/
By Peggy Shane
Copyright by Peggy Shanes
WNU Bervice
CHAPTER X-—Continued
win} Bo
“(Can't see very well without my
glasses” He fumbled. “Here they
are. Now let's take this out where
it's lighter and let me read It over
once,”
Doris walked briskly to the door.
She was aware of a car coming up the
road, but she did not think of it. The
old man was reading aloud her mes
sage, getting It very slowly, it seemed
to her, his ancient head bent over the
familiar yellow slip of paper.
The car stopped, A man got out
and came swiftly toward them. Doris
fooked up, stepped back in sudden
fright, looked again. He stared at
her,
There could be no doubt who it was,
Duris felt all her old unreasoning ter
ror sweeping over her, "It was the
man in the cab,
He snatched the bit of yellow paper
from the old man's hand.
“For G—d's sake, don't send—" He
glanced at the message and crumpled
it up in his pocket. “Thank G—d I've
found you.”
The old man looked at the stranger
calmly,
“Know this young lady, do you?”
The young man did not answer. He
looked at Doris. His eyes were dark
with excitement and his face was
drawn,
“Girl's heen trying to ‘tell me she's
Diane Merrell,” said the constable.
“Course I knew she wasn't.”
The young man turned his gaze on
the old man. “Of course she's not”
he said sharply. *That's ridiculous.”
CHAPTER XI
She was not Diane Merrell, Doris
almost smiled. Relief loosened her
nerves,
She saw the young man's dark eyes
meet the constable's in a knowing
glance. Slowly the old man made the
motion of grinding near his own grizzly
temples He winked. He thought she
WAS crazy.
The young man winked back,
Perhaps she was crazy. Perhaps she
wns an escaped lunatic. A subtle
panie emanating from that dark night.
mare face tore at her heart. This was
the man In the eab. Why did she
hate him? Why did he terrify her?
“Come, dear, let me take you home.”
He put a protecting arm out to
touch her shoulder,
She jerked away. Dear! There It
was again, As she stepped back he
came closer, whispered, “For G—d's
sake come away from this old fool”
Doris turned and began to run. She
ran through the tree tunnel to the
place where she had hidden Beatrice’s
car,
The man In the cab. had sald she
was not Diane Merrell, And the man
itn the cab knew. Why was she run-
ning away from him then? Because
she hated him, because she feared
him, because it was her Instinct to run
and she was behaving like a fool, Her
footsteps slowed. She had lost her
self once In a hopeless whirl by leav-
ing the man In the cab. Now she must
face him,
She stopped and turned around,
The young man was not pursuing.
He had left the constable who had set.
tled down for another nap under the
There was a soft whirr as the young
man started up his motor. She watched
him back his car, He was turning
around. Why was she afrald of him?
If he were her hushand, Rocky had
sald she could divorce him.
She would talk with him now, At
least he ceuld tell her who she, was.
She drew a long breath and walted for
him to come up to her,
Her heart gave a little leap of pleas-
ure, She was not Diane Merrell. And
when she told this young man she
could never belong to him no matter
what thelr relation had been, she
wonld be free. Then she would go
back to the St. Gardens. She would
go back to Rocky. The thought gave
her so much courage that she smiled
as the car drew up beside her,
“Get In"
She shook her head. "No.
out.”
“No.
here”
“TI want to talk to youn.”
“We can talk better In the car”
*No. I won't do that. You'll have
to get out”
He hesitated, opened the door, hes.
tated again and got out. “We might
walk for a bit. It's risky, though.
“Why Is It risky?” .
“Might get caught. 1 guess not,
though, I've been searching for you
everywhere”
“How did you find me?”
“Through the papers, I came to
the St. Gardens, saw you leaving just
as I eame from the train, I followed
you up the road"
“I thought someone was following
me.”
“Yes. But I lost the trall up the
road. What did you do with your ear?
Finally I saw you standing In front of
the drug store.” His manner changed,
He caught her by the shoulders, “Oh
my sweet, can you ever forgive me?
You must have been through hell.”
Doris clenched her hands, She
straightened her shoulders and shook
: off his arm. The “Oh my sweet” was
“% too much. She might as well come to
You get
We must get away from
¥
the point quickly. “Look here,” she
sald abruptly, “who are you anyway?"
He looked at her In astonishment.
“What do you mean?”
“1 mean what 1 say.
name?”
“Are you kidding me?”
“Absolutely not, [I've lost my mem:
ory. 1 don’t remember anything.”
He stopped. His brows drew to
gether. *“But—but oh my G—d! Do
you mean that? Do you mean you
don't rememher what happened?”
“1 don't remember what happened.”
