Course, Pinckney gets out his fireless bottles and the glasses and improves the time by handin' around somethin' soothin' or cheerin', accordin' to taste. Not bein' thirsty, I begins inspectin' the contagious scenery. It wa'n't anything an artist would yearn to paint. Just back from the road is a sort of shack that looks as though someone might be campin' out in it, and behind that a mess of rough sheds and chicken coops.

Next I discovers that the object down in the field which I'd taken for a scarecrow was a live man. By the motions he's goin' through, he's diggin' potatoes, and from the way he sticks to it, not payin' any attention to us, it seems as if he found it a mighty int'restin' pastime. You'd most think, livin' in an out of the way, forsaken place like that, that most any native would be glad to stop work long enough to look over a hot lookin' bunch like ours.

This one don't seem inclined that way, though. He keeps his back bent and his head down and his hands busy. Now, whenever I've been out in a machine, and we've had any kind of trouble, there's always been a gawpin' committee standin' around, composed of every human being in sight at the time of the casualty, includin' a few that seemed to pop up out of the ground. But here's a case where the only party that can act as an audience ain't doin' his duty. So a fool freak hits me to stroll over and poke him up.

"Hey, you!" says I, vaultin' the fence.

He jerks his head up a little at that, kind of stares in my direction, and then dives into another hill of spuds.

"Huh!" thinks I. "Don't want any city folks in his'n, by chowder! But here's where he gets 'em thrust on him!" and I pikes over for a closer view. Couldn't see much, though, but dirty overalls, blue outing shirt, and an old haymaker's straw hat with a brim that lops down around his face and ears.

"Excuse me," says I; "but ain't you missin' a trick, or is it because you don't feel sociable to-day? How're the murphies pannin' out this season?"

To see the start he gives, you'd think I'd crept up from behind and swatted him one. He straightens up, backs off a step or two, and opens his mouth. "Why—why——" says he, after one or two gasps. "Who are you, please?"

"Me?" says I. "Oh, I'm just a stray stranger. I was being shot through your cunnin' little State on a no-stop schedule, when one of our tires went out of business. Hence this informal call."

"But," says he, hesitatin' and pushin' back the hat brim, "isn't this—er—aren't you Professor McCabe?"

Say, then it was my turn to do the open face act! Course, knockin' around as much as I have and rubbin' against so many diff'rent kinds of folks, I'm liable to run across people that know me anywhere; but blamed if I expected to do it just walkin' out accidental into a potato orchard.

Sure enough, too, there was something familiar about that long thin nose and the droopy mouth corners; but I couldn't place him. Specially I'd been willin' to pass my oath I'd never known any party that owned such a scatterin' crop of bleached face herbage as he was sportin'. It looked like bunches of old hay on the side of a hill. The stary, faded out blue eyes wa'n't just like any I could remember, either, and I'm gen'rally strong on that point.

"You've called my number, all right," says I; "but, as for returnin' the compliment, you've got me going, neighbor. How do you think I'm looking?"

He makes a weak stab at springin' a smile, about the ghastliest attempt at that sort of thing I ever watched, and then he shrugs his shoulders. "I—I couldn't say about your looks," says he. "I recognized you by your voice. Perhaps you won't remember me at all. I'm Dexter Bean."

"What!" says I. "Not Beany, that used to do architectin' on the top floor over the studio?"

"Yes," says he.

"And you've forgot my mug so soon?" says I.

"Oh, no!" says he, speakin' up quick. "I haven't forgotten. But I can't see very well now, you know. In fact, I—I'm—— Well, it's almost night time with me, Shorty," and by the way he chokes up I can tell how hard it is for him to get out even that much.

"You don't mean," says I, "that—that you——"

He nods, puts his hands up to his face, and turns his head for a minute.

Well, say, I've had lumps come in my throat once in a while before on some account or other; but I never felt so much like I'd swallowed a prize punkin as I did just then. Most night time! Course, you hear of lots of cases, and you know there's asylums where such people are taken care of and taught to weave cane bottoms for chairs; but I tell you when you get right up against such a case, a party you've known and liked, and it's handed to you sudden that he's almost in the stick tappin' class—well, it's apt to get you hard. I know it did me. Why, I didn't know any more what to do or say than a goat. But it was my next.

