Indianapolis Times, Indianapolis, Marion County, 16 October 1937 — Page 14

PAGE 14

CAST OF CHARACTERS PRISCILLA PIERCE—Heroine, woman attorney. AMY KERR — Cilly’s roommate and murderer’s victim. JIM KERRIGAN-—Cilly’s fiance. HARRY HUTCHINS — Amy's strange visitor. SERGT. DOLAN—Officer assigned to solve the murder of Amy Kerr.

young

Exploring Mrs. Elliott's apartment, Ciilly finds a man's topcoat in the closet. And in that instant a man’s hard reaches in from the living room, switches off the light. A second later that hand grips Cilly's throat.

Yesterday:

CHAPTER TWENTY-THREE

T= was the murderer, Cilly thought, yet she had not seen

him nor could she guess his iden- |

This was the murderer. . . .

For one eternal second, the world spun madly around; could feel her lungs bursting for air as those powerful hands slowly, relentlessly, choked off her breath. This was the end for her, as it had been for Amy, just a few nights before. This was death, the inevitable. -, ‘. \. Eventually she returned to a dull consciousness. At first she dared not open her eyes, for fear it was another world to which she would awaken. She had died, even as Amy had died, and this was a new beginning, a new life. . It was a familiar voice which roused her. A voice which she had come to fear in these few days, but which would forever ring in her ears as the sweetest music. “That's right, young lady,” Sergt. Dolan said kindly, “open your eyes!” Cilly opened them, looked around. Why, she was back in her own living room, stretched out on the divan! Perhaps she had never gone on the fire escape adventure; perhaps it was all a wild dream. But-— “Another 10 seconds and you'd have been a goner,” Dolan told her. “Whatever took you up there?”

tity.

" Ed

ILLY sat up, smiled, a little forlornly. There were a thousand demons pounding in her head, and her throat still felt as if it were encased in an iron band, but she was glad to be alive. She held her hand out weakly to | Sergt. Dolan. “Thanks for saving my life,” she said simply. “You've got him?” Dolan pounded his knee with a

she

until there would be a policeman on guard upstairs and a policewoman down for company. She would breathe easier when they arrived. But nothing could happen to her now. Over and over, she assured herself of that. The murderer would never risk a visit to her apartment, where all the lights were on, where he could not enter without her seeing him immediately. That would be walking into his own death sentence. He wouldn't dare. . . . Nervously, she rubbed a moist palm down her throat; it still pained from the pressure of the man’s iron fingers . . . she remembered his hand as it slowly, cautiously reached in and switched out { the lights. Suddenly she wanted to scream. She imagined she could see that {hand now, reaching to the switch on her wall; once more she felt strangling fingers on her | throat. . . . Why, that man would | dare anything! He was a fiend, | diabolical and cunning, and he did | not fear a dozen Sergt. Dolans. If | he suspected that she knew something, he would not hesitate now....

o u ”

| those

lock it. But her feet would not carry her into that other room. She was shaking like a leaf; she could imagine a thousand demons at her back if she but stepped beyond the living room Then, in the next instant, the room spun around to the insistent, intense ringing of the front doorbell. In sheer relief, Cilly ran to press the lock-release buzzer in the foyer. Anything was better than the terrifying uncertainty of the empty apartment. n n n

ALFWAY across the room, she stopped. Sergt. Dolan’s words rang in her ears: “No matter who rings vour bell, you're not to open the door!” She stood there, afraid to open the door, and equally afraid not to open it. The bell rang again, loud and demanding. Still she hesitated. For the third time it sounded, but this time it was not one long, imperious ring. Three short rings sounded this time, three short, friendly rings. Instantly, Cilly ran to the foyer and pressed the buzzer. She pressed it eagerly, joyously, & new courage in her eyes transcending every vestige of the previous moment's fear. . .. Three short rings she had heard distinctly, and the one person in all the world who rang a bell with three short rings was Jim Kerrigan.

(To Be Continued)

Daily Short Story

INSPIRATION—By Lillian Emmling

vicious fist.

“No, damn it, we haven't! My

God, to think we were only 10 sec- | ‘}

onds behind him. . . . “What happened?” “Well, I hadn't gotten out of the front door after leaving you when Martin drove. Seems he got & report from Connecticut. They checked on every old lady within a dozen miles of the town this Elliot “oman was supposed to be visiting. There's no such person. There's nobody with a mother living on St. Ann's Ave. in Brooklyn. Mrs. Elliot is a phony. So I came back and got Johnson here to let me into 2-A with his passkey. Just as soon as we opened | the door, we heard something like | glass crunching, and by the time we got into the bedroom, the bird had flown. Down the fire escape, of course. There wasn’t a trace of him, except the footprints where he landed when he jumped, and a few tracks to the sidewalk. But we did get there in time to prevent his finishing you off . . . thank heaven ” “Thank heaven, indeed,” Cilly repeated, with forced cheerfulness. She stroked her throat tenderly. “Now tell me,” Dolan insisted, “what took you up there?” “Curiosity, I guess. I had a feeling that we'd find something in one of the vacant apartments, either the one above me or Carruthers’. Only,” she slumped back, despairingly. “I didn't see. He turned off | the light before I could get a glimpse of him To think how close we ‘were. ...” “What did you find up there?”