He came close again, His dark, un
happy eyes pleaded with her. “But
you remember George? You can't
have forgotten—"
“George?”
“Don’t you remember ?™
“1 don’t remember, Are you George?”
“Darling! Darling! You've forgot
ten me?”
Doris drew a long angry breath
“Yes I have—bhut tell me about George,”
“I'm George, Jeorge Mortimer.”
He took off his hat and smoothed the
dark wiry hair back from his brow
nervously, They had walked away
from the tiny village and were stand
Ing near a brook that rumbled over
gray stones,
George Mortimer. The name brought
back nothing at all -
She was afrald of her next question:
Who am I? He would surely answer:
Mrs, George Mortimer, She looked up
at him, gathered her nerve, spoke
calmly: “Who am I?
He selzed her In his arms,
“Oh my dariing, you belong to me
now-—"
“1 don't—"
“You're all 1 have,
gether—"
“I won't”
She struggled. “I want to get you
on a boat--'
“Let me go”
“We can be In Canada by nightfall
It's a miracle—that I've found yon
Darling, sweet, You're going to be all
right now."
She pushed him with all her strength,
shoved at his shoulders unt!) she faced
him, “Tell me who [ am.”
He crushed her close. *1 wouldnt
tell you for anything In the world
It's nnhellévable that you don’t know.”
“There's a ear coming, If you don't
let go of me I'll scream murder at
the top of my lungs”
He listened. The steady buzz of an
approaching motor could be heard
over the murmur of the brook. A ear
was coming up the road In a cloud of
dust. Rocky's car,
“For G—d's sake, come on.
got to get going™
“1 won't go with you I tell you. Let
go of me™
“You're crazy. You don’t know what
you're saying. You've got te come
with me”
fhe screamed: "Rocky! Rocky !™
Rocky's car stopped. He flung him
self out. The man's hold on Doris
relaxed. “You fool"
Rocky neared them, The man be
gan to run toward his own car.
“Rocky! Don't let him go.
man in the cab”
Rocky looked at her over his shoul
der. His jaw was set grimly. He ran
after the other man, George Mortimer.
The ear was a couple of yards down
the road. Doris watched with clenched
hands. The man in the eab was run
ning desperately. Rocky stumbled
after him,
Rocky was gaining. But George
Mortimer would get to his car. He
would get away, He had not told her
who she was, He would disappear.
She would never find out,
George Mortimer reached his ear.
She could see his long legs disappear
ing. Then his head showed dimly
through the glass, bending forward
He was turning on the switch, She
heard the motor,
Rocky came up to the ear. He
tugged at the door, could not open It
Mortimer was slipping the car inte
gear. Rocky put his hand through the
open window and selzed the man at
the wheel by the collar,
The car tottered slowly forward with
Rocky on the running board. George
Mortimer was helplessly clutching at
the wheel, He could not quite reach
it. Rocky was pulling at him, trying
to drag him through the window,
Doris was paralyzed. The ear run
ning slowly in first speed was waver
ing straight for a deep diteh. Rocky's
hands were tugging at Mortimer, pull
ing his shoulders through the win.
dow, Mortimer's feet were away from
the brakes,
Nothing could stop the ear.
Rocky would only get away,
would fall over,
The car plunged, came to an awful
stand-still but stood upright. Rocky
braced himself against the side.
Doris ran toward them.
She saw Rocky straighten himseif,
He was all right, then. Mortimer's
head had struck against the window
frame, He was limp now In Rocky's
What's your
We'll stick to-
We've
It's the
Ir
The car
grasp.
Rocky let go of him and opened the
ear door, Mortimer lay with elosed
eyes, a streak of blood running down
his forehead.
MRocky—is he dead?”
“I don’t know.”
“Rocky, I'm out of one murder.
he's only stunned. I'll move my car
up here and put him In It.”
He ran back to his car. Dorls ex
amined the wound on Mortimer's head
It came from a small cut, Oh, surely
he would be all right, He would come
to his senses and tell them everything.
The blood was already drying up. If
only he weren't so pale, If only he
would open his eyes,
Rocky's car came up. In a minute
Rocky had hoisted him into the rum.
ble. Rocky turned to Doris, [His face
wns stern,
“Now, Doris, You are to do exactly
as | say. You disoheyed me this morn
ing by running off, and 1 don't want
that to happen again”
Doris’ heart throbbed happily, It
was nice being with Rocky again, and
nothing much mattered now, George
Mortimer was going to live, and she
was not Diane Merrell, “I'll do any-
thing you say, Rocky.”
“All right, Where
car?
“It's parked up a lane—very near."
“Go and get in it, and drive back
toward the St. Gardens place.”
