Chapter 8

Instead of going down Broadway he swerved into Seventh Avenue, then after a few blocks turned into a side street, quickened his pace, and at last dived down into a basement under a saloon.

It was a wretched neighbourhood, one of those which reminds one of the life of an animal undergoing a metamorphosis. Once it had evidently been a rather nice residential section. The movement of population uptown had left it stranded to the real estate speculators, less desirable to live in, but more valuable for the future. The moving in of anyone who could be got to live there had led to rapid deterioration and a mixed population of whites and negroes against the day when the upward sweep of business should bring the final transformation into office and loft buildings. But for the present it was decaying, out of repair, a mass of cheap rooming-houses, tenements, and mixed races.

The joint into which Harris had gone was the only evidence of anything like prosperity on the block, and that evidence was confined to the two entrances on the street, one leading into the ground floor and the other down a flight of steps to the basement.

"Do you want to go in?" asked Kennedy in a tone that indicated that he himself was going.

Just then a negro, dazzling in the whiteness of his collar and the brilliancy of his checked suit, came up the stairs accompanied by a light mulatto.

"It's a black and tan joint," Craig went on, "at least downstairs--negro cabaret, and all that sort of thing."

"I'm game," I replied.

We stumbled down the worn steps, past a swinging door near which stood the proprietor with a careful eye on arrivals and departures. The place was deceiving from the outside. It really extended through two houses, and even at this early hour it was fairly crowded.

There were negroes of all degrees of shading, down to those who were almost white. Scattered about at the various tables were perhaps half a dozen white women, tawdry imitations of the faster set at the Futurist which we had just left, the leftovers of a previous generation in the Tenderloin. There was also a fair sprinkling of white men, equally degraded. White men and coloured women, white women and coloured men, chatted here and there, but for the most part the habitues were negroes. At any rate the levelling down seemed to have produced something like an equality of races in viciousness.

As we sat down at a table, Kennedy remarked: "They used to drift down to Chinatown, a good many of these relics. You used to see them in the old 'suicide halls' of the Bowery, too. But that is all passing away now. Reform and agitation have closed up those old dives. Now they try to veneer it over with electric lights and bright varnish, but I suppose it comes to the same thing. After they are cast off Broadway, the next step lower is the black and tan joint. After that it is suicide, unless it is death."

"I don't think this is any improvement over the--the bad old days," I ventured.

Kennedy shook his head in agreement. "There's Harris, down there in the back, talking to someone, a white man, alone."

A waiter came over to us grinning, for we had assumed the role of sightseers.

"Who is that, 'way back there, with his chair tipped to the wall, talking to the man with his back to us?" asked Kennedy.

"Ike the Dropper, sah," informed the waiter with obvious pride that such a celebrity should be harboured here.

I looked with a feeling akin to awe at the famous character who, in common with many others of his type, had migrated uptown from the proverbial haunts of the gunmen on the East Side in search of pastures new and untroubled.

Ike the Dropper may have once been a strong-arm man, but at present I knew that he was chiefly noted for the fact, and he and his kind were reputed to be living on the earnings of women to whom they were supposed to afford "protection." I reflected on the passing glories of brutality which had sunk so low.

There were noise and life a plenty here. At a discordant box of a piano a negro performer was playing with a keen appreciation of time if of nothing else, and two others with voices that might not have been unpopular in a decent minstrel show were rendering a popular air. They wore battered straw hats and a make-up which was intended to be grotesque.

From time to time, as the pianist was moved, he played snatches of the same music as that which we had heard at the Futurist, and between us and Harris and Ike the Dropper several couples were one-stepping, each in their own sweet way. As the music became more lively their dancing came more and more to resemble some of the almost brutal Apache dances of Paris, in that the man seemed to exert sheer force and the woman agility in avoiding him. It was an entirely new phase of afternoon dancing, an entirely new "leisure class," this strange combination of Bohemia and Senegambia.

At a table next to us, so near that we could almost rub elbows with them, sat a white man and a white woman. They had been talking in low tones, but I could catch whole sentences now and then, for they seemed to be making no extraordinary effort at concealment.

"He was framing a sucker to get away with a whole front," I heard the man say, "or with a poke or a souper, but instead he got dropped by a flatty and was canned for a sleep."

"Two dips--pickpockets," whispered Craig. "Someone was trying to take everything a victim had, or at least his pocketbook or watch, but instead he was arrested by a detective and locked up over night."

"Good work," I laughed. "You are 'some' translator."

I looked at our neighbours with a certain amount of respect. Were they framing up something themselves? At any rate I felt that I would rather see them here and know what they were than to be jostled by them in a street car. The sleek proprietor kept a careful eye on them and I knew that a sort of unwritten law would prevent them from trying on anything that would endanger their welcome in a joint none too savoury already.

