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32:50.
Notice
The information presented in this publication is for the general education of the reader. Because neither the author nor
the publisher has any control over the use of the information by the reader, both the author and the publisher disclaim any
and all liability of any kind arising out of such use. The reader is expected to exercise sound professional judgment in using
any of the information presented in a particular application.
Additionally, neither the author nor the publisher has investigated or considered the effect of any patents on the ability of
the reader to use any of the information in a particular application. The reader is responsible for reviewing any possible
patents that may affect any particular use of the information presented.
Any references to commercial products in the work are cited as examples only. Neither the author nor the publisher
endorses any referenced commercial product. Any trademarks or tradenames referenced in this publication, even without
specific indication thereof, belong to the respective owner of the mark or name and are protected by law. Neither the author
nor the publisher makes any representation regarding the availability of any referenced commercial product at any time. The
manufacturer’s instructions on the use of any commercial product must be followed at all times, even if in conflict with the
information in this publication.
The opinions expressed in this book are the author’s own and do not reflect the view of the International Society of
Automation.

Copyright © 2018 International Society of Automation (ISA)

All rights reserved.

Printed in the United States of America.

10 9 8 7 6 5 4 3 2

ISBN 978-1-941546-91-8

No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.

ISA
67 T. W. Alexander Drive
P.O. Box 12277
Research Triangle Park, NC 27709

Library of Congress Cataloging-in-Publication Data in process

32:50.
 About the Editors

Nicholas P. Sands PE, CAP, ISA Fellow

Nick Sands is currently a senior manufacturing technology fellow with more than 27
years at DuPont, working in a variety of automation roles at several different businesses
and plants. He has helped develop several company standards and best practices in the
areas of automation competency, safety instrumented systems, alarm management, and
process safety.
Sands has been involved with the International Society of Automation (ISA) for more
than 25 years, working on standards committees, including ISA18, ISA101, ISA84, and
ISA105, as well as training courses, the ISA Certified Automation Professional (CAP)
certification, and section and division events. His path to automation started when he
earned a BS in Chemical Engineering from Virginia Tech.

Ian Verhappen P Eng, CAP, ISA Fellow

After receiving a BS in Chemical Engineering with a focus on process control, Ian
Verhappen’s career has included stints in all three aspects of the automation industry:
end user, supplier, and engineering consultant. Verhappen has been an active ISA
volunteer for more than 25 years, learning from and sharing his knowledge with other
automation professionals as an author, presenter, international speaker, and volunteer
leader.
Through a combination of engineering work, standards committee involvement, and a
desire for continuous learning, Verhappen has been involved in all facets of the process
automation industry from field devices, including process analyzers, to controllers to the
communication networks connecting these elements together. A Guide to the
Automation Body of Knowledge is a small way to share this continuous learning and

33:35.
pass along the expertise gained from all those who have helped develop the body of
knowledge used to edit this edition.

33:35.
 Preface to the Third Edition

It has been some years since the second edition was published in 2006. Times have
changed. We have changed. Technology has changed. Standards have changed. Some
areas of standards changes include; alarm management, human machine interface
design, procedural automation, and intelligent device management.
Another change, in 2009, we lost the pioneer of A Guide to the Automation Body of
Knowledge and the Certified Automation Professional (CAP) program, my friend,
Vernon Trevathan. He had a vision of defining automation engineering and developing
automation engineers.
With the changes in technology, it is clear that the trend of increasing automation will
continue into the future. What is not clear, is how to support that trend with capable
engineers and technicians. This guide is a step towards a solution. The purpose of this
edition is the same as that of the first edition, to provide a broad overview of
automation, broader than just instrumentation or process control, to include topics like
HAZOP studies, operator training, and operator effectiveness. The chapters are written
by experts who share their insights in a few pages.
The third edition was quite a project for many reasons. It was eventually successful
because of the hard work and dedication of Susan Colwell and Liegh Elrod of the ISA
staff, and the unstoppable force of automation that is my co-editor Ian Verhappen. Every
chapter has been updated and some new chapters have been added. It is my hope that
you find this guide to be a useful quick reference for the topics you know, and an
overview for the topics you seek to learn. May you enjoy reading this third edition, and I
hope Vernon enjoys it as well.
Nicholas P. Sands
May 2018

33:43.
 Contents

About the Editors

Preface

I – Control Basics
1 Control System Documentation
By Frederick A. Meier and Clifford A. Meier
Reasons for Documentation
Types of Documentation
Process Flow Diagram (PFD)
Piping and Instrument Diagrams (P&IDs)
Instrument Lists
Specification Forms
Logic Diagrams
Location Plans (Instrument Location Drawings)
Installation Details
Loop Diagrams
Standards and Regulations
Other Resources
About the Authors
2 Continuous Control
By Harold Wade
Introduction
Process Characteristics
Feedback Control
Controller Tuning
Advanced Regulatory Control

33:09.
 Further Information
About the Author
3 Control of Batch Processes
By P. Hunter Vegas, PE
What Is a Batch Process?
Controlling a Batch Process
What Is ANSI/ISA-88.00.01?
Applying ANSI/ISA-88.00.01
Summary
Further Information
About the Author
4 Discrete Control
By Kelvin T. Erickson, PhD
Introduction
Ladder Logic
Function Block Diagram
Structured Text
Instruction List
Sequential Problems
Further Information
About the Author
II – Field Devices
5 Measurement Uncertainty
By Ronald H. Dieck
Introduction
Error
Measurement Uncertainty (Accuracy)
Calculation Example
Summary
Definitions
References
Further Information
About the Author
6 Process Transmitters
By Donald R. Gillum

33:09.
 Introduction
Pressure and Differential Pressure Transmitters
Level Measurement
Hydraulic Head Level Measurement
Fluid Flow Measurement Technology
Temperature
Conclusion
Further Information
About the Author
7 Analytical Instrumentation
By James F. Tatera
Introduction
Sample Point Selection
Instrument Selection
Sample Conditioning Systems
Process Analytical System Installation
Maintenance
Utilization of Results
Further Information
About the Author
8 Control Valves
By Hans D. Baumann
Valve Types
Actuators
Accessories
Further Information
About the Author
9 Motor and Drive Control
By Dave Polka and Donald G. Dunn
Introduction
DC Motors and Their Principles of Operation
DC Motor Types
AC Motors and Their Principles of Operation
AC Motor Types
Choosing the Right Motor
Adjustable Speed Drives (Electronic DC)

33:09.
 Adjustable Speed Drives (Electronic AC)
Automation and the Use of VFDs
Further Information
About the Authors

