the purpose he had just ascribed to it. It must have had some other use.
But when, after an impatient flinging aside of this nondescript article, Mr. Gryce spoke, it was to say:
"I had a long talk with Correy to-day. It seems that he goes through both galleries every morning before the museum opens. Though he will not swear to it, he is of the opinion that the quiver holding the Apache arrows had its full complement when he passed it that morning. He has a way of running things over with his eye which has never yet failed to draw his attention to anything defective or in the least out of order."
"I see, sir," acquiesced Sweetwater in an odd tone, Mr. Gryce's attitude showing that he awaited some expression of interest on his part.
The elder detective either did not notice the curious note in the younger one's voice, or noticing it, chose to ignore it, for with no change of manner he proceeded to say:
"I wish you would exercise your wits, Sweetwater, on the following troublesome question: if the arrow which slew this young girl was in one gallery at ten o'clock, how did it get into the other at twelve? The bow"—here he purposely hesitated—"might have been brought up the iron staircase. But the arrow——"
His eyes were on Sweetwater (a direct glance was a rare thing with Mr. Gryce), and he waited—waited patiently for the word which did not come; then he remarked dryly:
"We are both dull; you are tired with your day's work and I with mine: we will let difficult questions rest until our brains are clearer. But"—here he reached for the strip of dingy cloth he had cast aside, and tossing it over to Sweetwater, added with some suggestion of humor,—"if you want a subject to dream upon to-night, there it is. If you have no desire to dream, and want work for to-morrow, make an effort to discover from whose clothing that fell and what was its use. It was picked up in Room B on the second floor, the one where Mrs. Taylor was detained before going downstairs."
"Ah, something tangible at last!"
"I don't know about that; I honestly don't know. But we cannot afford to let anything go by us. Little things like that have not infrequently opened up a fresh trail which otherwise might have been missed."
Sweetwater nodded, and laying the little strip along his palm, examined it closely. It was made of silk, doubled, and stitched together except at the ends. These were loose, but rough with bits of severed thread, as if the thing had been hastily cut from some article of clothing to which it had been attached by some half-dozen very clumsy stitches.
"I think I understand you, Mr. Gryce," observed Sweetwater, rising slowly to his feet. "But a dream may help me out; we will see."
"I shall not leave here till ten to-morrow morning."
"Very good, sir. If you don't mind, I'll take this with me."
"Take it, by all means."
As Sweetwater turned to go, he was induced by the silence of his patron to cast a backward glance. Mr. Gryce had risen to his feet and was leaning toward him with an evident desire to speak.
"My boy," said he, "if your dreams lead you to undertake the search I have mentioned, spare nobody; I say, sparenobody."
Then he sat down; and the memory which Sweetwater carried away with him of the old detective at the moment he uttered this final injunction was far from being a cheerful one.
Refreshed by a good night's rest and quite ready to take up his task again, Mr. Gryce sat at the same table in the early morning, awaiting the expected message from Sweetwater. Meanwhile he studied, with a fuller attention than he had been able to give it the evening before, the memorandum which this young fellow had handed him of his day's work. A portion of this may be interesting to the reader. Against the list of people registered on his chart as present in the museum at the moment of tragedy, he had inscribed such details concerning them as he could gather in the short time allotted him.
I—Ephraim Short. A sturdy New Englander visiting New York for the first time. Has a big story to take back. Don't care much for broken marbles and pictures so dingy you cannot tell what you are looking at; but the sight of a lot of folks standing up like scarecrows in a field, here and there all over a great building, because something had happened to somebody, will make a story the children will listen to for years.
Address taken, and account of himself verified by telegraph.
II—Mrs. Lynch. Widow, with a small house in Jersey and money to support it. No children. Interested in church work. Honest and of reliable character. Only fault a physical one—extreme nervousness.
III—Mr. Carleton Roberts, director; active in his work, member of the Union League and an aspirant for the high office of U. S. Senator. Lives in bachelor apartment, 67 W. —— Street. A universally respected man of unquestioned integrity and decided importance. Close friend of Curator Jewett.
IV—Eben Clarke, door-man. Been long in the employ of museum. Considered entirely trustworthy. Home in decent quarter of West 80th Street. Wife and nine children, mostly grown. Never been abroad. Has no foreign correspondence.
V—Emma Sutton, an art enthusiast, gaining her living by copying old masters. Is at museum six days in the week. It was behind her easel Travis found a hiding-place in Room H.
VI—Mrs. Alice Lee, widowed sister of Edward Cronk Tailor, —— Sixth Ave. Lives with brother. Kindly in disposition, much liked and truthful to a fault. No acquaintance abroad.
VII-VIII—John and Mary Draper, husband and wife, living in East Orange, N. J. Decent, respectable folk with no foreign connections.
IX—Hetty Armstrong, young girl, none too bright but honest to the core. Impossible to connect her with this affair.
X—Charles Simpson, resident of Minneapolis. In town on business, stopping at Hotel St. Denis. Eager to return home, but willing to remain if requested to do so. Hates foreigners; thinks the United States the greatest country on earth.