Nevertheless I was quite interested in the bits of pickpocket argot that floated across to us, expressions like "crossing the mit," "nipping a slang," a "mouthpiece," "making a holler" and innumerable other choice bits as unintelligible to me as "Beowulf."

After a few minutes the woman got up and went out, leaving the man still sitting at the table. Of course it was none of my business what they were doing, I suppose, but I could not help being interested.

That diversion being ended, I joined Kennedy in his scrutiny of Harris and his choice friend. Of course at our distance it was absolutely impossible to gain any idea of what they were talking about, and indeed our chief concern was not to attract any attention. Whatever it was, they were very earnest about it and paid no attention to us.

The dancing had ceased and the two "artists" were entertaining the select audience with some choice bits of ragtime. We could see Ike the Dropper and Dr. Harris still talking.

Suddenly Kennedy nudged me. I looked up in time to see Dr. Harris reach into his inside breast pocket again and quietly slip out a package much like that which we had already seen him hand to Marie at the Futurist. Ike took it, looked at it a moment with some satisfaction, then stuffed it down carefully into the right-hand outside pocket of his coat.

"I wonder what that is that Harris seems to be passing out to them?" mused Craig.

"Drugs, perhaps," I ventured offhand.

"Maybe. I'd like to know for certain."

Just then Harris and Ike rose and walked down on the other side of the place toward the door. Kennedy turned his head so that even if they should look in our direction they would not see his face. I did the same. Fortunately neither seemed interested in the other occupants. Harris having evidently fulfilled his mission, whether of delivering the package or receiving news which Ike seemed to be pouring into his ear, had but one thought, to escape from a place which was evidently distasteful to him. At the door they paused for a moment and spoke with the proprietor. He nodded reassuringly once or twice to Dr. Harris, much to the relief, I thought, of that gentleman.

Kennedy was chafing under the restraint which kept him in the background and prevented any of his wizardry of mechanical eavesdropping. I fancied that his roving eye was considering various means of utilizing his seemingly inexhaustible ingenuity if occasion should arise.

At last Harris managed to shake hands good-bye and disappeared up the steps to the sidewalk still followed by Ike.

Kennedy leaned over and looked the "dip" sitting alone back of us squarely in the face.

"Would you like to make twenty-five dollars--just like that?" he asked with a quick gesture that accorded very well with the slang.

The man looked at him very suspiciously, as if considering what kind of new game this was.

"That was your gun moll who just went out, wasn't it?" pursued Kennedy with assurance.

"Aw, come off. Whatyer givin' us?" responded the man half angrily.

"Don't stall. I know. I'm not one of the bulls, either. It's just a plain proposition. Will you or won't you take twenty-five of easy money?"

Kennedy's manner seemed to mystify him. For a moment he looked us over, then seemed to decide that we were all right.

"How?" he asked in a harsh but not wholly ungracious whisper. "I'll tip yer off if the boss is lookin'. He don't like no frame-ups in here."

"You saw Ike the Dropper go out with that man?"

"The guy with the glasses?"

"Yes."

"Well?"

"The guy with the glasses gave Ike a little package which Ike put into the right-hand outside pocket of his coat. Now it's worth twenty-five beans to me to get that package--get me?"

"I gotyer. Slip me a five now and the other twenty if I get it."

Kennedy appeared to consider.

"I'm on the level," pursued the dip. "Me and the goil is in hard luck with a mouthpiece who wants fifty bucks to beat the case for one of the best tools we ever had in our mob that they got right to-day."

"From that I take it that one of your pals needs fifty dollars for a lawyer to get him out of jail. Well, I'll take a chance. Bring the package to me at--well, the Prince Henry cafe. I'll be there at seven o'clock."

The pickpocket nodded, slid from his place and sidled out of the joint without attracting any attention.

"What's the lay?" I asked.

"Oh, I just want that package, that's all. Come on, Walter. We might as well go before any of these yellow girls speak to us and frame up something on us."

The proprietor bowed as much as to say, "Come again and bring your friends."

XI

THE TYPEWRITER CLUE

Ike was nowhere to be seen when we reached the street, but down the block we caught sight of Dr. Harris on the next corner. Kennedy hastened our pace until we were safely in his wake, then managed to keep just a few paces behind him.

Instead of turning into the street where the Futurist was, Harris kept on up Broadway. It was easy enough to follow him in the crowd now without being perceived.

He turned into the street where the Little Montmartre was preparing for a long evening of entertainment. We turned, and to cover ourselves got into a conversation with a hack driver who seemed suddenly to have sprung from nowhere with the cryptic whisper, "Drive you to the Ladies' Club, gents?"

Out of the tail of his eye Kennedy watched Harris. Instead of turning into the Montmartre and his office, he went past to a high-stooped brownstone house, two doors away, climbed the steps and entered.

We sauntered down the street and looked quickly at the house. A brass sign on the wall beside the door read, "Mme. Margot's Beauty Shop."

