Chapter 24

"For instance, in order to solve the riddle of a crime the detective's first task is to study the scene topographically. Plans and elevations of a room or house are made. The position of each object is painstakingly noted. In addition, the all-seeing eye of the camera is called into requisition. The plundered room is photographed, as in this case. I might have done it by placing a foot rule on a table and taking that in the picture, but a more scientific and accurate method has been devised by Bertillon. His camera lens is always used at a fixed height from the ground and forms its image on the plate at an exact focus. The print made from the negative is mounted on a card in a space of definite size, along the edges of which a metric scale is printed. In the way he has worked it out the distance between any two points in the picture can be determined. With a topographical plan and a metric photograph one can study a crime as a general studies the map of a strange country. There were several peculiar things that I observed to-day, and I have here an indelible record of the scene of the crime. Preserved in this way it cannot be questioned.

"Now the photographs were in this cabinet. There are other cabinets, but none of them has been disturbed. Therefore the thief must have known just what he was after. The marks made in breaking the lock were not those of a jimmy but of a screwdriver. No amazing command of the resources of science is needed so far. All that is necessary is a little scientific common sense, Walter.

"Now, how did the robber get in? All the windows and doors were supposedly locked. It is alleged that a pane was cut from this window at the side. It was, and the pieces were there to show it. But take a glance at this outside photograph. To reach that window even a tall man must have stood on a ladder or something. There are no marks of a ladder or of any person in the soft soil under the window. What is more, that window was cut from the inside. The marks of the diamond which cut it plainly show that. Scientific common sense again."

"Then it must have been some one in the house or at least some one familiar with it?"I exclaimed.

Kennedy nodded. "One thing we have which the police greatly neglect," he pursued, "a record. We have made some progress in reconstructing the crime, as Bertillon calls it. If we only had those Hanford pictures we should be all right."

We were now on our way to see Miss Ashton at headquarters, and as we rode downtown I tried to reason out the case. Had it really been a put-up job? Was Travis himself faking, and was the robbery a "plant" by which he might forestall exposure of what had become public property in the hands of another, no longer disposed to conceal it? Or was it after all the last desperate blow of the Boss?

The whole thing began to assume a suspicious look in my mind. Although Kennedy seemed to have made little real progress, I felt that, far from aiding Travis, it made things darker. There was nothing but his unsupported word that he had not visited the Boss subsequent to the nominating convention. He admitted having done so before the Reform League came into existence. Besides it seemed tacitly understood that both the Boss and Cadwalader Brown acquiesced in the sworn statement of the man who said he had made the pictures. Added to that the mere existence of the actual pictures themselves was a graphic clincher to the story. Personally, if I had been in Kennedy's place I think I should have taken advantage of the proviso in the compact with Travis to back out gracefully. Kennedy, however, now started on the case, hung to it tenaciously.

Miss Ashton was waiting for us at the press bureau. Her desk was at the middle of one end of the room in which, if she could keep an eye on her office force, the office force also could keep an eye on her.

Kennedy had apparently taken in the arrangement during our morning visit, for he set to work immediately. The side of the room toward the office of Travis and Bennett presented an expanse of blank wall. With a mallet he quickly knocked a hole in the rough plaster, just above the baseboard about the room. The hole did not penetrate quite through to the other side. In it he placed a round disc of vulcanised rubber, with insulated wires leading down back of the baseboard, then out underneath it, and under the carpet. Some plaster quickly closed up the cavity in the wall, and he left it to dry.

Next he led the wires under the carpet to Miss Ashton's desk. There they ended, under the carpet and a rug, eighteen or twenty huge coils several feet in diameter disposed in such a way as to attract no attention by a curious foot on the carpet which covered them.

"That is all, Miss Ashton," he said as we watched for his next move. "I shall want to see you early to-morrow, and, might I ask you to be sure to wear that hat which you have on?"

It was a very becoming hat, but Kennedy's tone clearly indicated that it was not his taste in inverted basket millinery that prompted the request. She promised, smiling, for even a suffragette may like pretty hats.