“But I'd rather come with you. I
want to find out If this man Is all right.
And 1 want to know—"
“It's not safe”
is Beatrice's
from justice or anything.
man In the eab., He says I'm not Diane
Merrell, And he knows™
“Doris, please don't argue with me,
I'l come right
on a dirt road near a yellow
Have you got it 7
Doris looked at him pitifully.
was not Diane Merrell,
wouldn't listen. Rocky continued:
up
skirts the St. Gardens place.
find a shed
go on Into a little path,
“gy
Youll
I'll meet you there”
He had stepped
he finished.
and still,
“But Rocky—please don't let him get
away.”
“Don't worry.
arbhor™
He was off without a smile, Doris
watched him go, Then she walked
hriskly back along the road and got
into Beatrice’s ear once more
She drove steadily, at a slower pace
than the one she had come. Even if
she were Diane Merrell, Mortimer
would not have given her away to an
officer of the law. not If he loved her
as he seemed to do. What a foo! she
was! Why, If she was not Diane
Merrell, had he been afrald to stop on
the road? Why had he whispered In
her ear, “For GI's sake come away
from this old fool”
But If she were Diane Merrell. what
had George Mortimer to do with her?
Why would she be riding In a eah
with another man on her wedding
day?
Could It be that It was only eleven
o'clock? Bhe looked at the watch on
her wrist. It was five minutes of the
hour, So many things had happened
that morning. It seemed as If a day
must have passed. She wondered
what had happened to Molly. And
how had Rocky found her?
This must be the shed up ahead
The path Rocky had described was
not hard to find. It led through a
wood of beeches and towering pines
On either side ferns grew to a height
of three feet. Rocky had sald he
wanted to talk to hor. His face had
not looked very happy. What had he
found out? She left the car.
Music came tentatively from the
other end of the long delphinlum alley,
A harp, a cello, violins were getting
in readiness, Doris remembered. The
wedding rehearsal. She heard the soft
laugh of a girl nearby.
There was a bench In the yew arbor,
She and Rocky could sit there and he
unseen by the wedding party as they
talked,
8he crossed the greensward and sat
down on the hard bench to walt for
Rocky.
She heard someone coming over the
rustic bridge, A minuie later she saw
Rocky.
George Mortimer lay calm
Meet me In the yew
swift strides. But his face looked wor.
ried. Everything was not all right.
Her heart became heavy as she looked
at his
more trouble.
CHAPTER XII
He sat down beside her and took her
hands in his, His eyes were full of
an anguish that swept her Instantly.
“Rocky,” she sald, trying to rally
against the waves of depression that
came from him, “Didn't you hear
what 1 sald about not being Diane
Merrell?”
“There's not a doubt that you're
Diane Merrell”
The reaction to sll her hopes was
too much. The man In the ead had
sald she wasn't, But she counld not
bring the words out, She stared de
spalringly back at Rocky. His jaw
was set, his eyes grim. Then her body
began to shake uncontrollably,
“Doris. . Darling Doris. Don't
feel so” =
“But
Rocky took her left hand. He
slipped the wedding ring from her fin
ger, He looked at the inscription on
the Inside. H. L. V. to D. M,
Howard L, Valery to Diane Merrell!
“] forgot about that,” she sald
faintly.
“There's the luggage, too, It was
rather unusual you know”
“Yes. Diane Merrell's luggage”
(TO BE CONTINUED
i
Solid Comfort at
By CHERIE
COLOR, color, eonlor with furs and
furs and tweeds and tweeds galore,
together with all sorts of other nov-
eity woolens In endless procession,
that's the story of the fashions for
spectators at fall and winter outdoor
sports. Suppose we make a close-up
study of them Individually, rather
than collectively,
The eye-filling costume In the upper
left the illustration Is without a
doubt a good starting point, giving us
A picture of a perfect grandstand
outfit. The leopard skin swagger coat
over a brown and tan plald sult with
a coln-dotted Ascol are typleal In the
realm of spectator ensembles. By the
way, to that we sald
plaid suit with emphasis on the word
sult. It's this way, fashion is making
a special feature of jacket-and-skirt
two.pleces of gay plald woolens and
for that matter of all kinds of bright
suitings, which ean be comfortably
worn under roomy topcoats,
Another sports ensemble that goes
places this fall and winter is shown
at the right to the top of this group,
It Is brown and white tweed, of course.
for about every other suit is of tweed
The bhigh-neck somewhat Russian
tunic Is made on the reverse side of
the material. The lipstick buttons of
painted wood are a chic trimmiong
feature. Jap mink lines the large
of
please notice
down at will of its wearer.