"Well, well, Beany, old boy!" says I, slidin' an arm across his shoulder. "This is all news to me. Let's get over in the shade and talk this thing over."

"I—I'd like to, Shorty," says he.

So we camps down under a tree next to the fence, and he gives me the story. As he talks, too, it all comes back to me about the first time some of them boys from up stairs towed him down to the studio. He'd drifted in from some Down East crossroads, where he'd taken a course in mechanical drawin' and got the idea that he was an architect. And a greener Rube than him I never expect to see. It was a wonder some milliner hadn't grabbed him and sewed him on a hat before he got to 42d-st.

Maybe that gang of T Square sports didn't find him entertainin', too. Why, he swallowed all the moldy old bunk yarns they passed over, and when they couldn't hold in any longer, and just let loose the hee-haws, he took it good natured, springin' that kind of sad smile of his on 'em, and not even gettin' red around the ears. So the boss set him to sweepin' the floors and tendin' the blueprint frames on the roof.

That's the way he broke in. Then a few months later, when they had a rush of contracts, they tried him out on some detail work. But his drawin' was too ragged. He was so good natured, though, and so willin' to do anything for anybody, that they kept him around, mainly to spring new gags on, so far as I could see.

It wa'n't until he got at some house plans by accident that they found out where he fitted in. He'd go over a set of them puzzle rolls that mean as much to me as a laundry ticket, and he'd point out where there was room for another clothes closet off some chamber here, and a laundry chute there, and how the sink in the butler's pantry was on the wrong side for a right handed dish washer, and a lot of little details that nobody else would think of unless they'd lived in just such a house for six months or so. Beany the Home Expert, they called him after that, and before any house plans was O. K.'d by the boss he had to revise 'em.

Then he got to hangin' round the studio after hours, helpin' Swifty Joe clean up and listenin' to his enlightenin' conversation. It takes a mighty talented listener to get Swifty started; but when he does get his tongue once limbered up, and is sure of his audience, he enjoys nothin' like givin' off his views in wholesale lots.

As for me, I never said a whole lot to Beany, nor him to me; but I couldn't help growin' to like the cuss, because he was one of them gentle, quiet kind that you cotton to without knowin' exactly why. Not that I missed him a lot when he disappeared. Fact was, he just dropped out, and I don't know as I even asked what had become of him.

I was hearin' now, though. It wa'n't any great tragedy, to start with. Some of the boys got skylarkin' one lunch hour, and Beany was watchin' 'em, when a lead paper weight he was holdin' slipped out of his hand, struck the end of a ruler, and flipped it up into his face. A sharp corner hit him in the eye, that's all. He had the sore peeper bound up for three or four days before he took it to a hospital.

When he didn't show up again they wondered some, and one of the firm inquired for him at his old boardin' place. You know how it is in town. There's so many comin' and goin' that it's hard to keep track of 'em all. So Beany just faded out.

He told me that when the hospital doctor put it to him flat how bad off his bum lamp was, and how the other was due to go the same way, he just started out and walked aimless for two days and nights, hardly stoppin'. Then he steadied down, pulled himself together, and mapped out a plan.

Besides architectin', all he knew how to do was to raise chickens. He figured that if he could get a little place off where land was cheap, and get the hang of it well in his head before his glim was doused altogether, he might worry along. He couldn't bear to think of goin' back to his old home, or hangin' around among strangers until he had to be herded into one of them big brick barracks. He wanted to be alone and outdoors.

He had a few dollars with him that he'd saved up, and when he struck this little sand plot, miles from anywhere, he squat right down on it, built his shack, got some settin' hens, and prepared for a long siege in the dark. One eye was all to the bad already, and the other was beginnin' to grow dim. Nice cheerful proposition to wake up to every mornin', wa'n't it?

Does Beany whine any in tellin' it, though? Never a whimper! Gets off his little jokes on himself about the breaks he makes cookin' his meals, such as sweetenin' his coffee out of the salt bag, and bitin' into a cake of bar soap, thinkin' it was a slice of the soggy bread he'd make. Keeps his courage up, too, by trying to think that maybe livin' outdoors and improvin' his health will help him get back his sight.

"I'm sure I am some better already," says he. "For months all I could see out of my left eye was purple and yellow and blue rings. Now I don't see those at all."

"That so?" says I, battin' my head for some come-back that would fit. "Why—er—I should think you'd miss 'em, Beany."