III – Electrical Considerations

10 Electrical Installations
By Greg Lehmann, CAP
Introduction
Scope
Definitions
Basic Wiring Practices
Wire and Cable Selection
Ground, Grounding, and Bonding
Surge Protection
Electrical Noise Reduction
Enclosures
Raceways
Distribution Equipment
Check-Out, Testing, and Start-Up
Further Information
About the Author
11 Safe Use and Application of Electrical Apparatus
By Ernie Magison, Updated by Ian Verhappen
Introduction
Philosophy of General-Purpose Requirements
Equipment for Use Where Explosive Concentrations of Gas, Vapor, or Dust
Might Be Present
Equipment for Use in Locations Where Combustible Dust May Be Present
For More Information
About the Author
12 Checkout, System Testing, and Start-Up
By Mike Cable
Introduction
Instrumentation Commissioning
Software Testing

33:09.
 Factory Acceptance Testing
Site Acceptance Testing
System Level Testing
Safety Considerations
Further Information
About the Author
IV – Control Systems
13 Programmable Logic Controllers: The Hardware
By Kelvin T. Erickson, PhD
Introduction
Basic PLC Hardware Architecture
Basic Software and Memory Architecture (IEC 61131-3)
I/O and Program Scan
Forcing Discrete Inputs and Outputs
Further Information
About the Author
14 Distributed Control Systems
By Douglas C. White
Introduction and Overview
Input/Output Processing
Control Network
Control Modules
Human-Machine Interface—Operator Workstations
Human-Machine Interface—Engineering Workstation
Application Servers
Future DCS Evolution
Further Information
About the Author
15 SCADA Systems: Hardware, Architecture, and Communications
By William T. (Tim) Shaw, PhD, CISSP, CPT, C|EH
Key Concepts of SCADA
Further Information
About the Author

V – Process Control

33:09.
16 Control System Programming Languages
By Jeremy Pollard
Introduction
Scope
What Is a Control System?
What Does a Control System Control?
Why Do We Need a Control Program?
Instruction Sets
The Languages
Conclusions
About the Author
17 Process Modeling
By Gregory K. McMillan
Fundamentals
Linear Dynamic Estimators
Multivariate Statistical Process Control
Artificial Neural Networks
First Principle Models
Capabilities and Limitations
Process Control Improvement
Costs and Benefits
Further Information
About the Author
18 Advanced Process Control
By Gregory K. McMillan
Fundamentals
Advanced PID Control
Valve Position Controllers
Model Predictive Control
Real-Time Optimization
Capabilities and Limitations
Costs and Benefits
MPC Best Practices
Further Information
About the Author

33:09.
VI – Operator Interaction
19 Operator Training
By Bridget A. Fitzpatrick
Introduction
Evolution of Training
The Training Process
Training Topics
Nature of Adult Learning
Training Delivery Methods
Summary
Further Information
About the Author
20 Effective Operator Interfaces
By Bill Hollifield
Introduction and History
Basic Principles for an Effective HMI
Display of Information Rather Than Raw Data
Embedded Trends
Graphic Hierarchy
Other Graphic Principles
Expected Performance Improvements
The HMI Development Work Process
The ISA-101 HMI Standard
Conclusion
Further Information
About the Author
21 Alarm Management
By Nicholas P. Sands
Introduction
Alarm Management Life Cycle
Getting Started
Alarms for Safety
References
About the Author

VII – Safety

33:09.
22 HAZOP Studies
By Robert W. Johnson
Application
Planning and Preparation
Nodes and Design Intents
Scenario Development: Continuous Operations
Scenario Development: Procedure-Based Operations
Determining the Adequacy of Safeguards
Recording and Reporting
Further Information
About the Author
23 Safety Instrumented Systems in the Process Industries
By Paul Gruhn, PE, CFSE
Introduction
Hazard and Risk Analysis
Allocation of Safety Functions to Protective Layers
Determine Safety Integrity Levels
Develop the Safety Requirements Specification
SIS Design and Engineering
Installation, Commissioning, and Validation
Operations and Maintenance
Modifications
System Technologies
Key Points
Rules of Thumb
Further Information
About the Author
24 Reliability
By William Goble
Introduction
Measurements of Successful Operation: No Repair
Useful Approximations
Measurements of Successful Operation: Repairable Systems
Average Unavailability with Periodic Inspection and Test
Periodic Restoration and Imperfect Testing
Equipment Failure Modes

33:09.
 Safety Instrumented Function Modeling of Failure Modes
Redundancy
Conclusions
Further Information
About the Author

VIII – Network Communications

25 Analog Communications
By Richard H. Caro
Further Information
About the Author
26 Wireless Transmitters
By Richard H. Caro
Summary
Introduction to Wireless
Powering Wireless Field Instruments
Interference and Other Problems
ISA-100 Wireless
WirelessHART
WIA-PA
WIA-FA
ZigBee
Other Wireless Technologies
Further Information
About the Author
27 Cybersecurity
By Eric C. Cosman
Introduction
General Security Concepts
Industrial Systems Security
Standards and Practices
Further Information
About the Author

IX – Maintenance
28 Maintenance, Long-Term Support, and System Management

33:09.
 By Joseph D. Patton, Jr.
Maintenance Is Big Business
Service Technicians
Big Picture View
Production Losses from Equipment Malfunction
Performance Metrics and Benchmarks
Further Information
About the Author
29 Troubleshooting Techniques
By William L. Mostia, Jr.
Introduction
Logical/Analytical Troubleshooting Framework
The Seven-Step Troubleshooting Procedure
Vendor Assistance: Advantages and Pitfalls
Other Troubleshooting Methods
Summary
Further Information
About the Author
30 Asset Management
By Herman Storey and Ian Verhappen, PE, CAP
Asset Management and Intelligent Devices
Further Information
About the Authors

X – Factory Automation
31 Mechatronics
By Robert H. Bishop
Basic Definitions
Key Elements of Mechatronics
Physical System Modeling
Sensors and Actuators
Signals and Systems
Computers and Logic Systems
Data Acquisition and Software
The Modern Automobile as a Mechatronic Product
Classification of Mechatronic Products

33:09.
 The Future of Mechatronics
References
Further Information
About the Author
32 Motion Control
By Lee A. Lane and Steve Meyer
What Is Motion Control?
Advantages of Motion Control
Feedback
Actuators
Electric Motors
Controllers
Servos
Feedback Placement
Multiple Axes
Leader/Follower
Interpolation
Performance
Conclusion
Further Information
About the Authors
33 Vision Systems
By David Michael
Using a Vision System
Vision System Components
Vision Systems Tasks in Industrial/Manufacturing/Logistics Environments
Implementing a Vision System
What Can the Camera See?
Conclusion
Further Information
About the Author
34 Building Automation
By John Lake, CAP
Introduction
Open Systems
Information Management

