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 busy with nail files and penknives. Thus displayed as a guarantee of good faith, they carried on an innocuous conversation in a 200-word vocabulary, to the casual observer as innocent and immaterial as that heard in the clubs seven blocks to the east.

But off exhibition the “Stovepipes” were not mere street corner ornaments addicted to posing and manicuring. Their serious occupation was the separating of citizens from their coin and valuables. Preferably this was done by wierdweird [sic] and singular tricks without noise or bloodshed; but whenever the citizen honored by their attentions refused to impoverish himself gracefully his objections came to be spread finally upon some police station blotter or hospital register.

The police held the “Stovepipe” gang in perpetual suspicion and respect. As the nightingale’s liquid note is heard in the deepest shadows so along the ‘‘Stovepipe’s” dark and narrow confines the whistle for reserves punctures the dull ear of night. Whenever there was smoke in the “Stovepipe” the tasselled men in blue knew there was fire in “Hell’s Kitchen.”

“Kid” Brady promised Molly to be good. “Kid” was the vainest, the strongest, the wariest and the most successful plotter in the gang. Therefore, the boys were sorry to give him up.

But they witnessed his fall to a virtuous life without protest. For, in the Kitchen it is considered