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•fiW W "WfliPfBfpSSIIJJIfipSSIRPfSSFPPSIf?^ •ppisjflfppil *•' ' J r* *' yp <• *** v <* *" f v«v -• i * •„*,' -*1* T* jr *-",_ ?*«• » > v**'* t*-t> ^ *Si y * j? k ~ " *,".. • - - --• - :- ;' - • ' ' '• •• V.-^.WW. 1 . >>:- »--• "• < " 4 »')," ^^r *,M'/"*"'*** 'wr -.n;%- -v.' T--- -••• Wfjt^ I--" " * i c • •» .. » "v* J|,. l(pi]*p.Wflp^p ^rnmmmfmmrnisw ' ' ' ' ~ M; ,' b^AgalhaChristie (CHAPTER X--Continued. ' That Evening Tommy sat on the bed, and cogitated deeply. Would Oonrad again accompany the trlrl? If he did not, should he risk trying to make an ally of her? He decided that he must leave no stone unturned. His position was desperate. jAt eight o'clock the familiar sound «f the key turning made him spring t» his feet. The girl was alone. "Shut the door," he commanded.. "I want to speak to you." She obeyed. "Look here, Annette, I want yon to help me get out of this.* She shook her head. "Impossible. There are three of them on the floor below.* **Oh!" Tommy was secretly grate- Mi for the Information. "But you would help me if you could T" "No, monsieur." "Why not?" The girl hesitated. "I dare not, monsieur; I am afraid •f them." She turned away. "Wouldn't yon do anything to help another girl?" cried Tommy. "She's about your age, too. Won't fM eave kftr from their clutches?" "You mean Jane Finn?" "Yes." ; "It is her yon came hem to look far? Year . * "That's It." The girl looked at him. then passed her hand across her forehead. "Jane Finn. Always I hear that Jttme. It la familiar." •Tommy came forward eagerly. "You must know something about Iwr?" . < But the girl turned away abruptly. "I know nothing--only the name," She walked towards the door. Suddenly she uttered a cry. Tommy trtared. She had caught* sight of the picture he had laid against the wall the night before. For a moment he Caught a look of terror In her eyes. As Inexplicably It changed to relief. Then abruptly she wait out of the Wbom. Tommy could make nothing of H. Did she fancy that he had meant tf> attack her with It? Surely not. He rehnng the picture on the wall thoughtfully. • Three more days went by In dreary faction. Tommy felt the strain telling on his nerves. He saw no one but Conrad and Annett", and the girl had become dumb. He gathered from Conrad that they were waiting for orders from "Mr. Brown." Perhaps, thought fommy, ha was abroad or away, and they were obliged to wait for his 1 fetum. But the evening of the third day brought a rude awakening. It was barely seven o'clock when he heard the tramp of footsteps outside fen the passage. In another minute the door was flung open. Conrad entered. With Mm was the evil-looking SFumber 14. Tommy's heart sank at the sight of them. "Evento*, gnv'nor," said the man, with a leer. "Got those ropes, mate?" The silent Conrad produced a length of fine cord. The next minute Number 14's hands, horribly dexterous, were winding the cord round his limbs, while Conrad held him down. "What the devil--?" began Tommy. But the slow, speechless grin of the silent Conrad froze the words on his lips. ^ Number 14 proceeded deftly with his task. In another»minute Tommy odly. "Think we's as green as to do you in here, and have the police nos- 4hg around? Not 'nlf J We've ordered the carriage for your lordship tomorrow mornin', but In the meantime we're not taking any chances, see! Talking as though you were still at the blooming Ritz, aren't you?" ; Tommy made no reply. He was engaged in wondering how Mr. Brown had discovered his Identity. He decided that Tuppence, In the throes of anxiety, had gone to the police, and that his disappearance having been made public the gang had not been slow to put two and two together. The two men departed and the door slammed. Tommy was left to hl% meditations. They were not plea'santf ones. Already his limbs felt cramped' and stiff. He was utterly helpless, and he could see no hope anywhere. About an hour had passed when he heard the key softly turned, and the door opened. It was Annette. Tommy's heart beat a little faster. He had forgotten the girl. Was It possible that she had come to his help? Suddenly he heard Conrad's voice: "Come out of It, Annette. He doesn't want any supper tonight" "Oul, oul, je sals blen. Bat I mast