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The Highgrader
by William MacLeod Raine
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Jack Kilmeny was no quitter. He set that lean jaw of his and would not accept repulse. In four days now the Farquhar party was going to leave Goldbanks and he made the most of his time.

Moya never saw him coming toward her without having her pulses stirred, but her look met his always quietly and steadily. Not once did she give him a chance to see her alone. Even Lady Farquhar, who had been a severe critic of her vagaries, commended now her discretion. Jack rebelled against it in vain. He could not find a chance to speak. It was characteristic of him that he made one.

By shrewd maneuvering he arranged an expedition to the Silent Sam mine. The property itself was of no particular interest. The attractive feature was a descent in ore buckets from the shaft-house, perched far up on the edge of a precipitous cliff, to the mill in the valley below. This was made by means of heavy cables to which the buckets were suspended. After Jack had explained how the men rode back and forth by this means between the mill and the mine India was seized with the inspiration he had hoped for.

"Let's go down in the buckets, dear people."

Lady Farquhar protested and was overruled by a chorus of votes. The miner assured her that it was entirely safe. Reluctantly she gave permission for her flock to make the trip if they desired.

They rode on horseback to the mill. Jack paired with India, making no attempt to ride beside Moya, who brought up the rear with the captain. The Westerner, answering the questions of his cousin, was at his debonair best. Occasionally there drifted back to the couple in the rear fragmentary snatches of his talk. He was telling of the time he had been a mule skinner in New Mexico, of how he had ridden mail near Deming, and of frontier days at Tombstone. Casual anecdotes were sprinkled through his explanations to liven them. He spoke in the slurring drawl of the Southwest, which went so well with the brown lean face beneath the pinched-in felt hat and the well-packed vigor of the man.

"And what is 'bucking a sample'?" India wanted to know after one of his stories.

"You just pound some rock up and mix it to get a sample. Once when I was drag-driver of a herd in a round-up...."

Moya heard no more. She turned her attention resolutely to her companion and tried to detach her mind from the man in front. She might as well have tried to keep her heart from beating.

After they had arrived at the mill Jack quietly took charge of the disposition of the party. Verinder and Joyce were sent up in the first bucket. When this was halfway up to the mine the cable stopped to let another couple enter a bucket. Joyce, fifty feet up in the air, waved her hand to those below.

"You next, India," ordered her cousin.

The young woman stepped into the bucket. "I'm 'fraid," she announced promptly.

"No need to be. Captain, your turn."

The eyes of the two men met. Ned Kilmeny guessed instantly that the other had arranged this so as to get a few minutes alone with Moya. He took a place beside his sister immediately.

The cable did not stop again until the second pair of passengers had reached the mine.

Moya, followed by Jack, stepped into the basket, which began to rise steadily as it moved across the valley.

Kilmeny did not lose a minute.

"Why don't you let me see you alone? Why do you run away from me?" he demanded.

Little patches of color burned beneath the shadows of her eyes. A sound as of a distant surf began to beat in her ears.

"What nonsense! Why should I run from you?" she asked, meeting with difficulty the attack of his masterful gaze.

"Because you're afraid to let me tell you that I love you," he charged.

"Thought it was Joyce you ... fancied," she retorted quietly, her pulse hammering.

"So it was. I fancied her. I love you. I'm asking you to marry me."

"You don't have to ask me to marry you because you exaggerate the service I did you."

"I ask you because I love you."

"Thank you very much for the compliment. Sorry I must decline." She did not dare look at him. Her eyes were fixed on the mill far below.

"Why must you—since you love me?"

The telltale pink stained her cheeks. "You take that for granted, do you?"

"It's true, I believe. How can I make love to you as other men do? Lady Farquhar won't let me see you alone—even if you were willing to give me a chance. In two days you are going out of my life. I must speak the truth ... bluntly. I love you. It has been that way with me ever since you came into my life again, little Moya. But I was blind and didn't see it till ... till I was alone in the mine with death."

"I ... am sorry."

"That is not enough. I'm going to have the truth. You saved my life. What for? It is yours ... if you will take it."

She looked straight at him. "I can't marry you."

"Why can't you? Can you say that you don't love me?"

In the full-charged silence that followed a stifling emotion raced through her blood. The excitement in her set a pulse beating in her throat. Womanlike, she evaded the issue.

"The cable has stopped. What has happened?"

