was early the following morning when Kennedy roused me with the remark: "I think I'll go up to the hospital. Do you want to come along? We'll stop for Barron on the way. There is a little experiment I want to try on that girl up there."
When we arrived, the nurse in charge of the ward told us that her patient had passed a fairly good night, but that now that the influence of the drug had worn off she was again restless and still repeating the words that she had said over and over before. Nor had she been able to give any clearer account of herself. Apparently she had been alone in the city, for although there was a news item about her in the morning papers, so far no relative or friend had called to identify her.
Kennedy had placed himself directly before her, listening intently to her ravings. Suddenly he managed to fix her eye, as if by a sort of hypnotic influence.
"Agnes!" he called in a sharp tone.
The name seemed to arrest her fugitive attention. Before she could escape from his mental grasp again he added: "Your date-book is full. Aren't you going to the Novella this morning?"
The change in her was something wonderful to see. It was as though she had come out of a trance. She sat up in bed and gazed about blankly.
"Yes, yes, I must go," she cried as if it were the most natural thing in the world. Then she realised the strange surroundings and faces. "Where is my hat—wh-where am I? What has happened?"
"You are all right," soothed Kennedy gently. "Now rest. Try to forget everything for a little while, and you will be all right. You are among friends."
As Kennedy led us out she fell back, now physically exhausted, on the pillow.
"I told you, Barron," he whispered, "that there was more to this case than you imagined. Unwittingly you brought me a very important contribution to a case of which the papers are full this morning, the case of the murdered actress, Blanche Blaisdell."
Chapter IV
The Beauty Shop
It was only after a few hours that Kennedy thought it wise to try to question the poor girl at the hospital. Her story was simple enough in itself, but it certainly complicated matters considerably without throwing much light on the case. She had been busy because her day was full, and she had yet to dress the hair of Miss Blaisdell for her play that night. Several times she had been interrupted by impatient messages from the actress in her little dressing-booth, and one of the girls had already demolished the previous hair-dressing in order to save time. Once Agnes had run down for a few seconds to reassure her that she would be through in time.
She had found the actress reading a newspaper, and when Kennedy questioned her she remembered seeing a note lying on the dresser. "Agnes," Miss Blaisdell had said, "will you go into the writing-room and bring me some paper, a pen, and ink? I don't want to go in there this way. There's a dear good girl." Agnes had gone, though it was decidedly no part of her duty as one of the highest paid employés of the Novella. But they all envied the popular actress, and were ready to do anything for her. The next thing she remembered was finishing the coiffure she was working on and going to Miss Blaisdell. There lay the beautiful actress. The light in the corridor had not been lighted yet, and it was dark. Her lips and mouth seemed literally to shine. Agnes called her, but she did not move; she touched her, but she was cold. Then she screamed and fled. That was the last she remembered.
"The little writing-room," reasoned Kennedy as we left the poor little hair-dresser quite exhausted by her narrative, "was next to the sanctum of Millefleur, where they found that bottle of ether phosphoré and the oil of turpentine. Some one who knew of that note or perhaps wrote it must have reasoned that an answer would be written immediately. That person figured that the note would be the next thing written and that the top envelope of the pile would be used. That person knew of the deadly qualities of too much phosphorised ether, and painted the gummed flap of the envelope with several grains of it. The reasoning held good, for Agnes took the top envelope with its poisoned flap to Miss Blaisdell. No, there was no chance about that. It was all clever, quick reasoning."
"But," I objected, "how about the oil of turpentine?"
"Simply to remove the traces of the poison. I think you will see why that was attempted before we get through."
Kennedy would say no more, but I was content because I could see that he was now ready to put his theories, whatever they were, to the final test. He spent the rest of the day working at the hospital with Dr. Barren, adjusting a very delicate piece of apparatus down in a special room in the basement. I saw it, but I had no idea what it was or what its use might be.
Close to the wall was a stereopticon which shot a beam of light through a tube to which I heard them refer as a galvanometer, about three feet distant. In front of this beam whirled a five-spindled wheel, governed by a chronometer which erred only a second a day. Between the poles of the galvanometer was stretched a slender thread of fused quartz plated with silver, only one one-thousandth of a millimetre in diameter, so tenuous that it could not be seen except in a bright light. It was a thread so slender that it might have been spun by a miscroscopic spider.
Three feet farther away was a camera with a moving film of sensitised material, the turning of which was regulated by a little flywheel. The beam of light focused on the thread in the galvanometer passed to the photographic film, intercepted only by the five spindles of the wheel, which turned once a second, thus marking the picture off into exact fifths of a second. The vibrations of the microscopic quartz thread were enormously magnified on the sensitive film by a lens and resulted in producing a long zigzag, wavy line. The whole was shielded by a wooden hood which permitted no light, except the slender ray, to strike it. The film revolved slowly across the field, its speed regulated by the flywheel, and all moved by an electric motor.
I was quite surprised, then, when Kennedy told me that the final tests which he was arranging were not to be held at the hospital at all, but in his labatory, the scene of so many of his scientific triumphs over the cleverest of criminals.
While he and Dr. Barron were still fussing with the machine he despatched me on the rather ticklish, errand of gathering together all those who had been at the Novella at the time and might possibly prove important in the case.
My first visit was to Hugh Dayton, whom I found in his bachelor apartment on Madison Avenue, apparently waiting for me. One of O'Connor's men had already warned him that any attempt to evade putting in an appearance when he was wanted would be of no avail. He had been shadowed from the moment that it was learned that he was a patient of Millefleur's and had been at the Novella that fatal afternoon. He seemed to realise that escape was impossible. Dayton was one of those typical young fellows, tall, with sloping shoulders and a carefully acquired English manner, whom one sees in scores on Fifth Avenue late in the afternoon. His face, which on the stage was forceful and attractive, was not prepossessing at close range. Indeed it showed too evident marks of excesses, both physical and moral, and his hand was none too steady. Still, he was an interesting personality, if not engaging.
I was also charged with delivering a note to Burke Collins at his office. The purport of it was, I knew, a request couched in language that veiled a summons that Mrs. Collins was of great importance in getting at the truth, and that if he needed an excuse himself for being present it was suggested that he appear as protecting his wife's interests as a lawyer. Kennedy had added that I might tell him orally that he would pass over the scandal as lightly as possible and spare the feelings of both as much as he could. I was rather relieved when this mission was accomplished,