33:09.
 Summary
Further Information
About the Author
XI – Integration
35 Data Management
By Diana C. Bouchard
Introduction
Database Structure
Data Relationships
Database Types
Basics of Database Design
Queries and Reports
Data Storage and Retrieval
Database Operations
Special Requirements of Real-Time Process Databases
The Next Step: NoSQL and Cloud Computing
Data Quality Issues
Database Software
Data Documentation
Database Maintenance
Data Security
Further Information
About the Author
36 Mastering the Activities of Manufacturing Operations Management
By Charlie Gifford
Introduction
Level 3 Role-Based Equipment Hierarchy
MOM Integration with Business Planning and Logistics
MOM and Production Operations Management
Other Supporting Operations Activities
The Operations Event Message Enables Integrated Operations Management
The Level 3-4 Boundary
References
Further Information
About the Author

33:09.
 37 Operational Performance Analysis
By Peter G. Martin, PhD
Operational Performance Analysis Loops
Process Control Loop Operational Performance Analysis
Advanced Control Operational Performance Analysis
Plant Business Control Operational Performance Analysis
Real-Time Accounting
Enterprise Business Control Operational Performance Analysis
Summary
Further Information
About the Author
XII – Project Management
38 Automation Benefits and Project Justifications
By Peter G. Martin, PhD
Introduction
Identifying Business Value in Production Processes
Capital Projects
Life-Cycle Cost Analysis
Life-Cycle Economic Analysis
Return on Investment
Net Present Value
Internal Rate of Return
Project Justification Hurdle
Getting Started
Further Information
About the Author
39 Project Management and Execution
By Michael D. Whitt
Introduction
Contracts
Project Life Cycle
Project Management Tools and Techniques
References
About the Author
40 Interpersonal Skills

33:09.
 By David Adler
Introduction
Communicating One-on-One
Communicating in Group Meetings
Writing
Building Trust
Mentoring Automation Professionals
Negotiating
Resolving Conflict
Justifying Automation
Selecting the Right Automation Professionals
Building an Automation Team
Motivating Automation Professionals
Conclusion
References
About the Author
Index

33:09.
 I
Control Basics

Documentation
One of the basic tenets of any project or activity is to be sure it is properly documented.
Automation and control activities are no different, though they do have different and
unique requirements to properly capture the requirements, outcomes, and deliverables of
the work being performed. The International Society of Automation (ISA) has developed
standards that are broadly accepted across the industry as the preferred method for
documenting a basic control system; however, documentation encompasses more than
just these standards throughout the control system life cycle.

Continuous and Process Control

Continuous processes require controls to keep them within safe operating boundaries
while maximizing the utilization of the associated equipment. These basic regulatory
controls are the foundation on which the automation industry relies and builds more
advanced techniques. It is important to understand the different forms of basic
continuous control and how to configure or tune the resulting loops—from sensor to
controller then actuator—because they form the building blocks of the automation
industry.

Batch Control
Not all processes are continuous. Some treat a discrete amount of material within a
shorter period of time and therefore have a different set of requirements than a
continuous process. The ISA standards on batch control are the accepted industry best
practices in implementing control in a batch processing environment; these practices
are summarized.

Discrete Control
33:53.
This chapter provides examples of how to implement discrete control, which is typically
used in a manufacturing facility. These systems mainly have discrete sensors and
actuators, that is, sensors and actuators that have one of two values (e.g., on/off or
open/closed).

33:53.
 1
Control System Documentation

By Frederick A. Meier and Clifford A. Meier

Reasons for Documentation

Documentation used to define control systems has evolved over the past half century as
the technology used to generate it has evolved. Information formerly stored on
smudged, handwritten index cards in the maintenance shop is now more likely stored in
computer databases. The purpose of that documentation, however, remains largely
unchanged: to impart information efficiently and clearly to a knowledgeable viewer. The
information that is recorded evolves in the conceptualization, design, construction,
operation, and maintenance of a facility that produces a desired product.
The documents described in this chapter form a typical set used to accomplish the goal
of defining the work to be done, be it design, construction, or maintenance. The
documents were developed and are commonly used for a continuous process, but they
also work for other applications, such as batch processes. The authors know of no
universal “standard” for documentation, but these can be considered typical. Some
facilities or designs won’t include all the described documents, and some designs may
include documents not described, but the information provided on these documents will
likely be found somewhere in any successful document suite.
All the illustrations and much of the description used in this section were published in
the 2011 International Society of Automation (ISA) book Instrumentation and Control
System Documentation by Frederick A. Meier and Clifford A. Meier. That book includes
many more illustrations and a lot more explanation.
This section uses the term automation and control (A&C) to identify the group or
discipline responsible for the design and maintenance of a process control system; the
group that prepares and, hopefully, maintains these documents. Many terms are used to
identify the people responsible for a process control system; the group titles differ by
industry, company, and even region. In their book, the Meiers’ use the term instrument
and control (I&C) to describe the engineers and designers who develop control system
documentation; for our purposes, the terms are interchangeable.

33:53.
Types of Documentation
This chapter provides descriptions and typical, albeit simple sketches for the following
documents:
• Process flow diagrams (PFDs)
• Piping and instrument diagrams (P&IDs)
• Loop and tag numbering
• Instrument lists
• Specification forms
• Logic diagrams
• Location plans (instrument location drawings)
• Installation details
• Loop diagrams
• Standards and regulations
• Operating instructions
Figure 1-1 is a timeline that illustrates a sequence for document development. There are
interrelationships where information developed in one document is required before a
succeeding document can be developed. Data in the process flow diagram drives the
design of the P&ID. P&IDs must be essentially complete before instrument
specification forms can be efficiently developed. Loop diagrams are built from most of
the preceding documents in the list.

33:53.
 The time intervals and percentage of total effort for each task will vary by industry and
by designer. The intervals can be days, weeks, or months, but the sequence will likely be
similar to that shown above. The documents listed are not all developed or used solely
by a typical A&C group. However, the A&C group contributes to, and uses, the
information contained in them.