XI—John Turnbull, college professor; one of the new type, alert, observant and extremely precise. Not apt to make a misstatement.
XII—James Hunter, door-man, a little old for his work, but straight as a string and methodical to a fault. No wife, no child. Bank account more than sufficient for his small wants.
XIII—Miss Charlotte Hunsicker, one of last season's débutantes. Given to tennis and all outdoor sports generally. Offhand but stanch. It was she who gave a woman's care to Mrs. Taylor when the latter fainted in Room B.
XIV—Museum attendant coming up from basement.
XV—Eliza Blake a school-teacher, convalescing after a long illness.
XVI—Officer Rudd.
XVII—Tommy Evans, boy scout. Did not lose his game. Went to the field after lunching on pie at a bakery.
XVIII—Mrs. Nathaniel Lord, wealthy widow, living at the St. Regis.
XIX—Mrs. Ermentrude Taylor. (Nothing to add to what is already known.)
XX—Henry Abbott, Columbia student, good-hearted and reliable, but living in a world of his own to such an extent as to make him the butt of his fellow students.
XXI-XXII—Young couple from Haverstraw. Just married. He a drug-clerk, she a farmer's daughter. Both regarded in their home town as harmless.
XXIII—James Correy, attendant. Bachelor, living with widowed mother. Fair record on the whole. Reprimanded once, not for negligence, but for some foolish act unbecoming his position. Thorough acquaintance with the museum and its exhibits. A valuable man, well liked, notwithstanding the one lapse alluded to. At home and among his friends regarded as the best fellow going. A little free, perhaps, when unduly excited, but not given to drink and very fond of games. A member once of a club devoted to contests with foils and target-shooting. Always champion. Visits a certain young lady three times a week.
XXIV—Curator Jewett. A widower with two grandchildren—a daughter married to an Englishman and living in Ringold, Hants, and a son, owner of a large ranch in California. Lives, when in city, at Hotel Gorham. Known too well for any description of himself or character to be necessary here. If he has a fault, or rather a weakness, it is his extreme pride in the museum and his own conduct of its many affairs.
As on the evening before, Mr. Gryce lingered longest over one name. He was still brooding anxiously over it when the telephone rang at his elbow and he was called up from Headquarters. Cablegrams had been received from London and Paris in acknowledgment of those sent, and in both these cablegrams promises were made of a full examination into the antecedents of Madame Duclos and her companion, Miss Willetts.
That was all. No further news regarding them from any quarter. Mr. Gryce hung up the receiver with a sigh.
"It is likely to be a long road full of unexpected turns and perilously near the precipice's edge," he muttered in weary comment to himself. "Nothing to start from but——"
Here Sweetwater walked in.
Mr. Gryce showed surprise. He had not expected to see the young man himself. Perhaps he was not quite ready to, for he seemed to shrink, for one brief instant, as from an unwelcome presence.
But the cheer which always entered with Sweetwater was contagious, and the old detective smiled as the newcomer approached, saying significantly:
"I had those dreams you spoke of last night, Mr. Gryce, and found them too weighty for the telephone."
"I see, I see! Sit down, Sweetwater, and tell me how they ran. I haven't as much confidence in my own dreams as I hope to have in yours. Speak up! Mention names, if you want to. No echo follows confidences uttered in this room."
"I know that; but for the present perhaps it will be best for me to follow your lead, and when I have to speak of a certain person, say X as you do. X, Mr. Gryce, is the man who for reasons we do not yet understand brought up the discarded bow from the cellar and stored it somewhere within reach on the floor above. X is also the man who for the same unknown reason robbed the quiver hanging in the southern gallery of one of its arrows and kept the same on hand or in hiding, till he could mate it with the bow. My dreams showed me this picture:
"A man with a predominating interest in sport, but otherwise active in business, correct in his dealings and respectable in private life, sees and frequently handles weapons of ancient and modern make which rouse his interest and awaken the longing, common to such men, to test his skill in their use. Sometimes it is a sword, which he twirls vigorously in sly corners. Again, it is a bow calling for a yeoman's strength to pull. He is a man of sense and for a long time goes no further than the play I have just indicated. Perhaps he has no temptation to go further until one unfortunate day he comes upon an idle bow, rotting away in the cellar."
Here Mr. Gryce looked sharply up—a proof of awakened interest which Sweetwater did not heed. Possibly he was not expected to. At all events he continued rapidly:
"It was a fine, strong bow, a typical one from the plains. He took it up—examined it closely—noted a slight defect in it somewhere—and put it back. But he did not forget it. Before many days had passed, he goes down cellar again and brings it up and stands it on end in—where do you think, sir?—in the closet of the Curator's office!"
"How did you learn that?"
"From the woman who comes every day to wipe up the floors. I happened to think she might have something worth while to tell us, so I hunted her up——"
"Go on, boy. Another long mark in your favor."