"Nothing has happened. It has stopped because I arranged with the engineer at the hoist to have it stop. When I give the signal it will start again."

"But...."

He brushed aside her futile protest. "I'm going to have this out with you. Dare you tell me that you don't love me, Moya?"

He forced her to meet his eyes, and in that moment she felt weak and faint. The throb of passion beat tumultuously against her will.

"Please ... be generous. What will they think? Let us start," she begged.

"They will think something is wrong with the machinery. But it doesn't matter in the least what they think. It's my last chance, and I'll not give it up. You've got to answer me."

The point where the bucket had stopped was a hundred feet above the ground below. She looked down, and shuddered.

"It's so far down ... please."

"Then don't look down. Look at me, Moya. It won't take you a moment to answer me."

"I have. I said I couldn't marry you."

"Tell me that you don't love me and I'll give the signal."

"I ... don't."

"Look straight at me and say it."

She tried to look at him and repeat it, but her eyes betrayed the secret she was fighting to keep from him. The long lashes fell to the hot cheeks an instant too late.

His hand found hers. "My little Irish wild rose, all sweetness and thorns," he murmured.

Above the tumult of her heart she heard her voice say, as if it were that of a stranger, "It's no use ... I can't ... marry you."

"Because I'm a highgrader?"

She nodded.

"Do you think I'm worse than other men? Down in the bottom of your heart do you believe that?"

She smiled wanly. "Other men are not ... making love to me."

"Am I nothing but a thief to you?"

"I have told you that you are the man I ... love. Isn't that a good deal?"

The desire of her, pure as a flame, swept through him. "It's the greatest thing that ever came into my life. Do you think I'm going to let it end there? I'm going to fight for our happiness. I'm going to beat down the things that come between us."

"You can't. It's too late," she cried wistfully.

"It's never too late for love so long as we're both alive."

"Not for love, but...."

"You've got to see this as I see it, sweetheart. I'm a man—primitive, if you like. I've done wild and evil things—plenty of them. What of that? I slough them off and trample them down. The heart of me is clean, isn't it?"

"Yes."

To look at him was enough to clear away all doubt. He had the faults that go with full-blooded elemental life, but at bottom this virile American was sound.

"Well! Isn't that enough?"

The little movement of her hands toward him seemed to beg for pity. "Jack! I can't help it. Maybe I'm a little prig, but ... mustn't we guide our lives by principle and not by impulse?"

"Do I guide mine by impulse?"

"Don't you?" She hurried on to contradict, or at least to modify, her reluctant charge. "Oh, I know you are a great influence here. You're known all over the state. Men follow you wherever you lead. Why should I criticize you—I, who have done nothing all my life but lean on others?"

"Go ahead. When I ask you to marry me I invite your criticism."

"I have to take little steps and to keep in well-worn paths. I can't make laws for myself as you do. Those that have been made may be wrong, but I must obey them."

"Why? Why should you? If they're wrong, fight against them."

"I can't argue with you ... dear. But I know what I think right. I want to think as you do. Oh, you don't know how I long to throw my Puritan conscience overboard and just trust your judgment. I ... admire you tremendously. But I can't give in ... I can't."

The muscles stood out on his lean cheeks as he set his teeth. "You've got to, Moya. Our love has been foreordained. Do you think it is for nothing that we met again after all these years? You're mine—the one woman in the world I want and am going to have."

She shook her head sadly. "No ... no!"

"Is it the money I have made highgrading? Is that what stands between us? If I were able to come to you without a dollar but with clean hands—would you marry me then?"

He leaned toward her, eager, ardent, passionate, the color in his cheeks burning to a dull brick tint beneath the tan. Body and soul she swayed toward him. All her vital love of life, of things beautiful and good and true, fused in a crescendo of emotion.

"My dear ... my dear, I'm only a girl—and I love you." Somehow her hands were buried in the strong grip of his. "But ... I can't live on the profits of what I think is wrong. If it weren't for that ... Jack, I'd marry you if you were a pauper—and thank God for the chance."

He faced her doggedly. "I'm not a pauper. I've fought for my share of the spoils. You've been brought up in a hot-house. Out in the world a man wins because he's strong. Do you think it's all been play with me? By God, no! I've ridden night herd in a blizzard when the temperature was below zero. I've done my shift on the twelfth level of the Never Quit many a month. I've mushed in Alaska and fought against Castro in Venezuela. Do you think I'm going to give up my stake now I've won it at last?"