Process Flow Diagram (PFD)

A process flow diagram is a “big picture” schematic representation of the major features
of a process. These diagrams summarize the overall intent of the process using a
graphical representation of the material flow and the conversion of resources into a
product. Points where resources and energy combine to produce material are identified
graphically. These points are then defined in more detail in associated mass balance
calculations. The PFD shows how much of each resource or product a plant might make
or treat; it includes descriptions and quantities of needed raw materials, as well as by-
products produced. PFDs show critical process conditions—pressures, temperatures,
and flows; necessary equipment; and major process piping. They differ from P&IDs,
which will be discussed later, in that they have far less detail and less ancillary
information. They are, however, the source from which P&IDs grow.
Figure 1-2 shows a simple PFD of a knockout drum used to separate liquid from a wet
gas stream.

33:53.
Process designers produce PFDs to sketch out the important aspects of a process. In a
way, a PFD serves the same purpose that an abstract does for a technical paper. Only the
information or major components needed to define the process are included, using the
minimal amount of detail that is sufficient to define the quantities and energy needed.
Also shown on the drawing are the main components for storage, conversion of
materials, and transfer of materials, as well as the main interconnections between
components. Because a schematic is a very broad view and an A&C is ultimately about
details, little A&C information is included.
Identification marks are used on the lines of interconnection, commonly called streams.
The marks link to tables containing the content and conditions for that stream. This
information comes from a mass and energy balance calculated by the process designers.
The mass balance is the calculation that defines what the process will accomplish. PFDs
may include important—or high-cost—A&C components because one purpose of a PFD
is to support the preparation of cost estimates made to determine if a project will be
done.
There is no ISA standard for PFDs, but ANSI/ISA-5.1-2009, Instrument Symbols and
Identification, and ISA-5.3-1983, Graphic Symbols for Distributed Control/Shared
Display Instrumentation, Logic, and Computer Systems, contain symbols that can be
used to indicate A&C components.
Batch process plants configure their equipment in various ways as raw materials and
process parameters change. Many different products are often produced in the same
plant. A control recipe, or formula, is developed for each product. A PFD might be used
33:53.
 to document the different recipes.

Piping and Instrument Diagrams (P&IDs)

The acronym P&ID is widely understood within process industries to identify the
principal document used to define the equipment, piping, and all A&C components
needed to implement a process. ISA’s Automation, Systems, and Instrumentation
Dictionary definition for P&ID tells us what they do: P&IDs “show the interconnection
of process equipment and instrumentation used to control the process.”1 The PFD says
what the process will do; the P&ID defines how it happens.
P&IDs are developed in steps by members of the various design disciplines as a project
evolves. Information placed on a P&ID by one discipline is then used by other
disciplines as the basis for their design.
The P&ID shown in Figure 1-3 has been developed from the PFD in Figure 1-2. The
P&ID includes the control system definition using symbols from ISA-5.1 and ISA-5.3.
In this example, there are two electronic loops that are part of the shared
display/distributed control system (DCS): FRC-100, a flow loop with control and
recording capability, and LIC-100, a level loop with control and indicating capability.
There is one field-mounted pneumatic loop, PIC-100, with control and indication
capability. There are several switches and indication lights on a local (field) mounted
panel, including hand-operated switches and lights HS and ZL-400, HS and HL-401,
and HS and HL-402. Other control system components are also included in the drawing.

33:53.
The P&ID also includes piping and mechanical equipment details; for instance, the data
string “10″ 150 CS 001” associated with an interconnecting line defines it as a pipe with
the following characteristics:
• 10″ = 10 nominal pipe
• 150 = ANSI 150 Class 150 rated system
• CS = carbon steel pipe
• 001 = associated pipe is line number 1
The project standards, as defined on a legend sheet, will establish the format and terms
33:53.
Discovering Diverse Content Through
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The Project Gutenberg eBook of
The Man Who Fell Through the
Earth
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*** START OF THE PROJECT GUTENBERG EBOOK THE MAN WHO

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THE MAN
WHO FELL THROUGH
THE EARTH
BY
CAROLYN WELLS
Author of “The Room With the Tassels,” “Faulkner’s Folly,” etc.
 NEW YORK
GEORGE H. DORAN COMPANY

Copyright, 1919,
By George H. Doran Company
Printed in the United States of America

THIS BOOK IS DEDICATED

TO
BLANCHE CLARK
APOSTLE OF THE
FINE ART
OF
FRIENDSHIP
 CONTENTS

CHAPTER PAGE
I. Moving Shadow-Shapes 11
II. Jenny’s Version 27
III. The Elevator 42
IV. The Black Squall 58
V. Olive Raynor 74
VI. Clews 90
VII. Hudson’s Errand 107
VIII. The Man Who Fell Through The Earth
122
IX. The Man in Boston 138
X. Penny Wise and Zizi 153
XI. Case Rivers 169
XII. The Link 185
XIII. Olive’s Adventure 203
XIV. Where is Manning? 216
XV. Wise’s Pipe Dream 232
XVI. The Snowflake 248
XVII. Zizi’s Hunch 264
XVIII Clear as Crystal 280
.

[11]
THE MAN WHO FELL
THROUGH THE
EARTH
 CHAPTER I
Moving Shadow-Shapes

One of the occasions when I experienced “that grand

and glorious feeling” was when my law business had
achieved proportions that justified my removal from my
old office to new and more commodious quarters. I
selected a somewhat pretentious building on Madison
Avenue between Thirtieth and Fortieth Streets, and it
was a red-letter day for me when I moved into my
pleasant rooms on its top floor.

The Puritan Trust Company occupied all of the ground

floor and there were also some of the private offices of
that institution on the top floor, as well as a few offices
to be let.

My rooms were well located and delightfully light, and I

furnished them with care, selecting chairs and desks of
a dignified type, and rugs of appropriately quiet
coloring. I also selected my stenographer with care, and
Norah MacCormack was a red-haired piece of
perfection. If she had a weakness, it was for reading
detective stories, but I condoned that, for in my
hammocky moods I, too, dipped into the tangled-web
school of fiction.
And, without undue conceit, I felt that I could give most [12]
specimens of the genus Sherlock cards and spades and
beat them at their own game of deduction. I practiced it
on Norah sometimes. She would bring me a veil or
glove of some friend of hers, and I would try to deduce
the friend’s traits of character. My successes and failures
were about fifty-fifty, but Norah thought I improved with
practice, and, anyway, it exercised my intelligence.

I had failed to pass examination for the army, because

of a defect, negligible, it seemed to me, in my eyesight.
I was deeply disappointed, but as the law of
compensation is usually in force, I unexpectedly proved
to be of some use to my Government after all.

Across the hall from me was the private office of Amos

Gately, the President of the Puritan Trust Company, and
a man of city-wide reputation. I didn’t know the great
financier personally, but everyone knew of him, and his
name was a synonym for all that is sound, honorable,
and philanthropic in the money mart. He was of that
frequently seen type, with the silver gray hair that so
becomingly accompanies deep-set dark eyes.