n 3 on ILLY told him about the empty chest of drawers, the man’s | coat in the closet; she emphasized | the barren atmosphere of the room, | as if it were not really a woman's | permanent home. “I'm sure the secret to the whole affair is in that apartment upstairs,” she finished. Dolan nodded. “You're right about | that . . . we're going back for a | more thorough search. I wanted | to be sure you were all right first.” “I'm fine now, thanks. ...I guess I don’t choke so easily.” Dolan stood up and began to slip | himself into his enormous raincoat. “Within 10 minutes,” he assured | her, “there’ll be a man from head- | quarters to spend the night in Mrs. Elliot's apartment, just in case our | friend does comes back. In the meantime, you're not to open your | door to anyone, understand that? | Not to a soul! You don't know | who this fellow may be. No matter who rings your bell, or whom | you see standing out there in the | hall, you're not to open the door. | Remember that!” [ “I won't,” Cilly promised. “Good. As soon as I can round | up our fingerprint expert, I'll be | back to go through that apartment | thoroughly. And I'll bring along a | good stout policewoman to spend | the night here with you. Now if you can just stick it out for 10 or 15 ‘minutes. \. . \.” “Oh, I won't be afraid,” Cilly assured him. “All right. If you hear anything that frightens you, yell your lungs out. Johnson will hear you. I've asked him to keep a watch downstairs. We don’t want anyone tampering with the lights, or hiding in the engine room. . . . I'll be getting along: every minute I lose gives our gentleman friend that much longer to plan his getaway. I want the fingerprints in that place upstairs . they'll tell the story.” n n ” EFT alone, Cilly shuddered. She was not nearly as brave as she had pretended to the Sergeant. She sat there on the divan, where he had left her, straining her eyes to watch every nook and corner of the apartment at once. From where she sat, she could see into the bedroom next door; she could watch the fire escape window. If but a shadow crossed that window, she told herself, she would scream loud enough to wake the dead. . . . She watched the banjo clock on the wall, listened to it tick away the seconds. She wondered which echoed loudest through the room— the sharp, staccato ticking of the clock, or the dull, thundering beat of her own heart. Ten minutes, Sergt. Dolan had

“‘ love you. I want you to marry me.’ ”

LL I want is three months in New York, and after that I'll marry you, Kenny,” Irene Dexter

| said eagerly. “Maybe by then I'll be

satisfied I wasn't cut out to be a writer.” “That's a promise?” “A promise.” Ken Mayfield's eyes swept toward the green fields on the outskirts of Burkeville stretching before them. “You were meant for this, Irene, and I've a funny feeling that if you go, you might not come back. Forget the writing career and marry me now, honey. We'll buy the Jones farm.” “But I can’t turn down Ella's invitation,” Irene protested. ‘Mother persuaded her to stay at our house last spring only because I promised to spend some time in New York with her this summer Besides

| doesn’t my promise to you mean { anything?”

Irene wondered desperately how she could ever tell him she'd already made arrangements for tomorrow’s departure to New York. She felt guilty, too, because even now her mind seethed with delightful thoughts of Ella's glowing account of her new Greenwich Village studio apartment. A veritable haven, Ella had written, for aspiring .uthors like Irene. What did it matter, Irene thought buoyantly, that everyone in this narrow-minded town ridiculed her literary ambitions. The letter which had come the other day from a New York editor was proof that she had talent. And in the Village she'd find appreciation, inspiration. Kenneth's farewell kiss the i.ext day was accompanied with the whispered words: “In three months, you'll be coming back — to be my

| wife.”

Mind Your Manners

Test your knowledge of correct social usage by answering the following questions, then checking against the authoritative answers below: 1. When is it permissible for two plates to be cleared from the table at a time? 2. Is it correct to serve a dessert with the silver on the plate? 3. When a maid is exchanging a fresh plate for a used one, with which hand shouid the plate containing the food be placed? 4. If a salad is served with the meat course is it placed at the right or left? 5. Is it correct to fold napkins in a cone shape so that they can stand up?

What would you do if— You are setting a table for a meal where the first course is to be an oyster cocktail? Place the oyster fork— (A) —At¢t left of other forks? (B)—At right of knives and spoons? (C)—On plate beside cocktail?

Answers

1. When a hostess is serving without a maid. 2. Yes. 3. Left, and right hand used for empty plate. 4. Right, unless a second drink unbalances the cover. 5. No.

