The Art of Disappearing

by John Talbot Smith

"At eight o'clock this evening where will Miss Conyngham be, Sister?"

"In her room," said the nun, unhappy over the treatment intended for her client, "preparing her meditation for the morning. She has a great love for meditation on the profound mysteries of religion."

"Glad to know it," he said dryly. "Well, slip this note under her door, make no noise, let no one see you, give her no hint of your presence. Then go to bed and pray for us poor sinners out in the wicked world."

One must do a crazy thing now and then, under cover of the proprieties, if only to test one's sanity. Edith and Claire, as he had suggested to Curran, might be the same person. What if Claire appeared tall, portly, resonant, youthful, abounding in life, while Edith seemed mute, old, thin, feeble? The art of the actor can work miracles in personal appearance. A dual life provided perfect security in carrying out Claire's plans, and it matched the daring of the Escaped Nun to live as Edith in the very hearts of the people she sought to destroy. Good sense opposed his theory of course, but he made out a satisfactory argument for himself. How often had Sister Claire puzzled him by her resemblance to some one whom he could not force out of the shadows of memory! Even now, with the key of the mystery in his hands, he could see no likeness between them. Yet no doubt remained in his mind that a dual life would explain and expose Sister Claire.

That night he sat on the seat of a cab in proper costume, at the southwest corner of Park Square. The convent, diagonally opposite, was dark and silent at nine o'clock; and far in the rear, facing the side street, stood the home of the indigent, whose door would open for the exit of a clever actress at ten o'clock, or, well closed, reproach him for his stupidity. The great front of the convent, dominating the Square, would have been a fine stage for the scene contemplated by Sister Claire, and he laughed at the spectacle of the escaped one leaping from a window into her lover's arms, or sliding down a rope amid the cheers of the mob and the shrieks of the disgraced poor souls within. Then he gritted his teeth at the thought of Louis, and Mary his mother, and Mona his sister. His breath came short. Claire was a woman, but some women are not dishonored by the fate of Jezebel.

Shortly after ten o'clock a small, well-wrapped figure turned the remote corner of the Home, came out to the Square, saw the cab, and coming forward with confidence opened the door and stepped in. As Arthur drove off the blood surged to his head and his heart in a way that made his ears sing. It seemed impossible that the absurd should turn out wisdom at the first jump. As he drove along he wondered over the capacities of art. No two individuals could have been more unlike in essentials than Edith Conyngham and Sister Claire. Now it would appear that high-heeled shoes, padded clothes, heavy eyebrows, paint, a loud and confident voice, a bold manner, and her beautiful costume had made Sister Claire; while shoes without heels, rusty clothes, a gray wig, a weak voice, and timid manner, had given form to Edith Conyngham.

A soul is betrayed by its sins. The common feature of the two characters was the sensuality which, neither in the nun nor in her double, would be repressed or disguised. Looking back, Arthur could see some points of resemblance which might have betrayed the wretch to a clever detective. Well, he would settle all accounts with her presently, and he debated only one point, the flinging of her to the dogs. In twenty minutes they reached the office of the Escaped Nun. He opened the door of the cab and she stepped out nervously, but walked with decision into the building, for which she had the keys.

"Anything more, mum?" he said respectfully.

"Come right in, and light up for me," she said ungraciously, in a towering rage. He found his way to the gas jets and flooded the office with the light from four. She pulled down the curtains, and flung aside her rusty shawl. At the same moment he flung an arm about her, and with his free hand tore the gray wig from her head, and shook free the mass of yellow hair which lay beneath it. Then he flung her limp into the nearest chair, and stood gazing at her, frozen with amaze. She cowered, pale with the sudden fright of the attack. It was not Sister Claire who stood revealed, but the charming and lovely La Belle Colette. The next instant he laughed like a hysterical woman.

"By heavens, but that was an inspiration!" he exclaimed. "Don't be frightened, beautiful Colette. I was prepared for a tragedy, but this discovery reveals a farce."