sufficiently its connection with all the other known facts. We've regarded this whole affair as though it were a series, or collection, of isolated integers. And we've missed the significance of everything because we haven't yet determined the shape of the basic pattern of which each of these incidents is but a part.—Do you follow me?"
"My dear fellow!"
"Very well.—Now, it goes without saying that there is a design at the bottom of this whole amazin' business. Nothing has happened haphazardly. There has been premeditation behind each act—a subtly and carefully concocted composition, as it were. And everything has emanated from that central shape. Everything has been fashioned by a fundamental structural idea. Therefore, nothing important that has occurred since the first double shooting has been unrelated to the predetermined pattern of the crime. All the aspects and events of the case, taken together, form a unity—a co-ordinated, interactive whole. In short, the Greene case is a painting, not a photograph. And when we have studied it in that light—when we have determined the interrelationship of all the external factors, and have traced the visual forms to their generating lines—then, Markham, we will know the composition of the picture; we will see the design on which the perverted painter has erected his document'ry material. And once we have discovered the underlying shape of this hideous picture's pattern, we'll know its creator."
"I see your point," said Markham slowly. "But how does it help us? We know all the external facts;