She looked at him tremulously. "I don't ask you to give it up. You'll have to decide that for yourself."

"Don't you see I can't give it up? If I do, I lose you. How can I take care of you without money?"

"I'd do my best, Jack."

"You don't understand. It would be for years—until I had made another start. I wouldn't let you give up everything unless I had something to offer. I wouldn't consider it."

"Isn't that putting pride before love, Jack? You know I have a little money of my own. We could live—in very decent poverty. I would love to feel that we were fighting ... together. We both know you'll win in the end. Wouldn't it be fine to work out your success in partnership? Dear, I'd rather marry you while you're still a poor man."

For a moment the vision of it tempted him, but he put the dream away. "No. It won't do. Of course I'm going to win out in the end, but it might take a dozen years to set me on Easy street. For a woman brought up as you have been poverty is hell."

"Then you think I'm only a doll," she flashed. "You want to put me back in that hot-house you mentioned. I'm just an ornament to dress up and look at and play with."

"I think you're a little tinder-box," he said, smiling ruefully.

"Don't you see how it is with me, Jack? I've always craved life. I've wanted to take hold of it with both hands and without gloves. But they would never let me. I've got my chance now ... if you really love me more than you do your pride and your money. I want to live close to the people—as you do."

"What did that suit cost you?" he asked abruptly.

"Don't remember. Twenty-five pounds, maybe. Why?"

"One hundred twenty dollars, say. And you need dozens of dresses in a season. I'll make a guess that it takes five thousand a year to clothe you. That is nearly twice as much as I'll earn altogether next year if I throw away my stake."

She waved his argument aside. "Stupid boy! I have dresses enough to last me for five years—if you'll let me be that poor man's wife. I can make them over myself later and still be the best dressed woman in camp."

From above came Captain Kilmeny's shout. "We telephoned down. The engineer has the trouble arranged."

The cable began to move.

"When shall I see you alone again, Moya?" Jack demanded.

"I don't know."

"I'm going to see you. We've got to fight this out. I'll not let Lady Farquhar keep me from seeing you alone. It's serious business."

"Yes," she admitted. "I'll tell Lady Jim. But ... there's no use in letting you think I'll give up. I can't."

"You've got to give up. That's all there is to it." His jaw was set like a vise.

The party above fell upon them as they landed.

"Were you frightened, Moya?" exclaimed Joyce above the chorus of questions.

"Just for a moment." Moya did not look at Jack. "Mr. Kilmeny told me it would be all right."

Jack's eyes danced. "I told her we would work out of the difficulty if she would trust me."

Moya blushed. It happened that Captain Kilmeny was looking directly at her when his cousin spoke.



CHAPTER XXV

HOMING HEARTS

Jack Kilmeny had not been brought up in the dry sunbaked West for nothing. The winds of the Rockies had entered into his character as well as into his physique. He was a willful man, with a good deal of granite in his make-up. A fighter from his youth, he did not find it easy to yield the point upon which he differed from Moya. There was in her so much of impulsive generosity that he had expected to overpower her scruples. But she stood like a rock planted in the soil.

It came to him as he walked home after a long fight with her that in his heart he did not want her to yield. She was the Moya Dwight he loved because she would not compromise with her conviction. Yet, though he wanted her to stand firm, he hated the thought of giving way himself. It galled his pride that he must come to her without a penny, knowing that she had the means to keep them both modestly. Nor could he, without a pang, think of surrendering the twenty-eight thousand dollars he had fought for and won. He was no visionary. The value of money he understood perfectly. It stood for power, place, honor, the things that were worth having. Given what he had, Jack knew he could double it in Goldbanks within the year. There were legitimate opportunities for investment that were bound to make rich returns. But without a dollar he would be like Samson shorn of his locks.

All through the night he was joined in battle with himself, but when at early dawn he stood on the top of Son-of-a-Gun hill and faced a sky faintly pink with the warning of a coming sun his decision had been made.

On his way back he met Moya and Miss Seldon. Joyce pounced upon him with a grievance.

"You haven't told me yet how much you're going to give for the new hospital, Mr. Kilmeny. You know we're leaving to-morrow, and you'll have to decide at once. Be generous, please. You said yourself it was a good cause."

