a week. Gad, do I remember it? You got out by fighting, and I through a pretty girl."

"And your nerve," chuckled Whittemore, crushing the other's hand. "That was when I made up my mind you were the nerviest man alive, Greggy. Did you ever learn what became of Donna Isobel?"

"She appeared twice in Burke's, once as the 'Goddess of the Southern Republics' and again as 'The Girl of Valencia.' She married that reprobate of a Carabobo planter, and I believe they're happy."

"It seems to me there were others," continued Whittemore, pondering for a moment in mock seriousness. "There was one at Rio whom you swore would make your fortune if you could get her to sit for you, and whose husband was on the point of putting six inches of steel into you for telling her so, when I explained that you were young and harmless, and a little out of your head—"

"With your fist," cried Gregson, joyously. "Gad, but that was a mighty blow! I can see that knife now. I was just beginning my paternoster when—chug!—and down he went! And he deserved it. I said nothing wrong. In my very best Spanish I asked her if she would sit for me, and why the devil did he take that as an insult? And she was beautiful."

"Of course," agreed Whittemore. "If I remember, she was 'the loveliest creature you had ever seen.' And after that there were others—a score of them at least, each lovelier than the one before."

"They make up my life," said Gregson, more seriously than he had yet spoken. "They're the only thing I can draw and do well. I'd think an editor was mad if he asked me to do something without a pretty woman in it. God bless 'em, I hope I'll go on seeing them forever. When I can't see beauty in woman I want to die."

"And you always want to see it in the superlative degree."

"I insist upon it. If she lacks something, as Donna Isobel wanted color, I imagine that it is there, and she is perfect! But this one that I saw to-night is perfect! Now what I want to know is this, Who the deuce is she!"

—"where can she be found, and will she sit for a 'Burke,' two or three miscellaneous, and a 'study' for the annual sale," struck in Whittemore. "Is that it?"

"Exactly. You've a natural ability for hitting the nail on the head, Phil."

"And Burke told you to take a rest."

Gregson offered his cigarettes.

"Yes, Burke is a good-natured, poetic old soul who has a horror of spiders, snakes, and sky-scrapers. He said to me: 'Greggy, go and seek nature in some quiet, secluded place, and forget everything for a fortnight or two except your clothes and half a dozen cases of beer.' Rest! Nature! Beer! Think of those cheerful suggestions, Phil, while I was dreaming of Valencia, of Donna Isobels, and places where Nature cuts up as though she had been taking champagne all her life. Gad, your letter came just in time!"

"And I told you little enough in that," said Philip, quickly, rising and pacing uneasily back and forth across the cabin floor. "I gave you promise of excitement, and urged you to join me if you could. And why? Because—"

He turned sharply, and faced Gregson across the table.

"I wanted you to come because the thing that happened down in Valencia, and that other at Rio, isn't a circumstance to the hell that's going to cut loose pretty soon up here—and I'm in need of help. Understand? It's not fun—this time. I'm playing a single hand in what looks like a losing game. If I ever needed a fighter in my life I need one now. That's why I sent for you."

Gregson shoved back his chair and rose to his feet. He was a head shorter than his companion, of almost delicate physique. Yet there was something in the cold gray-blue of his eyes, a peculiar hardness of his chin, that compelled one to look at him twice and rendered first judgment unsafe. His slim fingers closed like steel about Philip's.

"Now you're coming down to business, Phil," he exclaimed. "I've been waiting with the patience of Job—or of little Bobby Tuckett, if you remember him, who began courting Minnie Sheldon seven years ago—and married her the day after I got your letter. I was too busy figuring out what you hadn't written to go to the wedding. I tried to read between the lines, and fell down completely. I've been thinking all the way up from Le Pas, and I'm still at sea. You called. I came. What's up?"

"It's going to sound a little mad—at first, Greggy," chuckled Whittemore, lighting his pipe. "It's going to give your esthetic tastes a jar. Look here!"

He seized Gregson by the arm and led him to the door.

The cold northern sky was brilliant with stars. The cabin, its logs half smothered in dying masses of verdure which had climbed about it during the summer, was built on the summit of one of the wind-cropped ridges which are called mountains in the far north. Into that north swept infinite wilderness, white and gray where the starlit tops of the spruce rose up at their feet, black in the distance. From somewhere out of it there came the low, weeping monotone of surf beating on a shore. Philip, with one hand on Gregson's shoulder, pointed with the other into the lonely desolation which they were facing.

"There isn't much between us and the Arctic Ocean, Greggy," he said. "See that light off there, like a great fire that has half a mind to die out one minute and flares up the next? Doesn't it remind you of the night we got away from Carabobo, when Donna Isobel pointed out our way to us, with the moon coming up over the mountains as a guide? That isn't the moon. It's the aurora borealis. You can hear the wash of the Bay down there, and if you're keen you can catch the smell of icebergs. There's Fort Churchill—a rifle-shot beyond the ridge, asleep. There's nothing but Hudson's Bay Company's posts, Indian camps, and trappers between here and civilization, which is four hundred miles down there. Seems like a quiet and peaceful country, doesn't it? There's something about it that makes you thrill and wonder if this isn't the biggest part of the universe after all. Listen! Hear the Indian dogs wailing down at Churchill! That's the primal voice in this world, the voice of the wild. Even that beating of the surf is filled with the same thing, for it's rolling up mystery instead of history. It is telling what man doesn't know, and in a language which he cannot understand. You're a beauty scientist, Greggy. This must sink deep."

"It does," said Gregson. "What the deuce are you getting at, Phil?"

"I'm arriving gradually and without undue haste to the point, Greggy. I'm about to tell you why I induced you to join me up here. I hesitate at the last word. It seems almost brutal, taking into consideration your philosophy of beauty, to drop from all this—from that blackness and mystery out there, from Donna Isobels and pretty eyes, down to—fish."

"Fish!"

"Yes, fish."

Gregson, lighting a fresh cigarette, held the match so that the tiny flame lighted up his companion's face for a moment.

"Look here," he expostulated, "you haven't got me up here to go—fishing?"

"Yes—and no," said Philip. "But even if I have—"

He caught Gregson by the arm again, and there was a tightness in the grip of his fingers which convinced the other that he was speaking seriously now.

"Do you remember what started the revolution down in Honduras the second week after we struck Puerto Barrios, Greggy? It was a girl, wasn't it?"

"Yes, and she wasn't half pretty at that."

"It was less than a girl," went on Philip. "Scene: the palm plaza at Ceiba. President Belize is drinking wine with his cousin, the fiancee of General O'Kelly Bonilla, the half Irish, half Latin-American leader of his forces, and his warmest friend. At a moment when their corner of the plaza is empty Belize helps himself to a cousinly kiss. O'Kelly, unperceived, arrives in time to witness the act. From that moment his friendship for Belize turns to hatred and jealousy. Within three weeks he has started a revolution, beats the government forces at Ceiba, chases