"I see," commented Kennedy. "You know women of the type who frequent the Futurist and the Montmartre are always running to the hairdressing and manicure parlours. They make themselves 'beautiful' under the expert care of the various specialists and beauty doctors. Then, too, they keep in touch that way with what is going on in the demi-monde. That is their club, so to speak. It is part of the beauty shop's trade to impart such information--at least of a beauty shop in this neighbourhood."

I regarded the place curiously.

"Come, Walter, don't stare," nudged Kennedy. "Let's take a turn down to the Prince Henry and wait. We can get a bite to eat, too."

I had hardly expected that the pickpocket would play fair, but evidently the lure of the remaining twenty dollars was too strong. We had scarcely finished our dinner when he came in.

"Here it is," he whispered. "The house man here at the Prince Henry knows me. Slip me the twenty."

Kennedy leisurely tore the wrappings from the packet.

"I suppose you have already looked at this first and found that it isn't worth anything to you compared to twenty dollars. Anyhow, you kept your word. Hello--what is it?"

He had disclosed several small packets. Inside each, sealed, was a peculiar glistening whitish powder.

"H'm," mused Kennedy, "another job for the chemist. Here's the bankroll."

"Thanks," grinned the dip as he disappeared through the revolving door.

We had returned to the laboratory that night where Kennedy was preparing to experiment on the white powder which he had secured in the packet that came from Dr. Harris. The door opened and Clare Kendall entered.

"I've been calling you up all over town," she said, "and couldn't find you. I have something that will interest you, I think. You said you wanted something written by Dr. Harris. Well, there it is."

She laid a sheet of typewriting on the laboratory table.

"How did you get it?" asked Kennedy in eager approbation.

"When I left you at the Futurist Tea Room to follow that woman Marie in the cab, I had a good deal of trouble. I guess people thought I was crazy, the way I was ordering that driver about, but he was so stupid and he would get tangled up in the traffic on Fifth Avenue. Still, I managed to hang on, principally because I had a notion already that she was going to the Montmartre. Sure enough, she turned down that block, but she didn't go into the hotel after all. She stopped and went into a place two doors down--Mme. Margot's Beauty Parlour."

"Just where we finally saw Harris go," exclaimed Kennedy. "I beg your pardon for interrupting."

"Of course I couldn't go in right after her, so I drove around the corner. Then it occurred to me that it would be a good time to stop in to see Dr. Harris--when he was out. You know my experience with the fakers has made me pretty good at faking up ailments. Then, too, I knew that it would be easy when he was not there. I said I was an old patient and had an appointment and that I'd wait, although I knew those were not his regular office hours. He has an alleged trained nurse there all the time. She let me into his waiting-room on the second floor in front--you remember the private dining-rooms are in back. I waited in momentary fear that he WOULD come back. You see, I had a scheme of my own. Well, I waited until at last the nurse had to leave the office for a short time.

"That was my chance. I tiptoed over to his desk in the next room. On it were a lot of letters. I looked over them but could find nothing that seemed to be of interest. They were all letters from other people. But they showed that he must have quite an extensive practice, and that he is not over-scrupulous. I didn't want to take anything that would excite suspicion unless I had to. Just then I heard someone coming down the corridor from the elevator. I had just time to get back to a chair in the waiting-room when the door opened and there was that Titian from the office, you remember. She saw me without recognizing me, went in and laid some papers on his desk. As soon as she was gone, I went in again and looked them over. Here was one that she had copied for him."

Kennedy had been carefully scrutinizing the sheet of paper as she told how she obtained it.

"It couldn't be better as far as our purposes are concerned," he congratulated. "It seems to consist of some notes he had made and wished to preserve about drugs."

I leaned over and read:

VERONAL.--Diethylmalonyl or diethylbarbituric acid. A hypnotic used extensively. White, crystalline, odourless, slightly bitter. Best in ten to fifteen grain cachets. Does not affect circulatory or respiratory systems or temperature. Toxicity low: 135 gr. taken with no serious result. Unreasonable use for insomnia, however, may lead to death.

HEROIN.--Constant use of heroin has been known to lead to--

I looked inquiringly at Kennedy.

"Just some fragmentary notes which he had evidently been making. Rather interesting in themselves as showing perhaps something of his practice, but not necessarily incriminating."

While we were discussing the contents of the notes, Kennedy had laid over the typewritten sheet the rules and graduated strip of glass which he had used in examining the strange letter signed "An Outcast."

A moment later he pulled the letter itself from a drawer and laid the two pieces of writing side by side, comparing them, going from one to the other successively.