He nodded agreement. "The most worthy charity I know. I've often wondered why some Andrew Carnegie didn't set the fashion of endowing hospitals by wholesale. They ought to be free to all poor folks out of health. When a man is losing his wages and his family is scrimping he ought not to be facing a thirty-dollar-a-week hospital charge. Yes, I'm for the new hospital, Miss Seldon."

"How strong are you for it?" Joyce asked, laughing at her newly acquired American slang. "Mr. Verinder has promised to give me two dollars for every one I can raise among my other friends. So don't be a—a——"

"A tightwad," supplied Moya with a smile. She could do a little in the native slang herself.

Jack went into his pocket for a checkbook and a fountain pen. He wrote for a few seconds, tore the check from the stub, and handed it to Joyce.

That young woman gasped.

"Why—you don't really mean—it's for twenty-eight thousand two hundred and fourteen dollars," she cried.

"And seventeen cents. Please don't forget that," he added.

"But—what on earth do you mean?"

Jack was looking at Moya, and she at him with shining eyes in which joy swam.

"It's a little thank offering, Miss Seldon."

"Because you were rescued from the mine, I suppose. Still...."

"Because I'm engaged to be married to the best woman in the world," he corrected.

Joyce whirled upon Moya with instant divination. "You little wretch, and you never told me."

If Miss Dwight had not known it herself till this moment she gave no sign to that effect. "We're telling you now, dear," she explained.

"How long have you been engaged? Was it yesterday in the bucket?"

Jack laughed. "Nothing so romantic. We've been engaged a little less than half a minute. You get the first chance to wish Moya joy on having won so great a catch. She's marrying a pauper, you know."

"I think we're very rich," differed his sweetheart shyly.

Joyce looked from one to the other suspiciously. "I haven't a notion what either of you mean, but I know I'm going to hang on to this check, Mr. Millionaire Pauper."

Imps of mischief sparkled in the highgrader's eyes. "Don't forget that Verinder has to write one for twice as much."

Miss Seldon could not help laughing. "I'll see to that. He's not a welcher, but ... I wonder how he'll look when I tell him."

"You ought to tell him as soon as you can," Jack hinted boldly.

"Oh, ought I? Did you say you had been engaged less than a minute, Mr. Kilmeny? How much will you give me to go down now and tell him?"

"I've nothing left to give—except my gratitude."

"You're the first man who ever was so ungallant as to tell me he would be grateful to have me leave him."

"I'm the first who ever proposed to another girl in your presence. The circumstance is unusual," he flung back gayly.

"I didn't hear you propose. All you did was to announce it," she replied saucily.

"That's true too," admitted Kilmeny. "Well, I'm going to propose now if it isn't too late. You may stay if you like."

"Thanks, no." Joyce kissed her friend. "I hope you'll be very happy, dear. I ... I believe you will."

Moya choked on her words. "I know I shall, Joy."

Miss Seldon looked at Jack with an expression in which embarrassment and audacity were blended. "I've always rather liked your pauper," she confided aloud to Moya.

Her confidences had their limits. She omitted to mention what had just popped into her mind, that within the fortnight he had proposed to her too on the same spot.

Jack bowed with exaggerated deference when she shook hands with him. He was just now riding the seventh wave of happiness and felt friendly to the whole world.

"Thanks very much. You're a good scout, Joyce."

"Good gracious! What may that be? Some more of your American slang, I suppose." She broke away from persiflage to add seriously: "You're right about one thing, though. You've got the best girl in the world. Be good to her, Jack Kilmeny."

With that she turned and walked down the hill.

The other two walked up.

"I'm so proud of you, Jack, boy," whispered one of them.

He laughed happily. "I'm proud of myself. I've done the best day's work I ever did for myself when I won Moya Dwight."

"You know what I mean, Jack. What other man would have thrown away a small fortune—all he had—just for me?"

"I can name one other," suggested Kilmeny.

"Ned! But he's a saint."

"And I'm a sinner," her lover replied blithely.

"You're the sinner I love, then."

They had reached a clump of firs. Without knowing how it happened she found herself in his arms. There were both tears and laughter in her eyes as her lips turned slowly to meet his.

"The first time since we were kiddies on the Victorian, sweetheart," he told her.

"Yes, it's true. I loved you then. I love you now.... Jack, boy, I'm just the happiest girl alive."