Best “What Would You Do” solution—(B) or possibly (C).

said, Fifteen minutes at the latest,

LLA LANSING met Irene at the train. Gaily they set forth for Ella’s studio. “How nice!” Ella laughed upon their arrival. “We've company, Irene!” She motioned toward a red leather chair where a young man reclined in supreme comfort. “Made myself at home, Ella, when I found your door open,” he drawled, rising, his eyes admiring Irene. “Bruce Denning's a pest, Irene, but, honestly, he can paint,” Ella's lovely smile flashed. “Even the critics frequently give him a rave. Irene’s from the home town, Bruce. She’s a writer.” He's fascinating, Irene told herself. Definitely a person one could like intensely. “You'd make a first-rate subject, Irene,” he was saying. “I'd like to put you on canvas. How about stopping at my studio tomorrow?” o un n

E took Irene's hands in his at parting and she felt strangely drawn to him. Sp much so that she was surprised when Ella said after he'd gone: “No one around here knows much about Bruce, Irene. Better not become too friendly with him, honey.” The next day found Irene arguing with herself that Bruce was the one person in the world who could help her find the real inspiration, the new interests she craved, and so it was that her casual afternoon walk ended at his studio. Bruce greeted her warmly, but he didn't begin to paint that first day—nor the next. Many similar days followed, with little except conversation resulting. Yet it was talk such as Irene had never heard before, leaving her avid for more. Talk of artists and paintings, of authors and books. Glorious, soul-inspiring talk. o n » HE tried to write when she returned to Ella's apartment but couldn't. The vision of a handsome tall young man gazing earnestly at her and expounding his theories on art and life. He seemed so intent on making her understand. And she, is turn, seemed intent on convincing him that she did understand. Here, she knew, was a kindred soul . Ella gave her a letter later in the day. Even before she opentd it she knew who sent it. She read it slowly. Dear Kenneth with his stodgy old ideas , . . “when you come back to Burkeville” . .. and so on. No, she felt, she would never go back. She couldn't now. Life was offering too much to cut it all off suddenly and go back to obscurity, to boredom. She reached for her stationery. She must tell Ken. ” ” ” EAVY footsteps sounded on the stairs. There was a knock on the door, the sound of Ella’s greeting, The visitor was Bruce. A moment later he was sitting opposite her, his eyes alight as they had never been before. “Irene,” he was saying earnestly, his words coming in a rush, ‘“there’s something I must tell you. I realized it after our talk today. I've known it for several days really, but today, I knew I must tell you. Irene, I love you. I want you to marry me.” How far away his voice sounded! The room seemed to be moving furiously about her. The words she hoped he would say—some day. “I can see the future so clearly,” he was saying. “I have it all planned out. We can go away, you and I, and live apart. We can devote ourselves to our work, entirely. There's a little place I've had my eye on for a long time, A farm—a little farm in a place called Burkleville.”

THE END The characters In this story are fictitious.

(Copyright, 1037, United Feature Syndicate) |

—n

| THE INDIANAPOLIS TIMES OUT OUR WAY

By Williams

THINK T WANT

DRIVERS!

\>oPR. 1937 BY NEA SERVICE INC M. REG. U. S. PAT. OFF. LI'L ABNER

(\ ore FRECKLES AND HIS F

(1 PLANNED To USE You AGAINST MILFORD, BUT GRASH DAVIS TELLS ME YOU HAVE A BAD ANKLE “THAT YOU'RE KEEPING A SECRET! IS

NO SIR, NOT ME! I DONT LEAVE MV. WIFE DRIVE NO CAR I'M.IN! YOU

MY NECK BROKE? NIX ON WIMMIN'

ALL ME SEE YOU KICK, THIS FOOTBALL. AS FAR AS

THE CAREFUL GUvY,

IF THAT GUY'S NECKTIE GETS CAUGHT NN . THAT MACHINE, HE'LL ONLY HAVE TWO MORE DRIVES=~ ONE TO TH' HOSPITAL AN' ONE TO TH' CEMETARY.

LIGHT L

SANE ART

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WELL, \ ) HELL BE i ALL RIGHT ae THEY DON'T HAVE WIMMIN DRIVERS ON

THEM RIGS,

J RWILLIAMS 10-16 a?)

O'K

PRESERVED TURNIPS AN BOWL O° CAWFEE!

FIFTY YARDS, IF T's AN INCH ! DAVIS, YOURE CRAZY!

RETER THEI CAVE DS AT NRT Car REA TH MAI ROAST

SATURDAY, OCT. 16, 1937 | FLAPPER FANNY

By Sylvia

“You ought to be able to pronounce it if you ean spell

it, honey.”

“Well, if you can, you're a dilly—‘Published M-D-C-D-

X-X-V1.'”

