“Oh, I’m patient, and I’m determined; and I know you are, too, Merton. But the way my things keep coming back--well, I guess we’d both get discouraged if it wasn’t for our sense of humour.” “I bet we would,” agreed Merton. “And good-night!” He went on to the Gashwiler Emporium and let himself into the dark store. At the moment he was bewailing that the next installment of The Hazards of Hortense would be shown on a Saturday night, for on those nights the store kept open until nine and he could see it but once. On a Tuesday night he would have watched it twice, in spite of the so-called comedy unjustly sharing the bill with it. Lighting a match, he made his way through the silent store, through the stock room that had so lately been the foul lair of Snake le Vasquez, and into his own personal domain, a square partitioned off from the stockroom in which were his cot, the table at which he studied the art of screen acting, and his other little belongings. He often called this his den. He lighted a lamp on the table and drew the chair up to it. On the boards of the partition in front of him were pasted many presentments of his favourite screen actress, Beulah Baxter, as she underwent the nerve-racking Hazards of Hortense. The intrepid girl was seen leaping from the seat of her high-powered car to the cab of a passing locomotive, her chagrined pursuers in the distant background. She sprang from a high cliff into the chill waters of a storm-tossed sea. Bound to the back of a spirited horse, she was raced down the steep slope of a rocky ravine in the Far West. Alone in a foul den of the underworld she held at bay a dozen villainous Asiatics. Down the fire escape of a great New York hotel she made a perilous way. From the shrouds of a tossing ship she was about to plunge to a watery release from the persecutor who was almost upon her. Upon the roof of the Fifth Avenue mansion of her scoundrelly guardian in the great city of New York she was gaining the friendly projection of a cornice from which she could leap and again escape death--even a fate worse than death, for the girl was pursued from all sorts of base motives. This time, friendless and alone in profligate New York, she would leap from the cornice to the branches of the great eucalyptus tree that grew hard by. Unnerving performances like these were a constant inspiration to Merton Gill. He knew that he was not yet fit to act in such scenes--to appear opportunely in the last reel of each installment and save Hortense for the next one. But he was confident a day would come.