A mist-like veil of old rose hung above the mountain tops. Hand in hand they watched the rising sun pierce through it and flood the crotches of the hills with God's splendid canvases. It was a part of love's egoism that all this glory of the young day seemed an accompaniment to the song of joy that pulsed through them.

Later they came to earth and babbled the nonsense that is the highest wisdom of lovers. They built air castles and lived in them, seeing life through a poetic ambient as a long summer day in which they should ride and work and play together.

At last she remembered Lady Farquhar and began to laugh.

"We must go down and tell her at once, Jack."

He agreed. "Yes, let's go back and have it out. If you like you may go to your room and I'll tackle her alone."

"I'd rather go with you."

He delighted in her answer.

Farquhar was taking an early morning stroll, arm in arm with Lady Jim, when he caught sight of them.

"Look, Di!"

Both of the lovers knew how to walk. Lady Farquhar, watching them, thought she had never seen as fine a pair of untamed human beings. In his step was the fine free swing of the hillman, and the young woman breasted the slope lightly as a faun.

The Englishman chuckled. "You're beaten, Di. The highwayman wins."

"Nonsense," she retorted sharply, but with anxiety manifest in her frown.

"Fact, just the same. He's coming to tell us he means to take our little girl to his robber den."

"I believe you'd actually let him," she said scornfully.

"Even you can't stop him. It's written in the books. Not sure I'd interfere if I could. For a middle-aged Pharisee with the gout I'm incurably romantic. It's the child's one great chance for happiness. But I wish to the deuce he wasn't a highgrader."

"She shan't sacrifice herself if I can prevent it," Lady Farquhar insisted stanchly.

"I 'member a girl who sacrificed herself for a line lieutenant without a shilling to call his own," he soliloquized aloud. "Would have him, and did, by Jove! Three deaths made him Lord Farquhar later, but she married the penniless subaltern."

"I've always been glad I did." She squeezed his arm fondly. "But this is different, James."

Kilmeny and Moya stopped. The young man doffed his gray felt hat and bowed.

"Mornin', Lady Farquhar—Lord Farquhar. We've come to ask your permission for our marriage."

"Mornin', rebels. Fancy I'll have to refuse it," cut back Farquhar, eyes twinkling. For this bold directness pleased and amused him.

"That would distress us extremely," answered Kilmeny with a genial smile.

"But would not affect your plans, I understand you to mean."

"You catch the idea exactly, sir."

Lady Farquhar entered the conversation. "Are you planning to go to prison with him, Moya, when he is convicted of highgrading?" she asked pleasantly.

Moya told in three sentences of what her lover had done. The Englishman wrung Kilmeny's hand cordially.

"By Jove, you reform thoroughly when you go about it. Don't think I'd have enjoyed writing that check for Miss Joyce. Leaves you strapped, does it?"

"Dead broke," came the very cheerful reply.

"But of course Moya has some money," said Lady Farquhar quietly.

The Westerner winced. "Wish she hadn't. It's the only thing I have to forgive her."

Farquhar lifted his eyebrows. "Di," he remonstrated.

His wife came to time with a frank apology. "That was downright nasty of me, Mr. Kilmeny. I withdraw it. None the less, I think Moya would be throwing herself away. Do you realize what you are proposing? She's been used to the best ever since she was born. Have you the means to supply her needs? Or are you considering a Phyllida and Corydon idyll in a cottage?"

"It will have to be something of that sort at first. I've told her all this too, Lady Farquhar."

"What does that matter if we love each other?" Moya asked.

"You'll find it matters a good deal," said Lady Jim dryly. "When poverty comes in love is likely to wink out any day. Of course I realize that yours is of a quality quite unusual. It always is, my dear. Every lover has thought that since time began."

"We'll have to take our fighting chance of that," Jack replied.

Moya, her eyes shining, nodded agreement. No great gain can be won without risk. She knew there was a chance that she might not find happiness in her love. But where it called her she must follow—to a larger life certainly, to joy and to sorrow, to the fuller experiences that must come to every woman who fulfills her destiny.

A voice hailed Jack. Colter was hurrying up the street, plainly excited. Kilmeny moved a few steps toward him.

Lady Jim took advantage of his absence to attack Moya from another angle. "My dear, I wish I could show you how much depends on a similarity of tastes, of habits, of standards. Matrimony means more than love. It means adjustment."