Brilliant, wa'n't it? But Beany throws back his head and lets out the first real laugh he's indulged in for over a year.

"No, hardly that," says he. "I don't care about carrying my rainbows around with me."

"But look here, Beany," says I. "You can't stay here doin' the poultry hermit act."

"It's the only thing I'm fit for," says he; "so I must."

"Then you've got to let us send you a few things occasionally," says I. "I'll look up your old boss and——"

"No, no!" says he. "I'm getting along all right. I've been a little lonesome; but I'll pull through."

"You ought to be doin' some doctorin', though," says I.

He shrugs his shoulders again and waves one hand. "What's the use?" says he. "They told me at the hospital there wasn't any help. No, I'll just stay here and plug it out by myself."

Talk about clear grit, eh! And maybe you can frame up my feelin's when he insists there ain't a thing I can do for him. About then, too, I hears 'em shoutin' from the car for me to come along, as they're all ready to start again. So all I does is swap grips with Beany, get off some fool speech about wishin' him luck, and leave him standin' there in the potato field.

Somehow I didn't enjoy the rest of that day's run very much, and when they jollies me by askin' who's my scarecrow acquaintance I couldn't work myself up to tellin' 'em about him. But all I could think of was Beany back there pokin' around alone in the fog that was settlin' down thicker and thicker every day. And in the course of two or three hours I had a thought.

"Pinckney," says I, as we was puttin' up in Newport, "you know all sorts of crackerjacks. Got any expert eye doctors on your list?"

He chews that over a minute or so, and concludes that he has, a Dr. Jason Craige, who's right here in town.

"He's the real thing, is he?" says I.

"Most skillful oculist in the country," says Pinckney, "and charges accordingly."

"As high as fifty a throw?" says I.

"Fifty!" says Pinckney. "You should see his Cliff Walk cottage."

"Let's," says I. "There's a friend of mine I'd like to have him take a look at to-morrow."

"No use," says Pinckney. "He drops his practice entirely during his vacation; wouldn't treat an Emperor then, I've heard him say. He's a good deal of a crank on that—and billiards."

"But see here, Pinckney," says I, and I goes on to give him the whole tale about Beany, puttin' it over as strong as I knew how.

"Sorry," says Pinckney; "but I know of no way in which I could induce him to change his custom. He's Scotch, you know, and as obstinate as—— Hold on, Shorty! I've an idea. How strong will you back my game of billiards?"

Now of all the erratic cue performers I ever watched, Pinckney gets the medal. There's times when he can nurse 'em along the cushion and run up quite a string, and then again I've seen him play a game any duffer'd be ashamed of. But I begins to smell out his scheme.

"If it means a chance for Beany," says I, "I'll bid good-by to five twenties and let you do your worst."

"A wager of that sort would tempt Craige, if anything would," says Pinckney. "We'll try it on, anyway."

Whether it was the bluff Pinckney threw, or the insultin' way he suggests that the Doc don't dare take him up, I can't say. All I know is that inside of half an hour we was in Jason Craige's private billiard room, him and Pinckney peeled down to their shirts, and at it.

As a rule I could go to sleep watchin' the best three-ball carom game ever played; but durin' this contest I holds the marker's stick and never misses a move. First off Pinckney plays about as skillful as a trained pig practicin' on the piano; but after four or five minutes of punk exhibition he takes a brace and surprises himself.

No need going into details. Pinckney wins out, and the Doc slams his cue into the rack with some remark about producin' the charity patient to-morrow. Did I? I routs Renee out at daylight next mornin', has him make a fifty-mile run at Vanderbilt Cup speed, and we has Beany in the eye expert's lib'ry before he comes down for breakfast.

It takes Dr. Craige less'n three minutes to discover that the hospital hand who told Beany he was bound to lose both lamps was a fat brained nut who'd be more useful drivin' an ashcart. The Doc lays Beany out on a leather couch, uses a little cocaine in the right place, monkeys around a minute or so with some shiny hardware, and announces that after he's laid up for twenty-four hours in a dark room, usin' the wash reg'lar, he'll be able to see as well as any of us.

It's a fact, too; for Beany goes back on his old job next Monday mornin'.

"By Jove!" says Pinckney, after the trick is turned. "A miracle, Craige!"