Craig had still to see Travis and report on his work. The candidate was waiting anxiously at his hotel after a big political mass meeting on the East Side, at which capitalism and the bosses had been hissed to the echo, if that is possible.

"'What success?" inquired Travis eagerly.

"I'm afraid," replied Kennedy, and the candidate's face fell at the tone, "I'm afraid you will have to meet them, for the present. The time limit will expire to-morrow, and I understand Hanford is coming up for a final answer. We must have copies of those photographs, even if we have to pay for them. There seems to be no other way."

Travis sank back in his chair and regarded Kennedy hopelessly. He was actually pale. "you - you don't mean to say that there is no other way, that I'll have to admit even before Bennett - and others that I'm in bad?"

"I wouldn't put it that way," said Kennedy mercilessly, I thought.

"It is that way," Travis asserted almost fiercely. "Why, we could have done that anyhow. No, no, - I don't mean that. Pardon me. I'm upset by this. Go ahead," he sighed.

"You will direct Bennett to make the best terms he can with Hanford when he comes up to-morrow. Have him arrange the details of payment and then rush the best copies of the photographs to me."

Travis seemed crushed.

We met Miss Ashton the following morning entering her office. Kennedy handed her a package, and in a few words, which I did not hear, explained what he wanted, promising to call again later.

When we called, the girls and other clerks had arrived, and the office was a hive of industry in the rush of winding up the campaign. Typewriters were clicking, clippings were being snipped out of a huge stack of newspapers and pasted into large scrap-books, circulars were being folded and made ready to mail for the final appeal. The room was indeed crowded, and I felt that there was no doubt, as Kennedy had said, that nothing much could go on there unobserved by any one to whose interest it was to see it.

Miss Ashton was sitting at her desk with her hat on directing the work. "It works," she remarked enigmatically to Kennedy.

"Good," he replied. "I merely dropped in to be sure. Now if anything of interest happens, Miss Ashton, I wish you would let me know immediately. I must not be seen up here, but I shall be waiting downstairs in the corridor of the building. My next move depends entirely on what you have to report."

Downstairs Craig waited with growing impatience. We stood in an angle in which we could see without being readily seen, and our impatience was not diminished by seeing Hanford enter the elevator.

I think that Miss Ashton would have made an excellent woman detective, that is, on a case in which her personal feelings were not involved as they were here. She was pale and agitated as she appeared in the corridor, and Kennedy hurried toward her.

"I can't believe it. I won't believe it," she managed to say.

"Tell me, what happened?" urged Kennedy soothingly.

"Oh, Mr. Kennedy, why did you ask me to do this?" she reproached. "I would almost rather not have known it at all."

"Believe me, Miss Ashton," said Kennedy, "you ought to know. It is on you that I depend most. We saw Hanford go up. What occurred?"

She was still pale, and replied nervously, "Mr. Bennett came in about quarter to ten. He stopped to talk to me and looked about the room curiously. Do you know, I felt very uncomfortable for a time. Then he locked the door leading from the press bureau to his office, and left word that he was not to be disturbed. A few minutes later a man called."

"Yes, yes," prompted Kennedy. "Hanford, no doubt."

She was racing on breathlessly, scarcely giving one a chance to inquire how she had learned so much.

"Why," she cried with a sort of defiant ring in her tone, "Mr. Travis is going to buy those pictures after all. And the worst of it is that I met him in the hall coming in as I was coming down here, and he tried to act toward me in the same old way and that after all I know now about him. They have fixed it all up, Mr. Bennett acting for Mr. Travis, and this Mr. Hanford. They are even going to ask me to carry the money in a sealed envelope to the studio of this fellow Hanford, to be given to a third person who will be there at two o'clock this afternoon."

"You, Miss Ashton?" inquired Kennedy, a light breaking on his face as if at last he saw something.