take the other tray. We need the things on It." "Well, hurry up," growled Conrad. Without looking at Tommy the girl went over to the table, and picked up the tray. She raised a hand and turned oat the light. "Curse you"--Conrad had come to the door--"why did yoa do that?" "I always turn It out. You should have told me. Shall I relight it, Monsieur Conrad?" . "No, come on out of It." "Le beau petit monsieur," cried Annette, pausing by the bed in the darkness. "You have tied him up well, hein? He Is like a trussed chicken!" The frank amusement In her tone Jarred on the boy; but at that moment, to his amazement, he felt her hand running lightly over his bonds, and something small and cold was pressed Into the palm of Ills hand. "Come on, Annette." "Mai? me voila." The door shut. Tommy heard Conrad say: "Lock It and give me the key." The footsteps died away. Tommy lay petrified with amazement. The object Annette had thrust Into his hand was a small penknife, the blade open. From the way she had studiously avoided looking at him, and her action with the light, he came to the conclusion that the room was overlooked. There must be a peephole somewhere in the walls. Remembering how guarded she had always been in her manner, he saw that he had probably been under observation all the time. Had he said anything to give himself away? Hardly. True, his question to Annette had proved that he was personally unacquainted with Jane Finn, but he had never pretended otherwise. The question now was, did Annette really know more? WeVe her denials intended primarily for the listeners? On that point he could come to no conclusion. But there was a more vital question that drove out all others. Could he, bound as he was, manage to cut his bonds? He essayed cautiously to rub the open blade up and down on the cord that bound his two wrists together. It was an awkward business, and drew a smothered "Ow" of pain from him as the knife cut Into his wrist.,. But slowly and doggedly he went on sawing to and fro. He cut the flesh badly, but at last he felt the cord slacken. With his hands free, the rest was easy. His first care was to bind up his bleeding wrist. Then he sat on the edge of the hed to think. Oonrad had taken the key of the door, so he could expect little more assistance from Artnette. The only outlet from the room was the door, consequently he would perforce have to wait until the two men returned to fetch him. But when they did . . . Tommy smiled! Moving with Infinite caution In the dark room, he found and unhooked the famous picture. He felt an economical pleasure that his first plan would not be wasted. There was now nothing to do but to wait; He waited. The night passed slowly. Tommy lived through an eternity of hours, but at last he heard footsteps. He stood upright, drew a deep breath, and clntched the picture firmly. The door opened. A faint ilght streamed in from outside. Number 14 followed. Ah he stepped across the threshold, m./y brought the picture down with terrific force on his head. Number 14 went down amidst a stupendous crash of brokeu glass. In a minute Tommy had slipped out and pulled to the door. The key was In the lock. He turned it and withdrew it just as Conrad hurled himself against the door from the inside with a volley of curses. For a moment Tommy hesitated, There was the sound of some one stirring on the floor below. Then the German's voice came up the stairs. "Gott 1m Himmell Conrad, what Is itr Tommy felt a small hand thrust Into his. Beside him stood Annette. She pointed up & rickety ladder that apparently led to some attics. "Quick--up here!" She dragged him after her up the ladder. In another moment they were standing In a dusty garret littered with lumber. Tommy looked round. "This won't do. It's a regular trap. There's no way out." *Hush! Walt." The girl put her finger to her lips. She crept to the top of the ladder and listened. T#r^ banging and beating on the dbor was terrific. The German and another -were trying to force the door In. Annette explained in a whisper: "They will think you are still Inside. They cannot hear what tQonrad says. The door is too thick." "Yes--but look here--" "Leave It to me." She bent down. To his amazement, Tommy saw that she was fastening end of a long / f y t r h . Change of Modes. V** Word from Paris \ T-H ' The autumn openings la Paris have revealed the beginning of a fashion dispute which promises considerable interest to the amateur as well as t' the professional of fashion, writes u Paris fashion correspondent in the New York Times. One camp desires the restoration of the tailored suit to its prewar position of elegance and^ usefulness. The opposing party seeks to restore the former elegance through the medium of lines expressed in the two and the three-piece costumes. Patou, among those couturiers most favored by Americans, has come out strongly for the abolition of narrow and tailored costumes generally. On the other hand old and well-recognized houses like Caret and Tollman have Introduced long, narrow, semlfltted tailored suits, which by their new features are exciting much Interest. • V.i.'; 1 Guided by the expressed preference of their chic clientele most of the houses that have opened are Tommy Brought the Picture Down With Terrific Force on His Head. piece of string to the handle of a big cracked jug. She arranged It carefully, then turned to Tommy. "Have you the key of the door?" "Yea" "Give it to ma** He handed it to her. "I am going down. Do you think yon can go halfway, and then swing yourself down behind the ladder, ao that they will not see you?" Tommy nodded. ' "There's a big cupboard In th* shadow of the landing. Stand behlitf It. Take the end of this string In your hand. "When I've let the others out-- pull!" Before he had time to ask her anything more, she had flitted lightly down the ladder and was In the midst of the group with a loud cry. The German turned on her with an oath. "Get out of this. Go to your room!" Very cautiously Tommy swung himself down the back of the ladder. So long as they did not turn round . . . all was well. He crouched behind the cupboard. They were still between him and the stairs. i "Ah!" Annette appeared to stumble over something. She stooped. "Mon Dleu, viola la clef!" The German snatched It from her. He unlocked the door, Conrad stumbled out, swearing. "He's got awray." "Impossible, fcle would have passed us." At that moment, with an ecstatic smile Tommy pulled the string. A crash of crockery came from the attic above. In a trice the men were joshing each other up the rickety ladder and had disappeared Into the darkness above. Quick as a flash Tommy leaped from his hiding place and dashed down the stairs, pulling the girl with him. There was no one In the hall. He fumbled over the bolts and chain. At last they yielded, the door swung open. He turned. Annette had disappeared. Tommy stood' spell-bound. Had she run upstairs again? What madness possessed her! He fumed with Impatience, but he stood his ground. He would not go without her. And suddenly there was an «utcry overhead, an exclamation from the German, and then Annette's voice, clear and high: "Ma fol, he has escaped! And quick* ly! Who wmild have thought It?" Tommy still stood rooted to the ground. Was that a command to him to go? He fancied It was. (TO BE CONTINUED.) New 8treet Suit of Black Velvet Is Trimmed With 8cariet Cloth and Gold Braid.- showing gowns following the straight slim line that women have, decided the most youthful and generally becoming. There is p very effective three-piece costume in rough suiting with a tiny shepherd's plaid In black and white. The coat is a useful straight sack with a touch of green at the collar and showing In the lining of the sleeves that widen at the wrists. The plastron front of the bodice Is just the size and shape of the stiffened part of a man's dress shirt- U Is of heavy green serge in a dark emerald Bhade, and is fastened down the center with some domed steel buttons. The green is continued round in a small yoke under the straight high collar, and there U'a double line o£ It at the waist. / \ The always popular black! velvet Is used Jn another suit for more dress*; occasions. This suit Is studaed with small steel clamps in an effective design. Black fur furnishes the material for the collar and is used as a finish tor the sleeves which. Ilka the ma- \ Jorlty shown this fall, widen at the wrist. The somberness of this costume is lessened by a lame blouse In silver made without sleeves. And the skirt Is appliqued