"Of course nothing was found," the quiet voice went on. "When I discovered the bank notes in Mr. Fraser's pocket I smelled of them--seeking the odor, this time not of violet perfume, but of rose perfume. I found it."
Suddenly the girl whose face had shown only anger and defiance leaned over with her head in her hands and wept bitterly. It was a confession. Dunston stood beside her, helplessly; finally his hand was slowly extended and he stroked her hair.
"Go on, please," he said to Professor Van Dusen, meekly. His suffering was no less than hers.
"These facts were important, but not conclusive," said The Thinking Machine, "so next, with Mr. Hatch's aid here, I ascertained other things about Miss Clarke. I found out that when she went out to luncheon that day she purchased some powerful rose perfume; that, contrary to custom, she went home; that she used it liberally in her room; and that she destroyed a large bottle of violet perfume which you, Mr. Dunston, had given her. I ascertained also that her room was disarranged, particularly the couch. I assume from this that when she went to the office in the morning she did not have the money about her; that she left it hidden in the couch; that through fear of its discovery she rushed back home to get it; that she put it inside her shirtwaist, and there she had it when the search was made. Am I right, Miss Clarke?"
The girl nodded her head and looked up with piteous, tear-stained face.
"That night Miss Clarke called on me. She came ostensibly to tell me that the package of money, ten thousand dollars, had disappeared again. I knew that previously by telephone, and I knew, too, that she had that money then about her. She has it now. Will you give it up?"
Without a word the girl drew out the bundle of money, ten thousand dollars. Detective Mallory took it, held it, amazed for an instant, then passed it to The Thinking Machine, who sniffed at it.
"An odor of strong rose perfume," he said. Then: "Miss Clarke also told me that she had worked in a bank which had been robbed under circumstances identical with this by one William Dineen, and expressed the belief that he had something to do with this. Mr. Hatch ascertained that two of Dineen's pals were living in Cambridge. He found their rooms and searched them, later giving the address to the police.
"Now, why did Miss Clarke tell me that? I considered it in all points. She told me either to aid honestly in the effort to catch the thief, or to divert suspicion in another direction. Knowing as much as I did then, I reasoned it was to divert suspicion from you, Mr. Dunston, and from herself possibly. Dineen is in prison, and was there three months before this robbery; I believed she knew that. His pals are the two men in the other room; they are the men who aided Dineen in the robbery of the Hartford bank, with Miss Clarke's assistance; they are the men who robbed the Ralston National with her assistance. She herself indicated her profit from the Hartford robbery to me by a remark she made indicating that she had not found it necessary to work for two years from the time she left the Hartford bank until she became Mr. Fraser's secretary."
There was a pause. Miss Clarke sat sobbing, while Dunston stood near her studying the toe of his shoe. After awhile the girl became more calm.
"Miss Clarke, would you like to explain anything?" asked The Thinking Machine. His voice was gentle, even deferential.
"Nothing," she said, "except admit it all--all. I have nothing to conceal. I went to the bank, as I went to the bank in Hartford, for the purpose of robbery, with the assistance of those men in the next room. We have worked together for years. I planned this robbery; I had the opportunity, and availed myself of it, to put a solution on the sockets of the steel bars of the window in Mr. West's room, which would gradually destroy the granite and make it possible to pull out the bars. This took weeks, but I could reach that room safely from Mr. Fraser's.
"I had the opportunity to leave the window unfastened and did so. I dressed in men's clothing and accompanied those two men to the bank. We crept in the window, after pulling the bars out. The men attacked the night watchman and bound him. The handkerchief of Mr. West's I happened to pick up in the office one afternoon a month ago and took it home. There it got the odor of perfume from being in a bureau with my things. On the night we went to the bank I needed something to put about my neck and used it. In the bank I dropped it. We had arranged all details at night, when I met them."
She stopped and looked at Dunston, a long, lingering look, that sent the blood to his face. It was not an appeal; it was nothing save the woman love in her, mingled with desperation.
"I intended to leave the bank in a little while," she went on. "Not immediately, because I was afraid that would attract attention, but after a few weeks. And then, too, I wanted to get forever out of sight of this man," and she indicated Dunston.
"Why?" he asked.
"Because I loved you as no woman ever loved a man before," she said, "and I was not worthy. There was another reason, too--I am married already. This man, Gustave Meyer, is my husband."
She paused and fumbled nervously at the veil fastening at her throat. Silence lay over the room; The Thinking Machine reached behind him and picked up the shabby-looking gripsack which had passed unnoticed.
"Are there any more questions?" the girl asked, at last.
"I think not," said The Thinking Machine.
"And, Mr. Dunston, you will give me credit for some good, won't you--some good in that I loved you?" she pleaded.
"My God!" he exclaimed in a sudden burst of feeling.
"Look out!" shouted The Thinking Machine.
He had seen the girl's hand fly to her hat, saw it drawn suddenly away, saw something slender flash at her breast. But it was too late. She had driven a heavy hat pin straight through her breast, piercing the heart. She died in the arms of the man she loved, with his tears on her face.
Detective Mallory appeared before the two prisoners in an adjoining room.
"Miss Clarke has confessed," he said.
"Well, the little devil!" exclaimed Meyer. "I knew some day she would throw us. I'll kill her!"
"It isn't necessary," remarked Mallory.
* * * * * *
In the room where the girl lay The Thinking Machine pushed with his foot the shabby-looking grip toward President Fraser and West.
"There's the money," he said.
"Where--how did you get it?"
"Ask Mr. Hatch."
"Professor Van Dusen told me to search the rooms of those men in there, find the shabbiest looking bag or receptacle that was securely locked, and bring it to him. I--I did so. I found it under the bed, but I didn't know what was in it until he opened it."
THE MYSTERY OF A STUDIO
Where the light slants down softly into one corner of a noted art museum in Boston there hangs a large picture. Its title is "Fulfillment." Discriminating art critics have alternately raved at it and praised it; from the day it appeared there it has been a fruitful source of acrimonious discussion. As for the public, it accepts the picture as a startling, amazing thing of beauty, and there is always a crowd around it.
"Fulfillment" is typified by a woman. She stands boldly forth against a languorous background of deep tones. Flesh tints are daringly laid on the semi-nude figure, diaphanous draperies hide, yet, reveal, the exquisite lines of the body. Her arms are outstretched straight toward the spectator, the black hair ripples down over her shoulders, the red lips are slightly parted. The mysteries of complete achievement and perfect life lie in her eyes.
Into this picture the artist wove the spiritual and the worldly; here he placed on canvas an elusive portrayal of success in its fullest and widest meaning. One's first impression of the picture is that it is sensual; another glance shows the underlying typification of success, and love and life are there. One by one the qualities stand forth.
The artist was Constans St. George. After the first flurry of excitement which the picture caused there came a whirlwind of criticism. Then the artist, who had labored for months on the work which he had intended and which proved to be his masterpiece, collapsed. Some said it was overwork--they were partly right; others that it was grief at the attacks of critics who did not see beyond the surface of the painting. Perhaps they, too, were partly right.
However that may be, it is a fact that for several months after the picture was exhibited St. George was in a sanitarium. The physicians said it was nervous collapse--a total breaking-down, and there were fears for his sanity. At length there came an improvement in his condition, and he returned to the world. Since then he had lived quietly in his studio, one of many in a large office building. From time to time he had been approached with offers for the picture, but always he refused to sell. A New York millionaire made a flat proposition of fifty thousand dollars, which was as flatly refused.