LITMIR.BIZ

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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, a longing more exacting than hunger. It is almost as fatal as cocaine in its blasting effects on mind and body.

      "Wormwood," he pursued, still rummaging about, "has a special affinity for the brain-cells and the nervous system in general. It produces a special affliction of the mind, which might be called absinthism. Loss of will follows its use, brutishness, softening of the brain. It gives rise to the wildest hallucinations. Perhaps that was why our absintheur chose first to destroy or steal all things green, as if there were some merit in the colour, when he might have made away with so many more valuable things. Absintheurs have been known to perform some of the most intricate manœuvres, requiring great skill and the use of delicate tools. They are given to disappearing, and have no memory of their actions afterward."

      On an ink-spattered desk lay some books, including Lombroso's "Degenerate Man" and "Criminal Woman." Kennedy glanced at them, then at a crumpled manuscript that was stuck into a pigeonhole. It was written in a trembling, cramped, foreign hand, evidently part of a book, or an article.

      "Oh, the wickedness of wealth!" it began. "While millions of the poor toilers slave and starve and shiver, the slave-drivers of to-day, like the slave-drivers of ancient Egypt, spend the money wrung from the blood of the people in useless and worthless toys of art while the people have no bread, in old books while the people have no homes, in jewels while the people have no clothes. Thousands are spent on dead artists, but a dollar is grudged to a living genius. Down with such art! I dedicate my life to righting the wrongs of the proletariat. Vive l'anarchism!"

      The thing was becoming more serious. But by far the most serious discovery in the now deserted studio was a number of large glass tubes in a corner, some broken, others not yet used and standing in rows as if waiting to be filled. A bottle labelled "Sulphuric Acid" stood at one end of a shelf, while at the other was a huge jar full of black grains, next a bottle of chlorate of potash. Kennedy took a few of the black grains and placed them on a metal ash-tray. He lighted a match. There was a puff and a little cloud of smoke.

      "Ah," he exclaimed, "black gunpowder. Our absintheur was a bomb-maker, an expert perhaps. Let me see. I imagine he was making an explosive bomb, ingeniously contrived of five glass tubes. The centre one, I venture, contained sulphuric acid and chlorate of potash separated by a close-packed wad of cotton wool. Then the two tubes on each side probably contained the powder, and perhaps the outside tubes were filled with spirits of turpentine. When it is placed in position, it is so arranged that the acid in the center tube is uppermost and will thus gradually soak through the cotton wool and cause great heat and an explosion by contact with the potash. That would ignite the powder in the next tubes, and that would scatter the blazing turpentine, causing a terrific explosion and a widespread fire. With an imperative idea of vengeance, such as that manuscript discloses, either for his own wrongs as an artist or for the fancied wrongs of the people, what may this absintheur not be planning now? He has disappeared, but perhaps he may be more dangerous if found than if lost."

      Chapter VIII

      The Mummy Case

       Table of Contents

      The horrible thought occurred to me that perhaps he was not alone. I had seen Spencer's infatuation with his attractive librarian. The janitor of the studio-building was positive that a woman answering her description had been a visitor at the studio. Would she be used to get at the millionaire and his treasures? Was she herself part of the plot to victimise, perhaps kill, him? The woman had been much of an enigma to me at first. She was more so now. It was barely possible that she, too, was an absintheur, who had shaken off the curse for a time only to relapse into it again.

      If there were any thoughts like these passing through Kennedy's mind he did not show it, at least not in the shape of hesitating in the course he had evidently mapped out to follow. He said little, but hurried off from the studio in a cab up-town again to the laboratory. A few minutes later we were speeding down to the museum.

      There was not much time for Craig to work if he hoped to be ready for anything that might happen that night. He began by winding coil after coil of copper wire about the storeroom in the basement of the museum. It was not a very difficult matter to conceal it, so crowded was the room, or to lead the ends out through a window at the opposite side from that where the window had been broken open.

      Up-stairs in the art-gallery he next installed several boxes such as those which I had seen him experimenting with during his tests of selenium on the afternoon when Mr. Spencer had first called on us. They were camera-like boxes, about ten inches long, three inches or so wide, and four inches deep.

      One end was open, or at least looked as though the end had been shoved several inches into the interior of the box. I looked into one of the boxes and saw a slit in the wall that had been shoved in. Kennedy was busy adjusting the apparatus, and paused only to remark that the boxes contained two sensitive selenium surfaces balanced against two carbon resistances. There was also in the box a clockwork mechanism which Craig wound up and set ticking ever so softly. Then he moved a rod that seemed to cover the slit, until the apparatus was adjusted to his satisfaction, a delicate operation, judging by the care he took. Several of these boxes were installed, and by that time it was quite late.

      Wires from the apparatus in the art-gallery also led outside, and these as well as the wires from the coils down in the basement he led across the bit of garden back of the Spencer house and up to a room on the top floor. In the upper room he attached the wires from the storeroom to what looked like a piece of crystal and a telephone receiver. Those from the art-gallery terminated in something very much like the apparatus which a wireless operator wears over his head.

      Among other things which Craig had brought down from the laboratory was a package which he had not yet unwrapped. He placed it near the window, still wrapped. It was quite large, and must have weighed fifteen or twenty pounds. That done, he produced a tape-measure and began, as if he were a surveyor to measure various distances and apparently to calculate the angles and distances from the window-sill of the Spencer house to the skylight, which was the exact centre of the museum. The straight distance,

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