"Yes, I," she repeated. "Hanford insisted that it was part of the compact. They - they haven't asked me openly yet to be the means of carrying out their dirty deals, but when they do, I won't - "

"Miss Ashton," remonstrated Kennedy, "I beg you to be calm. I had no idea you would take it like this, no idea. Please, please. Walter, you will excuse us if we take a turn down the corridor and out in the air. This is most extraordinary."

For five or ten minutes Kennedy and Miss Ashton appeared to be discussing the new turn of events earnestly, while I waited impatiently. As they approached again she seemed calmer, but I heard her say, "I hope you're right. I'm all broken up by it. I'm ready to resign. My faith in human nature is shaken. No, I won't expose Wesley Travis for his sake. It cuts me to have to admit it, but Cadwalader used always to say that every man has his price. I am afraid this will do great harm to the cause of reform and through it to the woman suffrage cause which cast its lot with this party. I - I can hardly believe"

Kennedy was still looking earnestly at her. "Miss Ashton," he implored, "believe nothing. Remember one of the first rules of politics is loyalty. Wait until "

"Wait?" she echoed. "How can I? I hate Wesley Travis for giving in - more than I hate Cadwalader Brown for his cynical disregard of honesty in others."

She bit her lip at thus betraying her feelings, but what she had heard had evidently affected her deeply. It was as though the feet of her idol had turned to clay. Nevertheless it was evident that she was coming to look on it more as she would if she were an outsider.

"Just think it over," urged Kennedy. "They won't ask you right away. Don't do anything rash. Suspend judgment. You won't regret it."

Craig's next problem seemed to be to transfer the scene of his operations to Hanford's studio. He was apparently doing some rapid thinking as we walked uptown after leaving Miss Ashton, and I did not venture to question him on what had occurred when it was so evident that everything depended on being prepared for what was still to occur.

Hanford was out. That seemed to please Kennedy, for with a brightening face, which told more surely than words that he saw his way more and more clearly, he asked me to visit the agent and hire the vacant office next to the studio while he went uptown to complete his arrangements for the final step.

I had completed my part and was waiting in the empty room when he returned. He lost no time in getting to work, and it seemed to me as I watched him curiously in silence that he was repeating what he had already done at the Travis headquarters. He was boring into the wall, only this time he did it much more carefully, and it was evident that if he intended putting anything into this cavity it must be pretty large. The hole was square, and as I bent over I could see that he had cut through the plaster and laths all the way to the wallpaper on the other side, though he was careful to leave that intact. Then he set up a square black box in the cavity, carefully poising it and making measurements that told of the exact location of its centre with reference to the partitions and walls.

A skeleton key took us into Hanford's well-lighted but now empty studio. For Miss Ashton's sake I wished that the photographs had been there. I am sure Kennedy would have found slight compunction in a larceny of them, if they had been. It was something entirely different that he had in mind now, however, and he was working quickly for fear of discovery. By his measurements I guessed that he was calculating as nearly as possible the centre of the box which he had placed in the hole in the wall on the other side of the dark wallpaper. When he had quite satisfied himself he took a fine pencil from his pocket and made a light cross on the paper to indicate it. The dot fell to the left of a large calendar hanging on the wall.

Kennedy's appeal to Margaret Ashton had evidently had its effect, for when we saw her a few moments after these mysterious preparations she had overcome her emotion.

"They have asked me to carry a note to Mr. Hanford's studio," she said quietly, "and without letting them know that I know anything about it I have agreed to do so."

"Miss Ashton," said Kennedy, greatly relieved, "you're a trump."

"No," she replied, smiling faintly, "I'm just feminine enough to be curious."

Craig shook his head, but did not dispute the point. "After you have handed the envelope to the person, whoever it may be, in Hanford's studio, wait until he does something - er - suspicious. Meanwhile look at the wall on the side toward the next vacant office. To the left of the big calendar you will see a light pencil mark, a cross. Somehow you must contrive to get near it, but don't stand in front of it. Then if anything happens stick this little number 10 needle in the wall right at the intersection of the cross. Withdraw it quickly, count fifteen, then put this little sticker over the cross, and get out as best you can, though we shan't be far away if you should need us. That's all."