"People generally, who have not investigated the subject," he remarked as he worked, "hold the opinion that the typewriter has no individuality. Fortunately that is not true. The typewriting machine does not always afford an effective protection to the criminal. On the contrary, the typewriting may be a direct means of tracing a document to its source and showing it to be what it really is. This is especially true of typewritten anonymous letters. Without careful investigation it is impossible to say what can be determined from the examination of any particular piece of typewriting, but typewriting can often be positively identified as being the work of a certain particular typewriting machine and even the date of writing can sometimes be found out."

He had been carefully counting something under the lens of a pocket glass. "Even the number of threads to the inch in the ribbon, as shown in the type impression, plainly seen and accurately measured by the microscope or in an enlarged photograph, may show something about the identity of a disputed writing."

He was pointing to a letter "r." Under the glass I noticed that there was a break in the little curl at the top.

"Now if you find such a break in the same letter in another piece of typewriting, what would you think?"

"That they were from the same machine," I replied.

"Not so fast," he cautioned. "True, it might raise a presumption that it was from the same machine. But the laws of chance would be against your enthusiasm, Walter."

"Of course," I admitted on second thought.

"It's just like the finger-print theory. There must be a sort of summation of individual characteristics. Now here's a broken 'l' and there is an 'a' that is twisted. Now, if the same defects are found in another piece of writing, that makes the presumption all the stronger, and when you have massed together a number of such characteristics it raises the presumption to a mathematical certainty, does it not?"

I nodded and he went on. "The faces of many letters inevitably become broken, worn, or battered. Not only does that tend to identify a particular machine, but it is sometimes possible, if you have certain admitted standard specimens of writing covering a long period, to tell just when a disputed writing was made. There are two steps in such an inquiry, the first the determination of the fact that a document was written on a certain particular kind of machine and the second that it was written on a certain individual machine of that make. I have here specimens of the writing of all the leading machines. It is easy to pick out the make used, say in the 'Outcast' letter. Moreover, as I said when I first saw that letter, it is in the regular pica type. So are they all, but as ninety-five per cent, use the pica style that in itself proved nothing."

"What is that bit of ruled glass?" asked Clare, bending over the letters in deep interest.

"In ordinary typewriting," replied Craig, "each letter occupies an imaginary square, ten to the inch horizontally and six to the inch vertically. Typewriting letters are in line both ways. This ruled glass plate is an alinement test plate for detecting defects in alinement. I have also here another glass plate in which the lines diverge each at a very slightly different angle--a typewriting protractor for measuring the slant of divergence of various letters that have become twisted, so to speak.

"When it is in perfect alinement the letter occupies the middle of each square and when out of alinement it may be in any of the four corners, or either side of the middle position or at the top or bottom above or below the middle. That, you see, makes nine positions in all--or eight possible divergences from normal in this particular alone."

Clare had been using the protractor herself, quickly familiarizing herself with it.

"Another possible divergence," went on Kennedy, "is the perpendicular position of the letter in relation to the line. That is of great value in individualizing a machine. It is very seldom that machines, even when they are new, are perfect in this particular. It does not seem much until you magnify it. Then anyone can see it, and it is a characteristic that is fixed, continuous, and not much changed by variations in speed or methods of writing.

"Here's another thing. Typewriter faces are not flat like printing type, but are concaved to conform to the curve of the printing surface of the roller. When they are properly adjusted all portions should print uniformly. But when they are slightly out of position in any direction the two curved surfaces of type and roller are not exactly parallel and therefore don't come together with uniform pressure. The result is a difference in intensity in different parts of the impression."

It was fascinating to see Craig at work over such minute points which we had never suspected in so common a thing as ordinary typewriting.

"Then you can identify these letters positively?" asked Clare.

"Positively," answered Craig. "If two machines of the same make were perfect to begin with and in perfect condition--which is never found to be the case when they are critically examined--the work from one would be theoretically indistinguishable from that of another until actual use had affected them differently. The work of any number of machines begins inevitably to diverge as soon as they are used. Since there are thousands of possible particulars in which differences may develop, it very soon becomes possible to identify positively the work of a particular typewriting machine."

"How about the operator?" I asked curiously.

"Different habits of touch, spacing, speed, arrangement, and punctuation all may also tend to show that a particular piece of writing was or was not done by one operator. In other words, typewriting individuality in many cases is of the most positive and convincing character and reaches a degree of certainty which may almost be described as absolute proof. The identification of a typewritten document in many cases is exactly parallel to the identification of an individual who precisely answers a general description as to features, complexion, size, and in addition matches a long detailed list of scars, birthmarks, deformities, and individual peculiarities."

Together we three began an exhaustive examination of the letters, and as Kennedy called off the various characteristics of each type on the standard keyboard we checked them up. It did not take long to convince us, nor would it have failed to convince the most sceptical, that both had come from the same source and the same writer.

"You see," concluded Kennedy triumphantly, "we have advanced a long step nearer the solution of at least one of the problems of this case."

Miss Kendall had evidently been thinking quickly and turning the matter over in her mind.