tion. But the face of the bearded defender, the man whose life was forfeit to these vicious assassins, would not come clear to him. Finally he grew tired of searching, undressed and went to bed. Tomorrow, he said to himself, when I am fresher, I shall be able to think the thing out better.
He went to sleep at once and slept soundly. But in the course of the night—he had no idea how long he had. been asleep—he started up in bed with the definite impression that he had heard something, a call, a cry, or voices talking together. He listened. Complete silence. If he had heard anything, it must have been in his dream. It did seem to him as if he had had a dream, and that he had dreamed about something disturbing, something alarming. But he could not remember what the dream had been about. He was in the act of lying down again, when he glanced into his studio, which lay bathed in the moonlight from the great window. He saw his dog standing erect in the center of the room, his head thrust forward and turned toward the window, watching and listening intently, without barking. He had never seen the animal act like that before. The painter called softly. The dog gave no sign of hearing him. He did not change in the slightest his attitude of absorbed interest. Then the painter raised his eyes to the window.
At first it seemed to him as if he must be dreaming still. He threw the bedclothes aside, stared at the window, brushed his hands across his eyes and gazed again. There was no doubt about it. The painter's eyes were looking into the eyes of the bearded man whose conduct had puzzled him the night before. It looked as if the man had climbed up and stood on something that lifted him breast-high before the second-story window. The rough-boned, carelessly kept face with the tangled hair and beard was unmistakably the face he had caught a glimpse of on his way home a few hours before. It was frightfully distorted. The eyes were wide open and staring, the lips were open and drawn back from the teeth—it seemed almost as if the man were uttering a terrified cry for help, but not a sound was audible. On the left temple there was an ugly wound, with the hair matted over it but with the blood still trickling down over the face. There was no sign of the hands; the arms fell straight down from the shoulders. It almost seemed to the painter, as he studied the figure and its attitude a little more calmly, as if someone had pushed a dead man up into the window from below. Then, all at once, the horrible apparition disappeared, noiselessly, and the painter saw the trees and the quiet sky behind and above them.
At that moment the dog's muscles relaxed from his position of tense watchfulness. He ran to his master, cowered against him as if he were seeking protection, turned his head back toward the window. Then he sat down expectantly before the painter, exactly as he was in the habit of doing when he saw the artist take down his hat and his caped cloak to go out.
For a moment the distracted artist could do nothing but stare at the rectangle of moonlight where the ghastly figure had been. Then he realized the changed attitude of the dog, and spoke to the animal. When the little creature saw that he had his master's attention, he stood up, wagged his tail, and looked around expectantly toward the stairway. The artist took his revolver and went to the window. The moonlit landscape was calm and silent. Not a sight or a sound.