"I've thought of that too. But ... when you love enough that doesn't help the adjustment?" asked the girl naively.

She had appealed to Farquhar. That gentleman came to her assistance. "It does."

"This isn't a matter to be decided merely by personal preference," urged the older woman. "There may be—consequences."

The color beat into the face of the young woman in a wave, but her eyes held steadily to those of Lady Farquhar.

"I ... hope so."

"Bravo, Moya!" applauded her guardian, clapping his hands softly.

"Don't you think they—the consequences—deserve a better chance than you will give them?"

"I'll answer that, Di," spoke up Farquhar. "When a girl chooses for the father of her children a man who is clean and strong and virile, and on top of that her lover, she is giving them the best possible chance in life."

Moya's gratitude shone through the eyes that met those of her guardian.

Kilmeny swung back to the group he had left. "I've good news, friends. This is my lucky day. You remember that when I was rescued from the Golden Nugget my pockets were full of ore samples I had picked up as I was tunneling."

"Yes ... picked them up while you were delirious, didn't you?" Farquhar replied.

"Must have, I reckon. Well, you know how miners are always having pieces of quartz assayed. Colter took these to the man we employ. He's just learned that it is high-grade stuff."

"You've made a strike?"

"Looks like it. Colter wasn't taking any chances, anyhow. He hiked right around to the owners of the mine and signed up a five-year lease in his name and mine."

Farquhar shook hands with him cordially. "Hope you make a fortune, Kilmeny."

Moya's chaperon, facing the inevitable, capitulated as graceful as she could. After all, the girl might have done worse. The man she had chosen was well born, good looking, forceful, and a leader in his community. If this fortunate strike was going to leave him well off, clearly she must make the best of him.

"You're a lucky man. I hope you know you don't deserve a girl like Moya," she told him as she shook hands.

"I know it, all right. Can you tell me who does?" he flung back, with a gay insouciant smile.

At that moment Ned Kilmeny stepped out upon the hotel porch. Lady Jim nodded toward him.

"Perhaps," his cousin conceded. "But in this little old world a man doesn't get what he deserves."

"I see he doesn't. Ned is a better man than you."

"Yes," he admitted.

Captain Kilmeny, coming down the porch steps, saw in a flash what had happened. He came forward with the even stride and impassive face that seldom deserted him. In two sentences Lady Farquhar told him the facts.

"You lucky dog," he said to his cousin as their hands gripped.

Jack had never liked him better than in this moment when he was giving up so cheerfully the thing he wanted most in the world.

"It isn't always the best man that wins, captain. I take off my hat to the better men who have tried and failed. Perhaps it may be a comfort to them to know that I'm the man that needs her most."

The captain turned to Moya. "So you've found that good hunting already," he said to her in a low voice.

"Yes, I think I have ... I'm sure of it, Ned." Her eyes were full of tender sympathy for him. She wished she could tell him how much she admired his fine spirit.

"God keep you happy," he said wistfully.

Jack joined them and slipped Moya's arm into his. "Amen to that, captain. And since Jack Kilmeny has been appointed deputy on the job I'm going to see your wish comes true."

Moya looked at her lover and smiled.

———————————————————————————————————-

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THREE SPLENDID BOOKS BY ALFRED HENRY LEWIS

FARO NELL AND HER FRIENDS

A new story of "Wolfville" days—the best of all. It pictures the fine comradeship, broad understanding and simple loyalty of Faro Nell to her friends. Here we meet again Old Monte, Dave Tutt, Cynthiana, Pet-Named Original Sin, Dead Shot Baker, Doc Peets, Old Man Enright, Dan Boggs, Texas and Black Jack, the rough-actioned, good-hearted men and women who helped to make this author famous as a teller of tales of Western frontier life.

12mo. Cloth. Illustrated. Popular Edition. 50 Cents

THE APACHES OF NEW YORK

A truthful account of actual happenings in the underworld of vice and crime in the metropolis, that gives an appalling insight into the life of the New York criminal. It contains intimate, inside information concerning the gang fights and the gang tyranny that has since startled the entire world. The book embraces twelve stories of grim, dark facts secured directly from the lips of the police and the gangsters themselves.

12mo. Cloth. Illustrated. Popular Edition. 50 Cents

THE STORY OF PAUL JONES

A wonderful historical romance. A story of the boyhood and later life of that daring and intrepid sailor whose remains are now in America. Thousands and tens of thousands have read it and admired it. Many consider it one of the best books Mr. Lewis has produced.