opto this blouse In a series of velvet circles of graduated sizes. There Is a touch of rosecolored embroidery at the waist. Evening Dretfses Rich in Color., A serviceable dress In this collection «nd an attractive one, too, Is a little blue serge, quite straight 'in line, that opens down the side with a narrow gold galon. This galon widens to suggest a pointed pocket just below the waistline, which Is defined bv a narrow belt. The hfgh colla/ is also bordered with the gold and a torch of emerald green, both of which are repeated In the cuff of the long straight sleaye. Evening dresses are rich in color and material. Velvet Is seen in bright rose and jade g»een With diamante embroidery on gowns of straight lines. Diamante is also used with great effect on* black velvet; a Jet embroidered black crepe de chine befng the one unrelieved black dress in the collection. Gold lace Is embroidered with fine chenille on the apon front and shoulder cape of another evening dress, ana the Chinese Influence fa shown in a blue printed velvet In Chinese design. Paul Polret gives us the picturesque In dress with sometimes startling but always original results. His long skirts reach the ankle even In tailormade suits, and this season he Is giving a medieval touch to his dresses with long-waisted' corsages fitting tightly to the figure. Poiret still uses the heavy padded rope at the waistline or carries a frill of the skirt material over the belt, giving width to the hips through accentuating the smallness of the waist. There is, too, the usual surprise in store for the beholder of Poiret's creations. A white dress shows a back of unrelieved black. A black velvet three-piece suit has a front of pomegranate red. An Interesting- black velvet ault has the fashionable bell-shaped coat and sleeves which so many couturiers in Paris are using. But Polret with a bold stroke adds a rather tight-draped skirt Instead of the bell-shaped one favored by Patou and other designers, thereby showing the deference to the popular taste for slender lines. At the same time he raises his banner In defense of the new silhouette in the width he gives to the bottom of the three-quarters coat The scarlet cloth and gold braid with which this coat is trimmed can easily be replaced by a trimming of less startling shade, thus making the costume one which the conventional-minded will find more to their taste. In the four-tiered skirt of the white satin evening dress Polret apparently sets his stamp of approval on, the new fashion of modeling the skirt In several sections, a fashion seen in daytime costumes as well as in the dressier ones for evening wear. The dress Is unrelieved with the exception of the large chou of black velvet at the left side, , the ends of which sweep the floor. Another of the younger houses la Paris, Paul Caret, also favors the straight line, showing a few hooped skirts for the "coming out" wardrobe of the young girl. Many of his dresses are made without a belt, the waist being defined by drapery finished with a buckle, and this designer also favors the many tiered skirts, usually three. His skirts are longer than last year, but are still* oewiortaWa waife Ing length. Puffs and Ruffles Favored 1I IH 111111'H'*'»,H*»1HH I HH IHUfHHtH • "Thought You'd Bluffed Us, Did You?" . waa a mere helpless bundle. Then at last Conrad spoke: "Thought you'd bluffed us-, did you? With what you knew, and what you didn't know. Bargained with us! And all the time it was a bluff! Bluff! Yon knew less than a kitten. But your number's up now all right, you "V b swine." Tommy lay silent There was noth- :lng to say. Ha had failed, Somehow • or other the omnipotent Mr. Brown | ^ V had seen through his pretensions. Suddenly a thought occurred to him. "A very good speech, Conrad," he !jfft •;aald approvingly. "But wherefore the bonds and fetters? Why not let this - kind gentleman hare cut my throat &C without delay 7* ^ nw number 14 nnaipart. PICTS ALWAYS RACE OF WARRIORS A Paul Caret evening gown called "la I)ame en Rotlge" Is an example of the 1880 outline, once more becoming popular, with a finely plaited flounce from the knee in front. The straight corsage is finished With two slanting bias basques. In front, and curves down at the back, where It Is the starting