"Waiting for what?"

"For you."

"You have distinctly the advantage of me," said Sedgwick, with a frown; for he was in no mood to welcome strange visitors.

"To return to my theory of self-defense," said the other imperturbably.

"My wall exercise serves to keep limber and active certain muscles that in the average man are half atrophied. You are familiar with the ostrich?"

"With his proverbial methods of obfuscation," replied Sedgwick.

The other smiled. "That, again, is escape or attempted escape. My reference was to other characteristics. However, I shall demonstrate."

He rose on one foot with an ease that made the artist stare, descended, selected from the roadway a stone of ordinary cobble size, and handed it to Sedgwick.

"Let that lie on the palm of your hand," said he, "and hold it out, waist high."

As he spoke he was standing two feet from the other, to his right.

Sedgwick did as he was requested. As his hand took position, there was a twist of the bearded man's lithe body, a sharp click, and the stone, flying in a rising curve, swished through the leaf.a.ge of a lilac fifty feet away.

"How did you do that?" cried the artist.

The other showed a slight indentation on the inside of his right boot heel, and then swung his right foot slowly and steadily up behind his left knee, and let it lapse into position again. "At shoulder height,"

he explained, "I could have done the same; but it would have broken your hand."

"I see," said the other, adding with distaste, "but to kick an opponent!

Why, even as a boy I was taught-"

"We were not speaking of child's play," said the visitor coolly; "nor am I concerned with the rules of the prize-ring, as applied to my theory.

When one is in danger, one uses knife or gun, if at hand. I prefer a less deadly and more effective weapon. Kicking sidewise, either to the front or to the rear, I can disarm a man, break his leg, or lay him senseless. It is the special development of such muscles as the sartorius and plantaris," he ran his long fingers down from the outside of his thigh round to the inside of his ankle, "that enables a human being, with practise, to kick like an ostrich. Since you found me exercising on your property, I owe you this explanation. I hope you won't prosecute for trespa.s.s, Mr. Long-Lean-Leggy Sedgwick."

"Leggy!" The artist had whirled at the name. "n.o.body's called me that for ten years."

"Just ten years ago that you graduated, wasn't it?"

"Yes. Then I knew you in college. You must have been before my cla.s.s."

The bearded one nodded. "Senior to your freshman," said he.

The younger man scrutinized him. "Chester Kent!" said he softly. "What on earth are you doing behind that bush?"

Kent caressed the maligned whiskers. "Utility," he explained. "Patent, impenetrable mosquito screen. I've been off in the wilds, and am-or was-going back presently."

"Not until you've stopped long enough to get reacquainted," declared Sedgwick. "Just at present you're going to stay to dinner."

"Very good. Just now you happen to be in my immediate line of interest.

It is a fortunate circ.u.mstance for me, to find you here; possibly for you, too."

"Most a.s.suredly," returned the other with heartiness. "Come in on the porch and have a hammock and pipe."

Old interests sprang to life and speech between them. And from the old interests blossomed the old easy familiarity that is never wholly lost to those who have been close friends in college days. Presently Francis Sedgwick was telling his friend the story of his feverish and thwarted ten years in the world. Within a year of his graduation his only surviving relative had died, willing to him a considerable fortune, the income of which he used in furtherance of a hitherto suppressed ambition to study art. Paris, his Mecca, was first a task-mistress, then a temptress, finally a vampire. Before succ.u.mbing he had gone far, in a few years, toward the development of a curious technique of his own.

Followed then two years of dissipation, a year of travel to recuperate, and the return to Paris, which was to be once more the task-mistress.

But, to his terror and self-loathing, he found the power of application gone. The muscles of his mind had become flabby. He quoted to Kent, with bitterness, the terrible final lines of Rossetti's _Known in Vain_:

"When Work and Will awake too late, to gaze After their life sailed by, and hold their breath, Ah! who shall dare to search through what sad maze Thenceforth their incommunicable ways Follow the desultory feet of Death?"

"'When Work and Will awake too late,'" repeated Kent. "But is it too late in your case? Surely not, since you're here, and at your task."

"But think of the waste, man! Yet, here I am, as you say, and still able to fight. All by virtue of a woman's laugh; the laugh of a woman without virtue. It was at the Moulin de la Galette-perhaps you know the dance hall on the slope of Montmartre-and she was one of the dancers, the wreck of what had once been beauty and, one must suppose, innocence.

Probably she thought me too much absinthe-soaked to hear or understand, as I sat half asleep at my table. At all events she answered, full-voiced, her companion's question, 'Who is the drunken foreigner?'

by saying, 'He _was_ an artist. The studios talked of him five years ago. Look at him now! That is what life does to us, _mon ami_. I'm the woman of it: that's the man of it.' I staggered up, made her a bow and a promise, and left her laughing. Last month I redeemed the promise; sent her the first thousand dollars I made by my own work, and declared my debt discharged."

A heavy cloud of smoke issued from Kent's mouth, followed by this observation: "That formula about the inability to lift one's self by one's own boot-straps fails to apply in the spiritual world."

"Right! You can pull yourself out of the ditch that way; but afterward comes the long hillside. Life has seemed all tilted on edge, at times, and pretty slippery, with little enough to cling to."

"Work," suggested Kent briefly.

"Wisdom lurks behind your screen. Work is the answer."

"Good or bad, it's the only thing. Which kind is yours?"

"Presently you shall sit in judgment. Meantime, suppose you account for yourself."

Chester Kent stretched himself luxuriously. "A distinguished secretary of state has remarked that all the news worth telling on any subject can be transmitted by wire for twenty-five cents. The short and simple annals of the poor in my case can be recorded within that limit.

'Postgraduate science. Agricultural Department job. Lectures. Invention.

Judiciary Department expert. Signed, Chester Kent.' Ten words-count them-ten."

"Interesting, but unsatisfying," retorted his friend. "Can't you expand a bit? I suppose you haven't any dark secret in your life?"

"No secret, dark or light," sighed the other. "The newspapers won't let me have."

"Eh? Won't let you? Am I to infer that you've become a famous person?

Pardon the ignorance of expatriation. Have you discovered a new disease, or formulated a new theory of life, or become a golf champion, or a senator, or a freak aviator, or invented perpetual motion? Do you possess t.i.tles, honors, and ribboned decorations? Ought I to bat my brow against the floor in addressing you? What are you, anyway?"

"What I told you, an expert in the service of the Department of Justice."

"On the scientific side?"

"Why-yes, generally speaking. I like to flatter myself that my pursuit is scientific."

"Pursuit? What do you pursue?"

"Men and motives."

Sedgwick's intelligent eyes widened. "Wait," he said, "something occurs to me, an article in a French journal about a wonderful new American expert in criminology, who knows all there is to know, and takes only the most abstruse cases. I recall now that the article called him 'le Professeur Chetre Kennat.' That would be about as near as they would come to your name."

"It's a good deal nearer than that infernal French journalist whom Wiley brought to my table at the Idlers' Club got to the facts," stated Kent.