12mo. Cloth. Illustrated. Popular Edition. 50 Cents

G. W. DILLINGHAM COMPANY Publishers New York

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BOOKS BY EDWARD MARSHALL

BAT—An Idyl of New York

"The heroine has all the charm of Thackeray's Marchioness in New York surroundings."—New York Sun. "It would be hard to find a more charming, cheerful story."—New York Times. "Altogether delightful."—Buffalo Express. "The comedy is delicious."— Sacramento Union. "It is as wholesome and fresh as the breath of springtime."—New Orleans Picayune. 12mo, cloth. Illustrated. $1.00 net.

THE MIDDLE WALL

The Albany Times-Union says of this story of the South African diamond mines and adventures in London, on the sea and in America: "As a story teller Mr. Marshall cannot be improved upon, and whether one is looking for humor, philosophy, pathos, wit, excitement, adventure or love, he will find what he seeks, aplenty, in this capital tale." 12mo, cloth. Illustrated. 50 cents.

BOOKS NOVELIZED FROM GREAT PLAYS

THE MASTER OF THE HOUSE

From the successful play of EDGAR JAMES. Embodying a wonderful message to both husbands and wives, it tells how a determined man, of dominating personality and iron will, leaves a faithful wife for another woman. 12mo, cloth. Illustrated from scenes in the play. Net $1.25.

THE WRITING ON THE WALL

The Rocky Mountain News: "This novelization of OLGA NETHERSOLE'S play tells of Trinity Church and its tenements. It is a powerful, vital novel." 12mo, cloth. Illustrated. 50 cents.

THE OLD FLUTE PLAYER

Based on CHARLES T. DAZEY'S play, this story won the friendship of the country very quickly. The Albany Times-Union: "Charming enough to become a classic." 12mo, cloth. Illustrated 50 cents.

THE FAMILY

Of this book (founded on the play by ROBERT HOBART DAVIS), The Portland (Oregon) Journal said: "Nothing more powerful has recently been put between the covers of a book." 12mo, cloth. Illustrated. 50 cents.

THE SPENDTHRIFT

The Logansport (Ind.) Journal: "A tense story founded on PORTER EMERSON BROWNE'S play, is full of tremendous situations, and preaches a great sermon." 12mo, cloth bound, with six illustrations from scenes in the play, 50 cents.

IN OLD KENTUCKY

Based upon CHARLES T. DAZEY'S well-known play, which has been listened to with thrilling interest by over seven million people. "A new and powerful novel, fascinating in its rapid action. Its teaching story is told more elaborately and even more absorbingly than it was upon the stage."—Nashville American, 12mo, cloth. Illustrated. 50 cents.

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ALBERT ROSS' ROMANCES

A NEW EDITION AT A POPULAR PRICE

Albert Ross is a brilliant and wonderfully successful writer whose books have sold far into the millions. Primarily his novels deal with the sex-problem, but he depicts vice with an artistic touch and never makes it unduly attractive. Gifted with a fine dramatic instinct, his characters become living, moving human beings full of the fire and passion of loving just as they are in real life. His stories contain all the elements that will continue to keep him at the head of American novelists in the number of his admirers.

Mr. Ross is to be congratulated on the strength as well as the purity of his work. It shows that he is not obliged to confine his pen to any single theme, and that he has a good a right to be called the "American Eugene Sue" or the "American Zola."

12mo, cloth. Price per volume, 50 cents.

Black Adonis, A Original Sinner, An Garston Bigamy, The Out of Wedlock Her Husband's Friend Speaking of Ellen His Foster Sister Stranger than Fiction His Private Character Sugar Princess, A In Stella's Shadow That Gay Deceiver Love at Seventy Their Marriage Bond Love Gone Astray Thou Shalt Not Moulding a Maiden Thy Neighbor's Wife Naked Truth, The Why I'm Single New Sensation, A Young Fawcett's Mabel Young Miss Giddy

G. W. DILLINGHAM CO. Publishers New York

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"THE ART OF THE PHOTOPLAY" is a condensed textbook of the technical knowledge necessary for the preparation and sale of motion picture scenarios. More than 35,000 photoplays are produced annually in the United States. The work of staff-writers is insufficient. Free-lance writers have greater opportunities than ever before, for the producing companies can not secure enough good comedies and dramas for their needs. The first edition of this book met with unusual success. Its author, now the Director General of Productions for the Beaux Arts Film Corporation, is the highest paid scenario writer in the world, as well as being a successful producing manager. Among his successes were the scenarios for the spectacular productions: "Robin Hood," "The Squaw Man," "The Banker's Daughter," "The Fire King," "Checkers," "The Curse of Cocaine" and "The Kentucky Derby."