And yet, I had never seen Mr. Gately himself. My [13]

knowledge of him was gained from his frequent
portraiture in the papers or in an occasional magazine.
And I had gathered, in a vague way, that he was a
connoisseur of the fine arts, and that his offices, as well
as his home, were palatial in their appointments.

I may as well admit, therefore, that going in and out of

my own rooms I often looked toward his door, in hopes
that I might get a glimpse, at least, of the treasures
within. But so far I had not done so.
To be sure, I had only occupied my own suite about a
week and then again Mr. Gately was not always in his
private offices during business hours. Doubtless, much
of the time he was down in the banking rooms.

There was a yellow-haired stenographer, who wore her

hair in ear-muffs, and who was, I should say, addicted
to the vanity-case. This young person, Norah had
informed me, was Jenny Boyd.

And that sums up the whole of my intimate knowledge

of Amos Gately—until the day of the black snow squall!

I daresay my prehistoric ancestors were sun-worshipers.

At any rate, I am perfectly happy when the sun shines,
and utterly miserable on a gloomy day. Of course, after
sunset, I don’t care, but days when artificial light must
be used, I get fidgety and am positively unable to
concentrate on any important line of thought.

And so, when Norah snapped on her green-shaded desk [14]

light in mid-afternoon, I impulsively jumped up to go
home. I could stand electrically lighted rooms better in
my diggings than in the work-compelling atmosphere of
my office.

“Finish that bit of work,” I told my competent assistant,

“and then go home yourself. I’m going now.”

“But it’s only three o’clock, Mr. Brice,” and Norah’s gray
eyes looked up from the clicking keys.

“I know it, but a snow storm is brewing,—and Lord

knows there’s snow enough in town now!”

“There is so! I’m thinking they won’t get the black

mountains out of the side streets before Fourth of July,
—and the poor White Wings working themselves to
death!”

“Statistics haven’t yet proved that cause of death

prevalent among snow-shovelers,” I returned, “but I’m
pretty sure there’s more chance for it coming to them!”

I hate snow. For the ocular defect that kept me out of

the army is corrected by not altogether unbecoming
glasses, but when these are moistened or misted by
falling snow, I am greatly incommoded. So I determined
to reach home, if possible, before the squall which was
so indubitably imminent.

I snugged into my overcoat, and jammed my hat well

down on my head, for the wind was already blowing a
gale.

“Get away soon, Norah,” I said, as I opened the door [15]

into the hall, “and if it proves a blizzard you needn’t
show up tomorrow.”

“Oh, I’ll be here, Mr. Brice,” she returned, in her cheery

way, and resumed her clicking.

The offices of Mr. Gately, opposite mine, had three

doors to the hall, meaning, I assumed, three rooms in
his suite.

My own door was exactly opposite the middle one of the

three. On that was the number two. To its left was
number one, and to its right, number three.

Each of these three doors had an upper panel of thick,

clouded glass, and, as the hall was not yet lighted and
Mr. Gately’s rooms were, I could see quite plainly the
shadows of two heads on the middle door,—the door
numbered two.

Perhaps I am unduly curious, perhaps it was merely a

natural interest, but I stood still a moment, outside my
own door, and watched the two shadowed heads.

The rippled clouding of the glass made their outlines

somewhat vague, but I could distinguish the fine, thick
mane of Amos Gately, as I had so often seen it pictured.
The other was merely a human shadow with no striking
characteristics.

It was evident their interview was not amicable. I heard [16]

a loud, explosive “No!” from one or other of them, and
then both figures rose and there was a hand-to-hand
struggle. Their voices indicated a desperate quarrel,
though no words were distinguishable.

And then, as I looked, the shadows blurred into one

another,—swayed,—separated, and then a pistol shot
rang out, followed immediately by a woman’s shrill
scream.

Impulsively I sprang across the hall, and turned the

knob of door number two,—the one opposite my own
door, and the one through which I had seen the
shadowed actions.

But the door would not open.

I hesitated only an instant and then hurried to the door

next on the right, number three.

This, too, was fastened on the inside, so I ran back to

the only other door, number one,—to the left of the
middle door.
This door opened at my touch, and I found myself in
the first of Amos Gately’s magnificent rooms.

Beyond one quick, admiring glance, I paid no attention

to the beautiful appointments, and I opened the
communicating door into the next or middle room.

This, like the first, contained no human being, but it was

filled with the smoke and the odor of a recently fired
pistol.

I looked around, aghast. This was the room where the [17]
altercation had taken place, where two men had
grappled, where a pistol had been fired, and moreover,
where a woman had screamed. Where were these
people?

In the next room, of course, I reasoned.

With eager curiosity, I went on into the third room. It

was empty.

And that was all the rooms of the suite.

Where were the people I had seen and heard? That is, I
had seen their shadows on the glass door, and human
shadows cannot appear without people to cast them.
Where were the men who had fought? Where was the
woman who had screamed? And who were they?

Dazed, I went back through the rooms. Their several

uses were clear enough. Number one was the entrance
office. There was an attendant’s desk, a typewriter,
reception chairs, and all the effects of the first stage of
an interview with the great man.
The second office, beyond a doubt, was Mr. Gately’s [18]
sanctum. A stunning mahogany table-desk was in the
middle of the floor, and a large, unusually fine swivel-
chair stood behind it. On the desk, things were
somewhat disordered. The telephone was upset, the
papers pushed into an untidy heap, a pen-tray
overturned, and a chair opposite the big desk chair lay
over on its side, as if Mr. Gately’s visitor had risen
hurriedly. The last room, number three, was, clearly, the
very holy of holies. Surely, only the most important or
most beloved guests were received in here. It was
furnished as richly as a royal salon, yet all in most
perfect taste and quiet harmony. The general coloring of
draperies and upholstery was soft blue, and splendid
pictures hung on the wall. Also, there was a huge war
map of Europe, and indicative pins stuck in it proved Mr.
Gately’s intense interest in the progress of events over
there.

But though tempted to feast my eyes on the art

treasures all about, I eagerly pursued my quest for the
vanished human beings I sought.

There was no one in any of these three rooms, and I

could see no exit, save into the hall from which I had
entered. I looked into three or four cupboards, but they
were full of books and papers, and no sign of a hidden
human being, alive or dead, could I find.

Perhaps the strangeness of it all blunted my efficiency. I

had always flattered myself that I was at my best in an
emergency, but all previous emergencies in which I had
found myself were trivial and unimportant compared
with this.
I felt as if I had been at a moving picture show. I had
seen, as on the screen, a man shot, perhaps killed, and
now all the actors had vanished as completely as they
do when the movie is over.