point of two panel trains each plaited from the knee downward to match the flounce in front. Vivid sealing wax red georgette is the material used for this "new" old-fashloned gown. But out of all the gossip of fashion salons and the more reliable gossip of couturier's work rooms one gathers that there is a strong tendency to differentiate sharply between the lines of street clothes aud leisure-time clothes. The tailored su't Is being revived, that is certain. Semi-rigid costumes are coming to the fore for dnytime, or at least for morning wear, and those who remain faithful to the ailorctl truck will tind that it has become more tailored and lose limp as autumn advances, In direct opposition tiK this masculinity of street costumes Is the femininity of afternoon and\evening dresses. At the decent Grand Prix bk)l In Paris Eighteenth century styles much In evidence and marked the long step fashionable women have taken In the direction of puffs, ruffles and frills. Circular skirts and skirts which flare from the knse level toward the feet stress the femlninty of modern styles. All this Is quite In line with Patou's theory that lovely woman must hot reveal too much. Therefore he bans the straight, tight tailormade fash- Ions and champions the voluminous skirt, whose fullness he harmonizes with the modern idea of- slendeiness by making his skirts of soft materials which fall gracefully toward the ground. Fall Colors. For fail wood greens and bottle greens, with * dashes of scarlet or orange, are leading colors. Draperies May Be of Any Color for Rooms Roman Historian Paid Tribute to the Fighting Qualities of the Picts Early in History. Plcts Is the name by which, for five and a half centuries--296 to 844 A. D. --the people that inhabited eastern Scotland, from the Forth to the Pentland firth, were [ known. In certain chronicles they are styled Plctl, Pictones, Plctores, or Plccardalg--all forms of the same root; but sometimes the native Gaelic name of Cruthnlg Is applied to them, and their country called Crulthen-tuath, the equivalent of the Latin Plctavla and Old Norse Pettland, which still survives In the name of the Pentland firth. In their wars In Britain the Romans came Into collision with the P1c£l ^Qne JOooian " ' * • ' ' ' - or Latin writer of that time speaks of "the Caledonians and other Plcts," which Implies the Inclusion of the former In the latter people. The wellknown Roman historian, Tacitus, calls Scotland north of the Firths of Forth and Clyde, Caledonia, and he describes the Caledonians as a noble race of barbarians, who fight in chariots as well as on foot, with long swords and short shields, and whose fair red hair and large limbs argued a Teutonic origin. The Highlanders of today are qf Celtic origin. The prefix, mac, meaning son of, is from the Gaelic. When yoa face misfortune it is time to torn your b%<& on, discouragement. Overdraperles may be of any color for a given room, and they may very well be of a different color In eacn room In the house. As for materials, there Is an almost limitless choice, so that almost any purse and any personal preference ought to be suited. Cretonne Is always gay and attrnctive. and so are many kinds of silk and gauze of the soft - variety that does not crack. Indian head, which comes in many colors and shades, all sunfast. Is good, as Is sateen, especially for making bands and borders of contrasting colors. Terry cloth Is Inexpensive and attractive, and also makes splendid portieres, as It Is alike on both 8io?8 and thus requires no lining. Be sure to get good fixtures. If you hope to have any comfort and prtde in the Inside effect of your curtains. You will need double or triple rods, which you may obtain In one combination fixture. If you like a top valance as well as side drapes, you will need the triple rods--one for th# glass curtain of net, one for the side curtains. and one 1 for the top valance. The double or triple fixtures are Just as easy to put up as a single rod, and the advantage la that th*ey deface the woodwork no more than a single fix ture wood, and that all the rods al> ways stay parallel. %ast Foam : •* '1 is easy to learn * 6 and is in itself ti>:' -s p an education in & . .