WHAT THOSE WHO KNOW HAVE SAID:

"In my opinion, based upon six years' experience producing motion pictures, Mr. Eustace Hale Ball is the most capable scenario writer in the business to-day." (Signed) W. F. Haddock, Producing Director with Edison, Eclair, All Star, and now President, Mirror Film Corporation.

"Mr. Ball has thoroughly grasped present day and future possibilities of the Moving Picture business with relation to the opportunities for real good work by scenario writers." (Signed) P. Kimberley, Managing Director, Imperial Film Company, Ltd., London, England.

"To those who wish to earn some of the money which the moving picture folk disburse, Eustace Hale Ball proffers expert and valuable advice." New York Times Review of Books.

"Ball's Art of the Photoplay puts into concrete form, with expert simplicity, the secrets of writing photoplays which appeal to the millions of Americans who attend the theatres and the producers can not buy enough of such plays to satisfy the exhibitors." (Signed) Robert Lee Macnabb, National Vice-President, Motion Picture Exhibitor's League of America.

"You have succeeded in producing a clear and helpful exposition of the subject." (Signed) Wm. R. Kane, Editor of "The Editor Magazine."

12 mo. Cloth bound, $1.00 Net.

G. W. DILLINGHAM CO., Publishers NEW YORK

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By MRS. GEORGE SHELDON DOWNS

KATHERINE'S SHEAVES

A Great Novel With a Great Purpose

Katherine's Sheaves is altogether delightful, a charming piece of fiction, a beautiful romance. One must admire the book for its characterization, its brilliant pictures of life, and its dramatic situations, but still more for its philosophy and wisdom.

The story is a dramatic one, abounding in strong situations.

The plot is well conceived and carried out, the style easy and the characters likable.

12mo, Cloth, Illustrated. Popular Edition, 50 cents.

STEP BY STEP

Judged as a story pure and simple, "STEP BY STEP" is altogether delightful. But it is not merely a charming piece of fiction. Ethical in its nature, the underlying thought shows throughout the lofty purpose and high ideals of the author, and exhales a wholesome atmosphere, while the element of romance pervading it is both elevated and enriched by its purity and simplicity.

12mo, Cloth, Illustrated. Popular Edition, 50 cents.

GERTRUDE ELLIOT'S CRUCIBLE

It is a readable story, clean, wholesome, and high in moral tone—optimistic and constructive.

It has an alluring plot, and is well and skillfully worked out. The incidents are dramatic, and therefore always striking, and the entire romance will hold the attention of the reader.

12mo, Cloth Bound, Illustrated. Popular Edition, 50 cents.

REDEEMED

Dealing with divorce—the most vital problem in the world to-day—this book tells how a pure-minded woman is divorced from her husband, upon a flimsy pretext, because he wishes to marry again. How he suffers when he learns that he has thrown away the true disinterested love of a noble woman, and how he craves that love again, makes a vivid, forceful story of an intensely modern significance.

12mo, Cloth, Illustrated. Popular Edition, 50 cents.

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POPULAR MYSTERY DETECTIVE STORIES BY FERGUS HUME

The very name of Fergus Hume means mystery and excitement, and his detective stories show that he is a past-master in the art of creating thrills and unusual situations, of baffling and elusive intricacy. Lovers of mystery stories welcome each announcement of a new book by this author, who is widely known on both sides of the Atlantic.

Claude Duval of '95 Peacock of Jewels, The Coin of Edward VII, A Rainbow Feather, The Disappearing Eye, The Red Money Green Mummy, The Red Window, The Lost Parchment, The Sacred Herb, The Mandarin's Fan, The Sealed Message, The Mystery of a Hansom Cab, The Secret Passage, The Mystery Queen, The Solitary Farm, The Opal Serpent, The Steel Crown, The Pagan's Cup, The Yellow Holly, The

12mo, Cloth; Popular Edition; Per volume, 50 cents

THE END

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