"All this brought the artist into the matter of the girl's disappearance. She represented to him, physically, the highest ideal of which he could conceive--hope, success, life itself. Therefore it was not astonishing that he should fall in love with her; and it is not difficult to imagine that the girl did not fall in love with him. She is a beautiful woman, but not necessarily a woman of mentality; he is a great artist, eccentric, childish even in certain things. They were two natures totally opposed.
"These things I could see instantly. Mr. Hatch showed me the photograph and also the scrap of paper. At the time the scrap of paper meant nothing. As I pointed out, it might have no bearing at all, yet it made it necessary for me to know whose handwriting it was. If Willis's, it still might mean nothing; if St. George's, a great deal, because it showed a direct thread to him. There was reason to believe that any friendship between them had ended when the picture was exhibited.
"It was necessary, therefore, even that early in the work of reducing the mystery to logic to center it about St. George. This I explained to Mr. Hatch and pointed out the fact that the girl and the artist might have eloped--were possibly together somewhere. First it was necessary to get to the artist; Mr. Hatch had not been able to do so.
"A childishly simple trick, which seemed to amaze Mr. Hatch considerably, brought the artist out of his rooms after he had been there closely for two days. I told Mr. Hatch that the artist would leave his rooms, if he were there, one night at 9:32, and told him to wait in the hall, then if he left the door open to enter the apartments and search for some trace of the girl. Mr. St. George did leave his apartments at the time I mentioned, and----"
"But why, how?" asked Hatch.
"There was one thing in the world that St. George loved with all his heart," explained the scientist. "That was his picture. Every act of his life has demonstrated that. I looked at a telephone book; I found he had a 'phone. If he were in his rooms, locked in, it was a bit of common sense that his telephone was the best means of reaching him. He answered the 'phone; I told him, just at 9:30, that the Art Museum was on fire and his picture in danger.
"St. George left his apartments to go and see, just as I knew he would, hatless and coatless, and leaving the door open. Mr. Hatch went inside and found two gloves and a veil, all belonging to Miss Field. Miss Stanford identified them and asked if he had gotten them from Willis, and if Willis had been arrested. Why did she ask these questions? Obviously because she knew, or thought she knew, that Willis had some connection with the affair.
"Mr. Hatch detailed all his discoveries and the conversation with Miss Stanford to me on the day after I 'phoned to St. George, who, of course, had found no fire. It showed that Miss Stanford suspected Willis, whom she loved, of the murder of Miss Field. Why? Because she had heard him threaten. He's a hare-brained young fool, anyway. What motive? Jealousy. Jealousy of what? He knew in some way that she had posed for a semi-nude picture, and that the man who painted it loved her. There is your jealousy. It explains Willis's every act."
The Thinking Machine paused a moment, then went on:
"This conversation with Mr. Hatch made me believe Miss Stanford knew more than she was willing to tell. In what way? By a letter? Possibly. She had given Mr. Hatch a scrap of a letter; perhaps she had found another letter, or more of this one. I sent her a note, telling her I knew she had these scraps of letters, and she promptly brought them to me. She had found them after Mr. Hatch saw her first somewhere in the house--in a bureau drawer she said, I think.