Then, for I am not entirely devoid of conscience, it [19]

occurred to me that I had a duty,—that it was
incumbent upon me to report to somebody. I thought of
the police, but was it right to call them when I had so
vague a report to make? What could I tell them? That I
had seen shadows fighting? Heard a woman scream?
Smelled smoke? Heard the report of a pistol? A
whimsical thought came that the report of the pistol
was the only definite report I could swear to!

Yet the whole scene was definite enough to me.

I had seen two men fighting,—shadows, to be sure, but

shadows of real men. I had heard their voices raised in
dissension of some sort, I had seen a scuffle and had
heard a shot, of which I had afterward smelled the
smoke, and,—most incriminating of all,—I had heard a
woman’s scream. A scream, too, of terror, as for her life!

And then, I had immediately entered these rooms, and I

had found them empty of all human presence, but with
the smoke still hanging low, to prove my observations
had been real, and no figment of my imagination.

I believed I had latent detective ability. Well, surely here

was a chance to exercise it!

What more bewildering mystery could be desired than

to witness a shooting, and, breaking in upon the scene,
to find no victim, no criminal, and no weapon!
I hunted for the pistol, but found no more trace of that
than of the hand that had fired it.

My brain felt queer; I said to myself, over and over, “a

fight, a shot, a scream! No victim, no criminal, no
weapon!”

I looked out in the hall again. I had already looked out [20]
two or three times, but I had seen no one. However, I
didn’t suppose the villain and his victim had gone down
by the elevator or by the stairway.

But where were they? And where was the woman who
had screamed?

Perhaps it was she who had been shot. Why did I

assume that Mr. Gately was the victim? Could not he
have been the criminal?

The thought of Amos Gately in the rôle of murderer was

a little too absurd! Still, the whole situation was absurd.

For me, Tom Brice, to be involved in this baffling

mystery was the height of all that was incredible!

And yet, was I involved? I had only to walk out and go

home to be out of it all. No one had seen me and no
one could know I had been there.

And then something sinister overcame me. A kind of

cold dread of the whole affair; an uncanny feeling that I
was drawn into a fearful web of circumstances from
which I could not honorably escape, if, indeed, I could
escape at all. The three Gately rooms, though lighted,
felt dark and eerie. I glanced out of a window. The sky
was almost black and scattering snowflakes were falling.
I realized, too, that though the place was lighted, the
fixtures were those great alabaster bowls, and, as they
hung from the ceiling, they seemed to give out a
ghostly radiance that emphasized the strange silence.

For, in my increasingly nervous state, the silence was [21]

intensified and it seemed the silence of death,—not the
mere quiet of an empty room.

I pulled myself together, for I had not lost all sense of

my duty. I must do something, I told myself, sternly,—
but what?

My hand crept toward the telephone that lay, turned

over on its side, on Mr. Gately’s desk.

But I drew back quickly, not so much because of a

disinclination to touch the thing that had perhaps
figured in a tragedy but because of a dim instinct of
leaving everything untouched as a possible clew.

Clew! The very word helped restore my equilibrium.

There had been a crime of some sort,—at least, there
had been a shooting, and I had been an eye-witness,
even if my eyes had seen only shadows.

My rôle, then, was an important one. My duty was to

tell what I had seen and render any assistance I could.
But I wouldn’t use that telephone. It must be out of
order, anyway, or the operator downstairs would be
looking after it. I would go back to my own office and
call up somebody. As I crossed the hall, I was still
debating whether that somebody would better be the
police or the bank people downstairs. The latter, I
decided, for it was their place to look after their
president, not mine.
I found Norah putting on her hat. The sight of her [22]
shrewd gray eyes and intelligent face caused an
outburst of confidence, and I told her the whole story as
fast as I could rattle it out.

“Oh, Mr. Brice,” she exclaimed, her eyes wide with

excitement, “let me go over there! May I?”

“Wait a minute, Norah: I think I ought to speak to the

bank people. I think I’ll telephone down and ask if Mr.
Gately is down there. You know it may not have been
Mr. Gately at all, whose shadow I saw——”

“Ooh, yes, it was! You couldn’t mistake his head, and,

too, who else would be in there? Please, Mr. Brice, wait
just a minute before you telephone,—let me take one
look round,—you don’t want to make a—to look foolish,
you know.”

She had so nearly warned me against making a fool of

myself, that I took the hint, and I followed her across
the hall.

She went in quickly at the door of room number one.

One glance around it and she said, “This is the first
office, you see: callers come here, the secretary or
stenographer takes their names and all that, and shows
them into Mr. Gately’s office.”

As Norah spoke she went on to the second room.

Oblivious to its grandeur and luxury, she gave swift,
darting glances here and there and said positively: “Of
course, it was Mr. Gately who was shot, and by a
woman too!”

“The woman who screamed?”

“No: more likely not. I expect the woman who screamed [23]
was his stenographer. I know her,—at least, I’ve seen
her. A little doll-faced jig, who belongs about third from
the end, in the chorus! Be sure she’d scream at the
pistol shot, but the lady who fired the shot wouldn’t.”

“But I saw the scrimmage and it was a man who shot.”

“Are you sure? That thick, clouded glass blurs a shadow

beyond recognition.”

“What makes you think it was a woman, then?”

“This,” and Norah pointed to a hatpin that lay on the big

desk.

It was a fine-looking pin, with a big head, but when I

was about to pick it up Norah dissuaded me.

“Don’t touch it,” she warned; “you know, Mr. Brice,

we’ve really no right here and we simply must not touch
anything.”

“But, Norah,” I began, my common sense and good

judgment having returned to me with the advent of
human companionship, “I don’t want to do anything
wrong. If we’ve no right here, for Heaven’s sake, let’s
get out!”

“Yes, in a minute, but let me think what you ought to

do. And, oh, do let me take a minute to look round!”

“No, girl; this is no time to satisfy your curiosity or, to

enjoy a sight of these——”

“Oh, I don’t mean that! But I want to see if there isn’t [24]
some clew or some bit of evidence to the whole thing.
It is too weird! too impossible that three people should
have disappeared into nothingness! Where are they?”

Norah looked in the same closets I had explored; she

drew aside window draperies and portières, she hastily
glanced under desks and tables, not so much, I felt
sure, in expectation of finding anyone, as with a general
idea of searching the place thoroughly.

She scrutinized the desk fittings of the stenographer.