—By Al Capp

«By Blosser

BEGGING THE COACHS PARDON, BUT T¢ | THINK HE CALLED THE WRONG GUY "CRAZY ' YOUR ANKLE LOOKS LIKE A BALLOON im. AND IF IT WAS PUFFED UP A LITTLE MORE, IT COULD TAKE UP PASSENGERS! 2

—By Raeburn Van Buren

OH PA--PA - - WHAT ARE YOU DOING ?

--T 'SEE IF THERE WAS~ = UH -- ANYTHING TO p IDENTIFY y HIM BY--

ASK THE TIMES

Inclose a 3-cent stamp for reply when addressing any question ot ract or information to The Indianapolis Times Washington Service Bureau, 1013 13th St., N. W., Washington, D. C. Legal and medical advice cannot be given, nor can extended research be wundertaken,

Q—Why ‘does the moon seem 50 much larger near the horizon tha when it is overhead? .

A--Because in looking toward the horizon the eye takes in so many things on the way—trees, houses, hills, etc, which gives the illusion of greater distance to the horizon. This is so convincing to the eve, that the moon seems larger in order to appear like the same object seen at the top of the sky, and as a result the brain back of the eve actually sees it larger. To prove that the eye fools the mind in this way, roll up a narrow tube of paper about 10 inches long and look through it at the moon on the horizon. It will instantly shrink to the size you see it is overhead, for the tube shuts off the trees and hills that cause the illusion,

Q—How are gold and silver extracted from their ores? A—There are several methods, but the leading one is the cyanide process, in which the ores are first treated with a dilute solution of sodium cyanide or potassium cyanide, and the dissolved metal is precipitated from the solution and then fused and cast into ingots. Much low-grade ore formerly considered worthless is now treated in this way.

Q—Is it correct to say, “This United States,” or “These United States?” A—The proper designation for our country is the United States of America, generally shortened to the United States. The expression these United States is sometimes used oratorically; never this United States.

Q—Are the fumes rising from the Dead Sea fatal to birds flying over that body of water? A—Although the absence of bird life is most impressive, it is not due to the exhalations from the Dead Sea being fatal.

Q—What is the highest denomination of postage stamp issued in the United States?

A—TFive dollars.

FOR MONEY--WEREN'T your

YOU By Dr. Morris Fishbein American Medical Journal Editor EFORE considering the special problems of health associated

with various industries, it is well to realize that certain general conditions may develop in any industry or in groups of industries. The human body has in it cer-

tain factors for controlling its own temperature. It is possible, however, for the temperature around the body to be so extreme, either in heat or in cold, that the mechanism of the body will not function satisfactorily. There are many occupations in which heat is a vital concern in relation to health. If you are exposed to extreme dry heat, you may develop heat stroke. This comes with fever, a rapid pulse, flushing of the skin, profuse sweating and a fall in the blood pressure. Eventually exposures to extreme heat may cause inflammation of the tissues with their breakdown and destruction.

» ” 5 QUALLY serious with the hazard of heat is the danger of sudden changes in the temperature. The human body does not adjust itself easily to sudden severe changes. There are experiments

which show that such alterations in temperature may be accompanied by breakdown in the resistance of the body to various types of disease, particularly respiratory disease. Dr. Leonard D. Lockhart, medical adviser of the great firm in England known as the Boots Chemical Drug Co. calculated that 20 per cent of the loss of time of workers in that company in 1924 was due to the common cold. He was convinced that bad ventilation is definitely related to the cause of colds. The employee works in hot, stagnant air which causes the membranes lining the air passages to become relaxed and engorged with blood. The germs settle on the membranes of the nose. When the individual goes out suddenly into the cold air, his resistance is lessened and the germs are well implanted, ready to set up disturbances. ® ® » HE hazards of heat are sometimes not as serious for certain workers as those of the damp. The fisherman, the Jeather preparer ih the glove in ry, workers in paper mills, la work-

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NOW THAT YOU SUGGES IT--THAT WOULDN'T BE A BAD IDEA/ I'M JUST THINKIN'QO' THEIR HEALTH, O‘COURSE;, BECKY -- YOu UUNDERiS STAND ===

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“We gotta request for ‘The Shade of the Old

—

in a little ‘schmalz’ and wind up with a few

Apple Tree’— first we'll rag it, then throw

hot licks!”

ers, pottery workers, sewer workers, packing house employees and

many others, including perhaps also sailors, firemen and icehouse employees, are regularly associated with severe dampness. For years human beings have that is a

contributing factor to coughs and colds, rheumatic diseases, changes

in the skin and certain infections. The human being, even though he may have evolved at some time from an amphibious animal, not adapted to living in exceedwet places. For the rea-

is | ness to some extent by

son it is necessary for such & worker to wear high rubber boots and similar protective coverings. In industry it is also customary

to overcome the hazard of damp= suitable

ditching which carries away excess water.