"Miracle be blowed!" says the Doc. "You accomplished the miracle last night, Pinckney, when you ran thirty-two buttons on scratch hits."

THE END

* * * * * *

THE NOVELS OF GEORGE BARR McCUTCHEON

May be had wherever books are sold. Ask for Grosset and Dunlap's list.

GRAUSTARK. Illustrated with Scenes from the Play.

With the appearance of this novel, the author introduced a new type of story and won for himself a perpetual reading public. It is the story of love behind a throne in a new and strange country.

BEVERLY OF GRAUSTARK. Illustrations by Harrison Fisher.

This is a sequel to "Graustark." A bewitching American girl visits the little principality and there has a romantic love affair.

PRINCE OF GRAUSTARK. Illustrations by A. I. Keller.

The Prince of Graustark is none other than the son of the heroine of "Graustark." Beverly's daughter, and an American multimillionaire with a brilliant and lovely daughter also figure in the story.

BREWSTER'S MILLIONS.

Illustrated with Scenes from the Photo-Play.

A young man, required to spend one million dollars in one year, in order to inherit seven, accomplishes the task in this lively story.

COWARDICE COURT.

Illus. by Harrison Fisher and decorations by Theodore Hapgood.

A romance of love and adventure, the plot forming around a social feud in the Adirondacks in which an English girl is tempted into being a traitor by a romantic young American.

THE HOLLOW OF HER HAND. Illustrated by A. I. Keller.

A story of modern New York, built around an ancient enmity, born of the scorn of the aristocrat for one of inferior birth.

WHAT'S-HIS-NAME. Illustrations by Harrison Fisher.

"What's-His-Name" is the husband of a beautiful and popular actress who is billboarded on Broadway under an assumed name. The very opposite manner in which these two live their lives brings a dramatic climax to the story.

Ask for Complete free list of G. & D. Popular Copyrighted Fiction Grosset & Dunlap, Publishers, New York

* * * * * *

ZANE GREY'S NOVELS

May be had wherever books are sold. Ask for Grosset & Dunlap's list

THE LIGHT OF WESTERN STARS

A New York society girl buys a ranch which becomes the center of frontier warfare. Her loyal superintendent rescues her when she is captured by bandits. A surprising climax brings the story to a delightful close.

THE RAINBOW TRAIL

The story of a young clergyman who becomes a wanderer in the great western uplands—until at last love and faith awake.

DESERT GOLD

The story describes the recent uprising along the border, and ends with the finding of the gold which two prospectors had willed to the girl who is the story's heroine.

RIDERS OF THE PURPLE SAGE

A picturesque romance of Utah of some forty years ago when Mormon authority ruled. The prosecution of Jane Withersteen is the theme of the story.

THE LAST OF THE PLAINSMEN

This is the record of a trip which the author took with Buffalo Jones, known as the preserver of the American bison, across the Arizona desert and of a hunt in "that wonderful country of deep canons and giant pines."

THE HERITAGE OF THE DESERT

A lovely girl, who has been reared among Mormons, learns to love a young New Englander. The Mormon religion, however, demands that the girl shall become the second wife of one of the Mormons—Well, that's the problem of this great story.

THE SHORT STOP

The young hero, tiring of his factory grind, starts out to win fame and fortune as a professional ball player. His hard knocks at the start are followed by such success as clean sportsmanship, courage and honesty ought to win.

BETTY ZANE

This story tells of the bravery and heroism of Betty, the beautiful young sister of old Colonel Zane, one of the bravest pioneers.

THE LONE STAR RANGER

After killing a man in self defense, Buck Duane becomes an outlaw along the Texas border. In a camp on the Mexican side of the river, he finds a young girl held prisoner, and in attempting to rescue her, brings down upon himself the wrath of her captors and henceforth is hunted on one side by honest men, on the other by outlaws.

THE BORDER LEGION

Joan Randle, in a spirit of anger, sent Jim Cleve out to a lawless Western mining camp, to prove his mettle. Then realizing that she loved him—she followed him out. On her way, she is captured by a bandit band, and trouble begins when she shoots Kells, the leader—and nurses him to health again. Here enters another romance—when Joan, disguised as an outlaw, observes Jim, in the throes of dissipation. A gold strike, a thrilling robbery—gambling and gun play carry you along breathlessly.