“Everything of the best,” she commented, “but very little

real work done up here. I fancy these offices of Mr.
Gately’s are more for private conferences and personal
appointments than any real business matters.”

“Which would account for the lady’s hatpin,” I observed.

“Yes; but how did they get out? You looked out in the
hall, at once, you say?”

“Yes; I came quickly through these three rooms, and

then looked out into the hall at once, and there was no
elevator in sight nor could I see anyone on the stairs.”

“Well, there’s not much to be seen here. I suppose

you’d better call up the bank people. Though if they
thought there was anything queer they’d be up here by
this time.”

I left Norah in Mr. Gately’s rooms while I went back to [25]

my own office and called up the Puritan Trust Company.

A polite voice assured me that they knew nothing of Mr.

Gately’s whereabouts at that moment, but if I would
leave a message he would ultimately receive it.
So, then, I told them, in part, what had happened, or,
rather, what I believed had happened, and still a little
unconcerned, the polite man agreed to send somebody
up.

“Stuffy people!” I said to Norah, as I returned to the

room she was in. “They seemed to think me officious.”

“I feared they would, Mr. Brice, but you had to do it.

There’s no doubt Mr. Gately left this room in mad haste.
See, here’s his personal checkbook on his desk, and he
drew a check today.”

“Nothing remarkable in his drawing a check,” I

observed, “but decidedly peculiar to leave his checkbook
around so carelessly. As you say, Norah, he left in a
hurry.”

“But how did he leave?”

“That’s the mystery; and I, for one, give it up. I’m quite
willing to wait until some greater brain than mine works
out the problem.”

“But it’s incomprehensible,” Norah went on; “where’s

Jenny?”

“For that matter,” I countered, “where’s Mr. Gately? [26]

Where’s his angry visitor, male or female? and, finally,
where’s the pistol that made the sound and smoke of
which I had positive evidence?”

“We may find that,” suggested Norah, hopefully.

But careful search failed to discover any firearms, as it

had failed to reveal the actors of the drama.
Nor did the representative from the bank come up at
once. This seemed queer, I thought, and with a sudden
impulse to find out something, I declared I was going
down to the bank myself.

“Go on,” said Norah, “I’ll stay here, for I must know
what they find out when they do come.”

I went out into the hall and pushed the “Down” button
of the elevator.

“Be careful,” Norah warned me, as the car was heard

ascending, “say very little, Mr. Brice, except to the
proper authorities. This may be a terrible thing, and you
mustn’t get mixed up in it until you know more about it.
You were not only the first to discover the
disappearance,—but you and I are apparently the only
ones in this corridor who know of it yet, we may be——”

“Suspected of the abduction of Amos Gately! Hardly!

Don’t let your detective instinct run away with you
Norah!”

And then the elevator door slid open and I got into the
car.

[27]
 CHAPTER II
Jenny’s Version

The elevators in the building were run by girls, and the

one I entered was in charge of Minny Boyd, a sister of
Jenny, who was in Mr. Gately’s office.

As soon as I stepped into the car I saw that Minny was

in a state of excitement.

“What’s the matter?” I asked, sympathetically.

“Oh, Mr. Brice,” and the girl burst into tears, “Jenny said
——”

“Well,” I urged, as she hesitated, “what did Jenny say?”

“Don’t you know anything about it?”

“About what?” I asked, trying to be casual.

“Why, about Mr. Gately.”

“And what about him?”

“He’s gone! Disappeared!”

“Amos Gately? The president of the Puritan Trust

Company! Minny, what do you mean?”
“Why, Mr. Brice, only a little while ago, I took Jenny
down. She was crying like everything and she said that
Mr. Gately had been shot!”

“Shot?”

“Yes, that’s what she said——”

“Who shot him?”

“I don’t know, but Jenny was nearly crazy! I told her to [28]
go to the lunchroom,—that’s where the girls go when
off duty,—and I said I’d come to her as soon as I could.
I can’t leave my car, you know.”

“Of course not, Minny,” I agreed; “but what did Jenny

mean? Did she see Mr. Gately shot?”

“No, I don’t think so,—but she heard a pistol fired off,

and she—she——”

“What did she do?”

“She ran into Mr. Gately’s private office,—and, he wasn’t

there! And then she—oh, I suppose she hadn’t any right
to do it,—but she ran on to his own personal room,—the
one where she is never allowed to go,—and there
wasn’t anybody there! So Jenny was scared out of her
senses, and she ran out here,—to the hall, I mean,—
and I took her downstairs,—and oh, Mr. Brice, I’ve got
to stop at this floor,—there’s a call,—and please don’t
say anything about it,—I mean don’t tell I said anything
—for Jenny told me not to——”

I saw Minny was in great perturbation, and I forebore to

question her further, for just then we stopped at the
seventh floor and a man entered the elevator.
I knew him,—that is, I knew he was George Rodman,—
but I wasn’t sufficiently acquainted to speak to him.

So the three of us went on down in silence, past the [29]

other floors, and reached the ground floor, where
Rodman and I got out.

Waiting to go up, I found Mr. Pitt, a discount clerk of the

Puritan Trust Company.

“This is Mr. Brice?” he said, in a superior way.

I resented the superiority, but I admitted his soft

impeachment.

“And you say there is something to be investigated in

Mr. Gately’s offices?” he went on, as if I were a Food
Administrator, or something.

“Well,” I returned, a little curtly, “I chanced to see and

hear and smell a pistol shot,—and further looking into
the matter failed to show anybody killed or wounded or
—in fact, failed to disclose anybody whatever on the
job, and I confess it all looks to me mighty queer!”

“And may I ask why it appeals to you as queer?”

I looked Friend Pitt square in the eye, and I said, “It

seems to me queer that a bank president should drop
out of existence and even out of his business affiliations
in one minute without any recognition of the fact.”

“Perhaps you overestimate an outside interest,” said

Pitt. “You must know it is really none of the business of
the Puritan Trust Company what Mr. Gately does in his
leisure hours.”
“Very well, Mr. Pitt,” I returned, “then let us go and [30]
interview the young woman who is Mr. Gately’s
stenographer and who is even now in hysterics in the
employees’ lunchroom.”

Mr. Pitt seemed duly impressed and together we went to

find Jenny.

The lunchroom for the employees of the building was a

pleasant place, on the ground floor, and therein we
found Jenny, the yellow-haired stenographer of Amos
Gately.

The girl was, without doubt, hysterical, and her account

of the shooting was disjointed and incoherent.

Moreover, Mr. Pitt was of the supercilious type, the kind

who never believes anything, and his manner, as he
listened to Jenny’s story, was incredulous and almost
scoffing.

