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set the grip on the table. 'There's the money,' I said.

"'And your prisoner?' said the chief.

"I pointed to Mr. Wahrfield, and he stepped forward and says:

"'The honour of a word with you, sir, to explain.'

"He and the chief went into another room and stayed ten minutes. When they came back the chief looked as black as a ton of coal.

"'Did this gentleman,' he says to me, 'have this valise in his possession when you first saw him?'

"'He did,'said I.

"The chief took up the grip and handed it to the prisoner with a bow, and says to the director crowd: 'Do any of you recognize this gentleman?'

"They all shook their pink faces.

"'Allow me to present,' he goes on, Senor Miraflores, president of the republic of Anchuria. The senor has generously consented to overlook this outrageous blunder, on condition that we undertake to secure him against the annoyance of public comment. It is a concession on his part to overlook an insult for which he might claim international redress. I think we can gratefully promise him secrecy in the matter.'

"They gave him a pink nod all round.

"'O'Day,' he says to me. 'As a private detective you're wasted. In a war, where kidnapping governments is in the rules, you'd be invaluable. Come down to the office at eleven.'"I knew what that meant.

"'So that's the president of the monkeys,'says I. 'Well, why couldn't he have said so?'"Wouldn't it jar you?"

XVIII

THE VITAGRAPHOSCOPE

VAUDEVILLE is intrinsically episodic and discontinuous. Its audiences do not demand denouements. Sufficient unto each "turn" is the evil thereof. No one cares how many romances the singing comedienne may have had if she can capably sustain the limelight and a high note or two. The audiences reck not if the performing dogs get to the pound the moment they have jumped through their last hoop. They do not desire bulletins about the possible injuries received by the comic bicyclist who retires head-first from the stage in a crash of (property) china-ware. Neither do they consider that their seat coupons entitle them to be instructed whether or no there is a sentiment between the lady solo banjoist and the Irish monologist. Therefore let us have no lifting of the curtain upon a tableau of the united lovers, backgrounded by defeated villainy and derogated by the comic, osculating maid and butler, thrown in as a sop to the Cerberi of the fifty-cent seats.

But our programme ends with a brief "turn" or two; and then to the exits. Whoever sits the show out may find, if he will, the slender thread that binds together, though ever so slightly, the story that, perhaps, only the Walrus will understand.

Extracts from a letter from the first vice-president of the Republic Insurance Company, of New York City, to Frank Goodwin, of Coralio, Republic of Anchuria.

My Dear Mr. Goodwin: —Your communication per Messrs. Howland and Fourchet, of New Orleans, has reached us. Also their draft on N. Y. for $100,000, the amount abstracted from the funds of this company by the late J. Churchill Wahrfield, its former president. . . . The officers and directors unite in requesting me to express to you their sincere esteem and thanks for your prompt and much appreciated return of the entire missing sum within two weeks from the time of its disappearance. . . . Can assure you that the matter will not be allowed to receive the least publicity. . . . Regret exceedingly the distressing death of Mr. Wahrfield by his own hand, but . . . Congratulations on your marriage to Miss Wahrfield . . . many charms, winning manners, noble and womanly nature and envied position in the best metropolitan society. . . . Cordially yours,

Lucius E. Applegate,
First Vice-President the Republic Insurance
Company.

The Vitagraphoscope
(Moving Pictures) The Last Sausage

Scene An Artist's Studio. The artist, a young man of prepossessing appearance, sits in a dejected attitude, amid a litter of sketches, with his head resting upon his hand. An oil stove stands on a pine box in the centre of the studio. The artist rises, tightens his waist belt to another hole, and lights the stove. He goes to a tin bread box, half-hidden by a screen, takes out a solitary link of sausage, turns the box upside-down to show that there is no more, and chucks the sausage into a frying-pan, which he sets upon the stove. The flame of the stove goes out, showing that there is no more oil. The artist, in evident despair, seizes the sausage, in a sudden access of rage, and hurls it violently from him. At the same time a door opens, and a man who enters receives the sausage

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