THE LAST OF THE GREAT SCOUTS,

By Helen Cody Wetmore and Zane Grey

The life story of Colonel William F. Cody, "Buffalo Bill," as told by his sister and Zane Grey. It begins with his boyhood in Iowa and his first encounter with an Indian. We see "Bill" as a pony express rider, then near Fort Sumter as Chief of the Scouts, and later engaged in the most dangerous Indian campaigns. There is also a very interesting account of the travels of "The Wild West" Show. No character in public life makes a stronger appeal to the imagination of America than "Buffalo Bill," whose daring and bravery made him famous

Grosset & Dunlap, Publishers, New York

* * * * * *

B. M. Bower's Novels Thrilling Western Romances

Large 12 mos. Handsomely bound in cloth. Illustrated

CHIP, OF THE FLYING U

A breezy wholesome tale, wherein the love affairs of Chip and Delia Whitman are charmingly and humorously told. Chip's jealousy of Dr. Cecil Grantham, who turns out to be a big, blue eyed young woman is very amusing. A clever, realistic story of the American Cow-puncher.

THE HAPPY FAMILY

A lively and amusing story, dealing with the adventures of eighteen jovial, big hearted Montana cowboys. Foremost amongst them, we find Ananias Green, known as Andy, whose imaginative powers cause many lively and exciting adventures.

HER PRAIRIE KNIGHT

A realistic story of the plains, describing a gay party of Easterners who exchange a cottage at Newport for the rough homeliness of a Montana ranch-house. The merry-hearted cowboys, the fascinating Beatrice, and the effusive Sir Redmond, become living, breathing personalities.

THE RANGE DWELLERS

Here are everyday, genuine cowboys, just as they really exist. Spirited action, a range feud between two families, and a Romeo and Juliet courtship make this a bright, jolly, entertaining story, without a dull page.

THE LURE OF DIM TRAILS

A vivid portrayal of the experience of an Eastern author, among the cowboys of the West, in search of "local color" for a new novel. "Bud" Thurston learns many a lesson while following "the lure of the dim trails" but the hardest, and probably the most welcome, is that of love.

THE LONESOME TRAIL

"Weary" Davidson leaves the ranch for Portland, where conventional city life palls on him. A little branch of sage brush, pungent with the atmosphere of the prairie, and the recollection of a pair of large brown eyes soon compel his return. A wholesome love story.

THE LONG SHADOW

A vigorous Western story, sparkling with the free, outdoor, life of a mountain ranch. Its scenes shift rapidly and its actors play the game of life fearlessly and like men. It is a fine love story from start to finish.

Ask for Complete free list of G. & D. Popular Copyrighted Fiction Grosset & Dunlap, 526 West 26th St., New York

* * * * * *

BOOTH TARKINGTON'S NOVELS

May be had wherever books are sold. Ask for Grosset & Dunlap's list.

SEVENTEEN. Illustrated by Arthur William Brown.

No one but the creator of Penrod could have portrayed the immortal young people of this story. Its humor is irresistible and reminiscent of the time when the reader was Seventeen.

PENROD. Illustrated by Gordon Grant.

This is a picture of a boy's heart, full of the lovable, humorous, tragic things which are locked secrets to most older folks. It is a finished, exquisite work.

PENROD AND SAM. Illustrated by Worth Brehm.

Like "Penrod" and "Seventeen," this book contains some remarkable phases of real boyhood and some of the best stories of juvenile prankishness that have ever been written.

THE TURMOIL. Illustrated by C. E. Chambers.

Bibbs Sheridan is a dreamy, imaginative youth, who revolts against his father's plans for him to be a servitor of big business. The love of a fine girl turns Bibbs' life from failure to success.

THE GENTLEMAN FROM INDIANA. Frontispiece.

A story of love and politics,—more especially a picture of a country editor's life in Indiana, but the charm of the book lies in the love interest.

THE FLIRT. Illustrated by Clarence F. Underwood.

The "Flirt," the younger of two sisters, breaks one girl's engagement, drives one man to suicide, causes the murder of another, leads another to lose his fortune, and in the end marries a stupid and unpromising suitor, leaving the really worthy one to marry her sister.