So Jenny’s story, though to me illuminating, was, I felt

sure, to Pitt, of little value.

“Oh,” Jenny exclaimed, “I was in my room, the first

room, and I didn’t mean to listen,—I never do! and
then, all of a sudden, I heard somebody threatening Mr.
Gately! That made me listen,—I don’t care if it was
wrong—and then, I heard somebody quarreling with Mr.
Gately.”

“How do you know they were quarreling?” interposed

Pitt’s cold voice.

“I couldn’t help knowing, sir. I heard Mr. Gately’s usually

pleasant voice raised as if in anger, and I heard the
visitor’s voice, high and angry too.”
“You didn’t know the visitor’s voice? you had never [31]
heard it before?” asked Pitt.

“No, sir; I’ve no idea who he could have been!” and the
foolish little Jenny bridled and looked like an innocent
ingénue.

I broke in.

“But didn’t you admit all visitors or callers to Mr.

Gately?” I demanded.

Jenny looked at me. “No, sir,” she replied; “I received all

who came to my door, but there were others!”

“Where did they enter?” asked Pitt.

“Oh, they came in at the other doors. You see, I only

looked after my own room. Of course, if Miss Raynor
came,—or anybody that Mr. Gately knew personally——”
Jenny paused discreetly.

“And did Miss Raynor come this morning?” I asked.

“Yes,” Jenny replied, “she did. That is, not this morning,
but early this afternoon. I know Miss Raynor very well.”

Mr. Pitt seemed a little disturbed from his usual calm,

and with evident reluctance said to me, “I think, Mr.
Brice, that this matter is more serious than I thought. It
seems to me that it would be wise to refer the whole
matter to Mr. Talcott, the secretary of the Trust
Company.”

Now, I was only too glad to refer the matter to anybody

who could be considered authoritative, and I agreed at
once.
“Moreover,” said Mr. Pitt, as he gave an anxious glance [32]
at Jenny, “I think it well to take this young woman
along, as she is the secretary of Mr. Gately and may
know——”

“Oh, no, sir,” cried Jenny, “I don’t know anything! Please

don’t ask me questions!”

Jenny’s perturbation seemed to make Mr. Pitt’s

intentions more definite, and he corralled the young
woman, as he also swept me along.

In a moment, we were all going into the offices of the

Puritan Trust Company.

And here, Mr. Pitt faded from view, and he left us in the
august presence of Mr. Talcott, the secretary of the
Company.

I found myself in the quiet, pleasant atmosphere of the

usual banker’s office, and Mr. Talcott, a kindly
gentleman of middle-aged aristocracy, began to
question me.

“It seems to me, Mr. Brice,” he began, “that this story of

yours about Mr. Gately is not only important but
mysterious.”

“I think so, Mr. Talcott,” I responded, “and yet, the

whole crux of the matter is whether Mr. Gately is, at
present, in some one of his offices, or, perhaps at his
home, or whether his whereabouts are undetermined.”

“Of course, Mr. Brice,” the secretary went on, “it is none [33]
of our business where Mr. Gately is, outside of his
banking hours; and yet, in view of Mr. Pitt’s report of
your account, it is incumbent upon us, the officers of
the Trust Company, to look into the matter. Will you tell
me, please, all you know of the circumstances
pertaining to Mr. Gately’s disappearance,—if he has
disappeared?”

“If he has disappeared!” I snapped back; “and, pray, sir,

if he has not disappeared, where is he?”

Mr. Talcott, still unmoved, responded, “That is aside the

question, for the moment. What do you know of the
matter, Mr. Brice?”

I replied by telling him all I knew of the whole affair,

from the time I first saw the shadows until the moment
when I went down in the elevator and met Mr. Pitt.

He listened with deepest attention, and then, seemingly

unimpressed by my story, began to question Jenny.

This volatile young lady had regained her mental

balance, and was more than ready to dilate upon her
experiences.

“Yes, sir,” she said, “I was sitting at my desk, and

nobody had come in for an hour or so, when, all of a
sudden, I heard talking in Mr. Gately’s room.”

“Do callers usually go through your room?” Mr. Talcott

inquired.

“Yes, sir,—that is, unless they’re Mr. Gately’s personal

friends,—like Miss Raynor or somebody.”

“Who is Miss Raynor?” I broke in.

“His ward,” said Mr. Talcott, briefly. “Go on, Jenny;

nobody had gone through your room?”
“No, sir; and so, I was startled to hear somebody [34]
scrapping with Mr. Gately.”

“Scrapping?”

“Yes, sir; sort of quarreling, you know; I——”

“Did you listen?”

“Not exactly that, sir, but I couldn’t help hearing the

angry voices, though I didn’t make out the words.”

“Be careful, Jenny,” Talcott’s tones were stern, “don’t

assume more than you can be sure was meant.”

“Then I can’t assume anything,” said Jenny, crisply, “for

I didn’t hear a single word,—only I did feel sure the two
of ’em was scrapping.”

“You heard, then, angry voices?”

“Yes, sir, just that. And right straight afterward, a pistol

shot.”

“In Mr. Gately’s room?”

“Yes, sir. And then I ran in there to see what it meant,

——”

“Weren’t you frightened?”

“No, sir; I didn’t stop to think there was anything to be

frightened of. But when I got in there, and saw——”

“Well, go on,—what did you see?”

“A man, with a pistol in his hand, running out of the

door——”
“Which door?”

“The door of number three,—that’s Mr. Gately’s own [35]

particular private room,—well, he was running out of
that door, with a pistol in his hand,—and the pistol was
smoking, sir!”

Jenny’s foolish little face was red with excitement and

her lips trembled as she told her story. It was impossible
to disbelieve her,—there could be no doubt of her
fidelity to detail.

But Talcott was imperturbable.

“The pistol was smoking,” he repeated, “where did the

man go with it?”

“I don’t know, sir,” said Jenny; “I ran out to the hall

after him,—I think I saw him run down the staircase,
but I,—I was so scared with it all, I jumped into the
elevator,—Minny’s elevator,—and came downstairs
myself.”

“And then?” prompted Talcott.

“Then, sir,—oh, I don’t know,—I think I lost my head—it

was all so queer, you know——”

“Yes, yes,” said Talcott, soothingly,—he was a most

courteous man, “yes, Miss Jenny,—I don’t wonder you
were upset. Now, I think, if you will accompany us, we
will go upstairs to Mr. Gately’s rooms.”

It seemed to me that Mr. Talcott did not pay sufficient

attention to my presence, but I forgave this, because I
felt sure he would be only too glad to avail himself of
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