As to the girl In the center, she is
wearing one of those slim, snug little
cloth suits which has the merit of
slipping easily under a fur coat. It Is
tailored of bright red wool, but it Is
her kolinski scarf boa which we want
to talk about mostly. It's just out, so
really new that so far they are show.
Outdoor Sports
NICHOLAS
Youth adores these long narrow bow |
tie fur scarfs and as a matter of fact |
they are making a decided “hit” with |
those older, as well i
A very welcome accessory to com- |
fort and to smartness is the little muff |
that keeps company with a8 coat of |
like fur. That Is what the bright-eyed |
maid, below to the left In the picture, |
is trying to tell us. Hers Is a cont of |
fine jap mink and the wee muff is |
ditto. The full sleeves testify to this |
model being of this-vear vintage, The |
beret which tops her curly bob Is
brown . antelope with a pompon of
mink fur just to be pert,
for the latest
To complement her green dress
she will don one of the new alpine
felts in bright green which will be
gure to have a feather of many colors
thrust nonchalantly through a peaked
crown, .
Another tweed !—down In the right
corner of the pleture, Notice the skin-
tight skirt. The closer fitting the
smarter. says fashion, and it is to be ob-
gerved that the majority of the young.
er set is losing no opportunity to im-
press the world at large that this Is
so. Button your tweed one-piece dress
down the back or button it down the
front but be sure to see that there's
the proper quota of buttons somewhere
upon It
The color scheme for this swanky
dress with matching coat is green with
brown, collared with natural iynx, and
topped with a brown felt aipine hat
which sports a multi-colored quill posi
tioned at a picturesque slant,
©. 1913, Western Newspaper Union.
style,
ADVANCE FASHIONS
ARE REAL ECONOMY
Women seem so startled when they
occasionally learn that something In
last season's wardrobe need not be
to the ashcan. All com
petent performers should show thelr
gon several good, advance fashions
that brand them as “leaders” and not
This system keeps the
The “followers”
troduced In the spring In satin, You
get to slip this over your head In true '
Moorish fashion. The only difference
is that you'll probably gallop out to a |
first night opening Instead of into the
desert to have sand blow In your eye.
And check your budget before order
ing your burnoose to see If you should
have it In velvet or ermine,
Both are lovely.
Straight Silhouette Is
Favored in Sports Mode
A new jaunty sports mode on a
straight, clean cut silhouette has been
launched by Lanvin this year, In con
trast to the curved silhouette shown
for more formal clothes,
Olive green, brown, gray and navy
blue wools fashion two-plece frocks
CHIC CASUAL FRGCK
By CHERIE NICHOLAS
§3
tail and line which best-dressed
en are choosing to wear during
tisi
NOT MUCH “WORK”
OR LOST ENERGY
IN HARD THOUGHT
Thinking is work—but not much,
The housemald sweeping the cols
lege professor's study expends more
energy—as measured In heat output
gf the body—in three minutes than
the professor himself In an hour's
hard thinking, according to experi
ments just reported from the nutri.
tion laboratory of the Carnegie jasti-
tution of Washington,
The study was conducted by Dr,
Francis G, Benedict, director of the
nutrition laboratory, and Cornelia
G. Benedict, and the report is an
elaboration of a preliminary an-
nouncement before the National
Academy of Sclences,
The brain worker feels physically
exhausted at the end of a hard day.
jut, Doctor Benedict finds, he has
done very little actual “work.” The
bodily heat production, which is a
measure of energy expenditure,
Increases only 4 per cent during in-
tense mental effort. Merely stand.
ing quietly Increases it 9 per cent,
sewing 18 per cent, dusting and
sweeping 140 per cent. Why the
brain worker should feel tired Doe-
tor Benedict does not know,
Even the 4 per cent Increase, Doc-
tor Benedict points out, hardly can
be attributed to the activity of the
brain itself. The total mass of the
brain cells actually involved In think-
ing welghs only about a hundredth
of 1 per cent of the total weight of
the body. If they are
for the measured heat Increase it
would mean that hey have a meta-
bolic activity 400 times greater than
the average for the entire body.
This Is almost unbelievable, he holds,
and consequently attributes the in-
creased heat to slight
muscular movements which probabl
accompany thinking.
The popular |
good “brain
is absurd,
out
“The long retained idea of the Im-
portance fish brain food is
without basis” he says. “That lethl-
cin or other phosphorus rich sub-
stance in the brain may possibly par-
in mental activity Is
wholly speculative, Certainly there
can be thought of any correla
tion between the Intact of any phos
efli-
respongible
production
jea that there are
especially fish,
Doctor Benediet points
foods ™
of ns
ticipate the
no
phorus rich material and mental
ciency.”
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