Ask for Complete free list of G. & D. Popular Copyrighted Fiction Grosset & Dunlap, Publishers, New York

* * * * * *

GROSSET & DUNLAP'S DRAMATIZED NOVELS

THE KIND THAT ARE MAKING THEATRICAL HISTORY

May be had wherever books are sold. Ask far Grosset & Dunlap's list

WITHIN THE LAW. By Bayard Veiller & Marvin Dana. Illustrated by Wm. Charles Cooke.

This is a novelization of the immensely successful play which ran for two years in New York and Chicago.

The plot of this powerful novel is of a young woman's revenge directed against her employer who allowed her to be sent to prison for three years on a charge of theft, of which she was innocent.

WHAT HAPPENED TO MARY. By Robert Carlton Brown. Illustrated with scenes from the play.

This is a narrative of a young and innocent country girl who is suddenly thrown into the very heart of New York, "the land of her dreams," where she is exposed to all sorts of temptations and dangers.

The story of Mary is being told in moving pictures and played in theatres all over the world.

THE RETURN OF PETER GRIMM. By David Belasco. Illustrated by John Rae.

This is a novelization of the popular play in which David Warfield, as Old Peter Grimm, scored such a remarkable success.

The story is spectacular and extremely pathetic but withal, powerful, both as a book and as a play.

THE GARDEN OF ALLAH. By Robert Hichens.

This novel is an intense, glowing epic of the great desert, sunlit barbaric, with its marvelous atmosphere of vastness and loneliness.

It is a book of rapturous beauty, vivid in word painting. The play has been staged with magnificent cast and gorgeous properties.

BEN HUR. A Tale of the Christ. By General Lew Wallace.

The whole world has placed this famous Religious-Historical Romance on a height of pre-eminence which no other novel of its time has reached. The clashing of rivalry and the deepest human passions, the perfect reproduction of brilliant Roman life, and the tense, fierce atmosphere of the arena have kept their deep fascination. A tremendous dramatic success.

BOUGHT AND PAID FOR. By George Broadhurst and Arthur Hornblow. Illustrated with scenes from the play.

A stupendous arraignment of modern marriage which has created an interest on the stage that is almost unparalleled. The scenes are laid in New York, and deal with conditions among both the rich and poor.

The interest of the story turns on the day-by-day developments which show the young wife the price she has paid.

Ask for Complete free list of G. & D. Popular Copyrighted Fiction Grosset & Dunlap, 526 West 26th St., New York

* * * * * *

THE NOVELS OF STEWART EDWARD WHITE

May be had wherever books are sold. Ask for Grosset & Dunlap's list.

THE BLAZED TRAIL. Illustrated by Thomas Fogarty.

A wholesome story with gleams of humor, telling of a young man who blazed his way to fortune through the heart of the Michigan pines.

THE CALL OF THE NORTH. Ills. with Scenes from the Play.

The story centers about a Hudson Bay trading post, known as "The Conjuror's House" (the original title of the book.)

THE RIVERMAN. Ills. by N. C. Wyeth and C. F. Underwood.

The story of a man's fight against a river and of a struggle between honesty and grit on the one side, and dishonesty and shrewdness on the other.

RULES OF THE GAME. Illustrated by Lejaren A. Hiller.

The romance of the son of "The Riverman." The young college hero goes into the lumber camp, is antagonized by "graft," and comes into the romance of his life.

GOLD. Illustrated by Thomas Fogarty.

The gold fever of '49 is pictured with vividness. A part of the story is laid in Panama, the route taken by the gold-seekers.

THE FOREST. Illustrated by Thomas Fogarty.

The book tells of the canoe trip of the author and his companion into the great woods. Much information about camping and outdoor life. A splendid treatise on woodcraft.

THE MOUNTAINS. Illustrated by Fernand Lungren.

An account of the adventures of a five months' camping trip in the Sierras of California. The author has followed a true sequence of events.

THE CABIN. Illustrated with photographs by the author.

A chronicle of the building of a cabin home in a forest-girdled meadow of the Sierras. Full of nature and woodcraft, and the shrewd philosophy of "California John."

THE GRAY DAWN. Illustrated by Thomas Fogarty.

This book tells of the period shortly after the first mad rush for gold in California. A young lawyer and his wife, initiated into the gay life of San Francisco, find their ways parted through his downward course, but succeeding events bring the "gray dawn of better things" for both of them.

Ask for Complete free list of G. & D. Popular Copyrighted Fiction Grosset & Dunlap, Publishers, New York

THE END