which he had set in a corner

"The anatomy of anti-melancholy," murmured Severance. "Valuable." "You're right, it's valuable," declared its proponent. "It's money; that's what it is. Watch 'em at the movies. When their bellies begin to shake, the picture's got 'em." "How would you produce this desirable effect?" asked Severance. "No trouble to show goods. I'm dealing with gents, I know. This is all under your shirt for the present, if you don't take up the scheme." From a portfolio which he had set in a corner he produced a sheaf of drawings. They depicted the adventures, mischievous, predatory, or criminal, of a pair of young hopefuls whose physiognomies and postures were genuinely ludicrous. "Did you draw these?" asked Banneker in surprise, for the draughtsmanship was expert. "No. Hired a kid artist to do 'em. I furnished the idea." "Oh, you furnished the idea, did you?" queried Edmonds. "And where did you get it?" With an ineffably satisfied air, Mr. Sheffer tapped his bullet head. "You must be older than you look, then. Those figures of the kids are redrawn from a last-century German humorous classic, 'Max und Moritz.' I used to be crazy over it when I was a youngster. My grandfather brought it to me from Europe, and made a translation for us youngsters." "Sure! Those pictures'd make a reformer laugh. I picked up the book in German on an Ann Street sidewalk stand, caught the Big Idea right then and there; to Americanize the stuff and--" "For 'Americanize,' read 'steal,'" commented Edmonds. "There ain't no thin' crooked in this," protested the other with sincerity. "The stuff ain't copyrighted here. I looked that up particularly." "Quite true, I believe," confirmed Severance. "It's an open field." "I got ten series mapped out to start. Call 'em 'The Trouble-hunter Twins, Ruff and Reddy.' If they catch on, the artist and me can keep 'em goin' forever. And they'll catch." "I believe they will," said Severance.

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