at each other in amazement at the chance find. Apparently the vandal had planned a series of visits.
"Now, let me see," resumed Kennedy. "I suppose our very human but none the less mysterious intruder expected to use these again. Well, let him try. I'll put them back here for the present. I want to watch in the art-gallery to-night."
I could not help wondering whether, after all, it might not be an inside job and the fixing of the window merely a blind. Or was the vandal fascinated by the subtle influence of mysticism that so often seems to emanate from objects that have come down from the remote ages of the world? I could not help asking myself whether the story that Miss White had told was absolutely true. Had there been anything more than superstition in the girl's evident fright? She had seen something, I felt sure, for it was certain she was very much disturbed. But what was it she had really seen? So far all that Kennedy had found had proved that the reincarnation of the priestess Ka had been very material. Perhaps the "reincarnation" had got in in the daytime and had spent the hours until night in the mummy-case. It might well have been chosen as the safest and least suspicious hiding-place.
Kennedy evidently had some ideas and plans, for no sooner had he completed arrangements with Dr. Lith so that we could get into the museum that night to watch, than he excused himself. Scarcely around the corner on the next business street he hurried into a telephone booth.
"I called up First Deputy O'Connor," he explained as he left the booth a quarter of an hour later. "You know it is the duty of two of O'Connor's men to visit all the pawn-shops of the city at least once a week, looking over recent pledges and comparing them with descriptions of stolen articles. I gave him a list from that catalogue of Dr. Lith's and I think that if any of the emeralds, for instance, have been pawned his men will be on the alert and will find it out."
We had a leisurely dinner at a near-by hotel, during most of which time Kennedy gazed vacantly at his food. Only once did he mention the case, and that was almost as if he were thinking aloud.
"Nowadays," he remarked, "criminals are exceptionally well informed. They used to steal only money and jewels; to-day it is famous pictures and antiques also. They know something about the value of antique bronze and marble. In fact, the spread of a taste for art has taught the enterprising burglar that such things are worth money, and he, in turn, has educated up the receivers of stolen goods to pay a reasonable percentage of the value of his artistic plunder. The success of the European art thief is enlightening the American thief. That's why I think we'll find some of this stuff in the hands of the professional fences."
It was still early in the evening when we returned to the museum and let ourselves in with the key that Dr. Lith had loaned Kennedy. He had been anxious to join us in the watch, but Craig had diplomatically declined, a circumstance that puzzled me and set me thinking that perhaps he suspected the curator himself.
We posted ourselves in an angle where we could not possibly be seen even if the full force of the electrolier were switched on. Hour after hour we waited. But nothing happened. There were strange and weird noises in plenty, not calculated to reassure one, but Craig was always ready with an explanation.
It was in the forenoon of the day after our long and unfruitful vigil in the art-gallery that Dr. Lith himself appeared at our apartment in a great state of perturbation.
"Miss White has disappeared," he gasped, in answer to Craig's hurried question. "When I opened the museum, she was not there as she is usually. Instead, I found this note."
He laid the following hastily written message on the table:
Do not try to follow me. It is the green curse that has pursued me from Paris. I cannot escape it, but I may prevent it from affecting others.
Lucille White.
That was all. We looked at each other at a loss to understand the enigmatic wording—"the green curse."
"I rather expected something of the sort," observed Kennedy. "By the way, the shoenails were French, as I surmised. They show the marks of French heels. It was Miss White herself who hid in the mummy-case."
"Impossible," exclaimed Dr. Lith incredulously. As for myself, I had learned that it was of no use being incredulous with Kennedy.
A moment later the door opened, and one of O'Connor's men came in bursting with news. Some of the emeralds had been discovered in a Third Avenue pawn-shop. O'Connor, mindful of the historic fate of the Mexican Madonna and the stolen statue of the Egyptian goddess Neith, had instituted a thorough search with the result that at least part of the pilfered jewels had been located. There was only one clue to the thief, but it looked promising. The pawnbroker described him as "a crazy Frenchman of an artist," tall, with a pointed black beard. In pawning the jewels he had given the name of Edouard Delaverde, and the city detectives were making a canvass of the better known studios in hope of tracing him.
Kennedy, Dr. Lith and myself walked around to the boarding-house where Miss White lived. There was nothing about it, from the landlady to the gossip, to distinguish it from scores of other places of the better sort. We had no trouble in finding out that Miss White had not returned home at all the night before. The landlady seemed to look on her as a woman of mystery, and confided to us that it was an open secret that she was not an American at all, but a French girl whose name, she believed, was really Lucille Leblanc—which, after all, was White. Kennedy made no comment, but I wavered between the conclusions that she had been the victim of foul play and that she might be the criminal herself, or at least a member of a band of criminals.
No trace of her could be found through the usual agencies for locating missing persons. It was the middle of the afternoon, however, when word came to us that one of the city detectives had apparently located the studio of Delaverde. It was coupled with the interesting information that the day before a woman roughly answering the description of Miss White had been seen there. Delaverde himself was gone.
The building to which the detective took us was down-town in a residence section which had remained as a sort of little eddy to one side of the current of business that had swept everything before it up-town. It was an old building and large, and was entirely given over to studios of artists.
Into one of the cheapest of the suites we were directed. It was almost bare of furniture and in a peculiarly shiftless state of disorder. A half-finished picture stood in the centre of the room, and several completed ones were leaning against the wall. They were of the wildest character imaginable. Even the conceptions of the futurists looked tame in comparison.
Kennedy at once began rummaging and exploring. In a corner of a cupboard near the door he disclosed a row of dark-colored bottles. One was filled half-way with an emerald-green liquid.
He held it up to the light and read the label, "Absinthe."
"Ah," he exclaimed with evident interest, looking first at the bottle and then at the wild, formless pictures. "Our crazy Frenchman was an absintheur. I thought the pictures were rather the product of a disordered mind than of genius."
He replaced the bottle, adding: "It is only recently that our own government placed a ban on the importation of that stuff as a result of the decision of the Department of Agriculture that it was dangerous to health and conflicted with the pure food law. In France they call it the 'scourge,' the 'plague,' the 'enemy,' the 'queen of poisons.' Compared with other alcoholic beverages it has the greatest toxicity of all. There are laws against the stuff in France, Switzerland, and Belgium. It isn't the alcohol alone, although there is from fifty to eighty per cent, in it, that makes it so deadly. It is the absinthe, the oil of wormwood, whose bitterness has passed into a proverb. The active principle absinthin is a narcotic poison. The stuff creates a habit most insidious and difficult to break,