"Thank you, sir. I'm relating a dream, you know. He stands it on end then in this closet into which nobody is supposed to go but the Curatorandthe scrubwoman, and there he leaves it, possibly as yet with no definite intention. How long it stood there I cannot say. It was well hidden, it seems, by something or other hanging over it. Nor am I altogether sure that it might not be standing there yet if the impulse swaying X had not been strengthened by seeing daily over his head a quiver full of arrows admirably fitted for this bow. Time has no place in dreams, or I might be able to state the day and the hour when he stood looking at the ring of keys lying on the Curator's desk, and struck with what it might do for him, singled out one of the keys which he placed in the keyhole of a door opening upon a certain little iron staircase. He was alone, but he stopped to listen before turning that key. I can see him, can't you? His air is a guilty one; but it is the guilt of folly, not of premeditated crime. He wants a try at that bow and recognizes his weakness and laughs.
"But his longing holds, and running up the little staircase to a second door, he unlocks this also and after another moment of hesitation pulls it open. He has brought the bow with him, but he does not take it past the drapery hanging straight down before his eyes. He simply drops it in the doorway and leaves it there within easy reach from the gallery if ever his impulse should be strong enough to lead him to make an attempt at striking a feather from the Indian headdress on the other side of the court. You think him mad. So do I, but dreams are filled with that kind of madness; and when I see him shut the door upon this bow, and steal back without relocking it or the one below, I have no other excuse than this to give in answer to your criticisms."
"I do not criticise; I listen, Sweetwater."
"You will criticise now. As Bunyan says in his 'Pilgrim's Progress': 'I dreamed again!' This time I saw the museum proper. It was filled with visitors. The morning of May twenty-second was a busy one, I am told, and a whole lot of people, singly and in groups, were continually passing up and down the marble steps and along the two galleries. Partaking of the feelings of the one whose odd impulses I am endeavoring to describe, I was very uneasy and very restless until these crowds had thinned and most of the guests vanished from the building. The hands of the clock were stealing toward twelve—the hour of greatest quiet and fewest visitors. As it reached the quarter mark, I saw what I was looking for, the man X reaching for one of those arrows hanging in the southern gallery, and slipping it inside his coat.—Did you speak, sir?"
No, Mr. Gryce had not spoken; and Sweetwater, after an interval of uncertainty, went quietly on:
"As I saw both of his hands quite free the next minute, I judge that something had been attached to the lining of that coat to hold the arrow by its feathered head. But this is a deduction rather than a fact."
He stopped abruptly. An exclamation—one of Mr. Gryce's very own—had left that gentleman's lips, and Sweetwater felt that he must pause if only for an instant, to enjoy his small triumph. But the delay was short.
"Go on," said Mr. Gryce; and Sweetwater obeyed, but in lowered tones as though the vision he was describing was actually before his eyes.
"Next, I see a sweep of tapestry, and an eager, peering figure passing slowly across it. It is that of the love-lorn Travis watching his inamorata tripping up the marble staircase and turning at its top in the direction of the opposite gallery. His is a timid soul, and anxious as he is to watch her, he is not at all anxious to be detected in the act of doing so. So he slips behind the huge pedestal towering near him, thus causing the whole gallery to appear empty to the eyes of X, now entering it at the other end. This latter has come there with but one idea in his head—to shoot an arrow across the court at the mark I have mentioned. It may have been on a dare—sometimes I think it was; but shoot it he means to, before a fresh crowd collects.
"He already has, as you will remember, the arrow hidden somewhere about his person, and it is only a few steps to the edge of the tapestry behind which he has secreted the bow. If he takes a look opposite, it is at the moment when both Mrs. Taylor and Miss Willetts are screened from his view by one of the partitions separating the various sections. For unless he felt the way to be free for his arrow, he would never have proceeded to slip behind his chosen pedestal, secure the bow, pause to string it, then crouch for his aim in such apparent confidence. For after he has left the open gallery and limited his outlook to what is visible beyond the loophole through which he intends to shoot, he can see—as we know from Mr. La Flèche—little more than the spot where the cap hangs and the one narrow line between. Unhappily, it was across this line the young girl leaped just as the arrow left the bow. Don't you see it, sir? I do; and I see what follows, too."
"The escape of X?"
"Yes. Inadvertently, as you see, he has committed a horrible crime; he can never recall it. Whatever his remorse or shame, nothing will ever restore the victim of his folly to life, while he himself has many days before him—days which would be ruined if his part in this tragedy were known. Shall he confess to it, then, or shall he fly (the way is so easy), and leave it to fate to play his game—fate, whose well-known kindness to fools would surely favor him? It does not take long for such thoughts to pass through a man's head, and before the dying cry of his innocent victim had ceased to echo through those galleries, he is behind the tapestry and on his way toward the court. Beyond that, my dream does not go. How about yours, sir?"
"My dream was of a crime, not of an accident. No man could be such a fool as you have made out this X of yours to be. Only an extraordinary purpose or some imperious necessity could drive a man to shoot an arrow across an open court where people were passing hither and yon, even if he didn't see anyone in the gallery."