-V • i other cooking. Send for free booklet "" hf Art o/ Rfllfintr TrKrvrtA*9 i* * * ", p ^ JPj"- f r': V . s i » ' *! • * v.T--: Northwestern Yeast Com ^ 1730North Ashland Chicago, 111. I,./. > ' SHONOLA AMERICA'S HOME SHOE POl.tSH JE 1^, $lack - Tan - While - Ox-Blood - Brown SHROIA preserves leather as paint preserves buildings. Qnek sad easy to ate. Shines m m hslfc ' 3HINOLA HOME SET Mftkei Shining Esijr Genuine Bristle Dauber deans around the sole and applies the polish thoroughly. Lamb's Wool POE4MS jusl fits the hand, Brings the brilliant Shinola daw with a few strokes. ; Shi»« fo» Mil Lingerie Touch on Fsll Frocks. The lingerie touch is an Integral put of the autumn mode as complement of frock or suit It may be an embroidered collar and sleeve frills, s lower sleeve of cream filet and batiste, a gllet of tucked georgette. Lace ruffles or a bit of cream lace at the neck and sleeve are also modish. Colored embroidery is used In small quantities on new frocks, a bit on the pocket, on the wrist or on a narrow insert tha length "of the aklrt. Patent Leather. Tha black patent leather strap pump Is expected to carry on the honors la dress shoes for falL A vary tea suede la also good style. Telling an Alligator's Age. The width of an alligator's nose between his eye teeth Is the means for determining the reptile's age, according to the experts on such subjects. After the reptile Is ten feet long the nose widens one-quarter of an Inch for each 50 years the alligator lives. Ocklawaha, the largest alligator In captivity, weighs 1,400 pounds and Is 13% feet long. He is estimated to be several hundred years old. Directions for Making ColfeC ' Several hunters In the Canadian woods had so enjdyed the coffee made by their guide that when the trip was over they asked for the recipe. "Ver* easy," he said. "Dere bin only one way make coffee. Take trip Into voods, build fire vl«I pitch pine knots, put von quart water and two handful coffee in pot, an' sit on cover so she no can boil over. Ven cover get too hot fpr eeat of pants, ^offee she dona."- y'/.K Ouchl The widower had made his propos^ and was awaiting the reply. Haughtl^ she arose, and fixing him with a stem glance she exclaimed: "I couldnt marry a widowei; the very ideal . Catch me walking Iji another woman! shoes!" Then the light of triumph gleamed In his eyes. "Madam," • returned. "I had no Intention of offefc* ing you my late wife's^ ahoea-^yot couldn't tfet them on I" -' i:' A Difference "How long Is It going to take to g|t through with this case?" asked tij|| client, who was under suspicion of housebreaking. "Well," replied tha young lawyer, thoughtfully, "Itil taka me about two weeks to get through with it, but I'm afraid it's going to take you about four years."--Oreea Bag. If a girl's tne apple of a yomigjjtMafr eye he thinks she is a peach. •' like Looking at Looking into one of the huge tary kilns where the raw materials for cement are burned into clinker is just like looking at the noonday sun. The terrific heat required makes a glare of light so intense that the glowing flame would temporarily blind you. goggles to protect your eyes whil^ you take another look into the kiln. Then you will s$e a tornado of powdered coal--or gas or spraying oil--bursting into a sheet of sunwhite flame. ^ Into the other end of the kiln flow» the powdered limestone and shale [clay]--the raw materials for cement. As the slowly revolving kiln tumbles tjie materials about, they are subjected to gradually increasing heat. During their three-hour journey through this inierno, moisture and gases are first given oS.Finally as the powdered materials reach the sunwhite flame, they hali melt into glass-hard balls called Mclinker.n This clinker, an entirely new chemical compound, when finely powdered is portland ( cement. Portland fcetxient kiln*' Consume great quantities of fuel--30 pounds of coal or its equivalent for each 94-pound sack of cement. For the whole cement making process the consumption of coal is approximately 50 pounds a sack--more than half a too oi coal to a ton of cement. 0" frpRTtXND CEMENT ASSOCIATION 111 West Washington Street *. v "a ' CHICAGO « - - N->^ ' Dtnnt riwClty NawYotfc DoKUm LdAwh. Pa' Dunk Mmi HeUaa Wh l.itiiMP JacfaooriBa Naw asr"*- A ' t 5S&L ^ _ ' U ^ t J s l - i . . . . M l l t l L , £ _ > <;v • J V-ic* j'I Asl\ w