We did not accompany her to the studio for fear of being observed, but waited impatiently in the next office. We could hear nothing of what was said, but when a door shut and it was evident that she had gone, Kennedy quickly removed something from the box in the wall covered with a black cloth.

As soon as it was safe Kennedy had sent me posting after her to secure copies of the incriminating photographs which were to be carried by her from the studio, while he remained to see who came out. I thought a change had come over her as she handed me the package with the request that I carry it to Mr. Bennett and get them from him.

The first inkling I had that Kennedy had at last been able to trace back something in the mysterious doings of the past two days came the following evening, when Craig remarked casually that he would like to have me call on Billy McLoughlin if I had no engagement. I replied that I had none and managed to squirm out of the one I really had.

The Boss's office was full of politicians, for it was the eve of "dough day," when the purse strings were loosed and a flood of potent argument poured forth to turn the tide of election. Hanford was there with the other ward heelers.

"Mr. McLoughlin," began Kennedy quietly, when we were seated alone with Hanford in the little sanctum of the Boss, "you will pardon me if I seem a little slow in coming to the business that has brought me here to-night. First of all, I may say, and you, Hanford, being a photographer will appreciate it, that ever since the days of Daguerre photography has been regarded as the one infallible means of portraying faithfully any object, scene, or action. Indeed a photograph is admitted in court as irrefutable evidence. For when everything else fails, a picture made through the photographic lens almost invariably turns the tide. However, such a picture upon which the fate of an important case may rest should be subjected to critical examination for it is an established fact that a photograph may be made as untruthful as it may be reliable. Combination photographs change entirely the character of the initial negative and have been made for the past fifty years. The earliest, simplest, and most harmless photographic deception is the printing of clouds into a bare sky. But the retoucher with his pencil and etching tool to-day is very skilful. A workman of ordinary skill can introduce a person taken in a studio into an open-air scene well blended and in complete harmony without a visible trace of falsity.

"I need say nothing of how one head can be put on another body in a picture, nor need I say what a double exposure will do. There is almost no limit to the changes that may be wrought in form and feature. It is possible to represent a person crossing Broadway or walking on Riverside Drive, places he may never have visited. Thus a person charged with an offence may be able to prove an alibi by the aid of a skilfully prepared combination photograph.

"Where, then, can photography be considered as irrefutable evidence? The realism may convince all, will convince all, except the expert and the initiated after careful study. A shrewd judge will insist that in every case the negative be submitted and examined for possible alterations by a clever manipulator."

Kennedy bent his gaze on McLoughlin. "Now, I do not accuse you, sir, of anything. But a photograph has come into the possession of Mr. Travis in which he is represented as standing on the steps of your house with yourself and Mr. Cadwalader Brown. He and Mr. Brown are in poses that show the utmost friendliness. I do not hesitate to say that that was originally a photograph of yourself, Mr. Brown, and your own candidate. It is a pretty raw deal, a fake in which Travis has been substituted by very excellent photographic forgery."

McLoughlin motioned to Hanford to reply. "A fake?" repeated the latter contemptuously. "How about the affidavits? There's no negative. You've got to prove that the original print stolen from Travis, we'll say, is a fake. You can't do it."

"September 19th was the date alleged, I believe?" asked Kennedy quietly, laying down the bundle of metric photographs and the alleged photographs of Travis. He was pointing to a shadow of a gable on the house as it showed in the metric photographs and the others.

"You see that shadow of the gable? Perhaps you never heard of it, Hanford, but it is possible to tell the exact time at which a photograph was taken from a study of the shadows. It is possible in principle and practice and can be trusted. Almost any scientist may be called on to bear testimony in court nowadays, but you would say the astronomer is one of the least likely. Well, the shadow in this picture will prove an alibi for some one.

"Notice. It is seen very prominently to the right, and its exact location on the house is an easy matter. You could almost use the metric photograph for that. The identification of the gable casting the shadow is easy. To be exact it is 19.62 feet high. The shadow is 14.23 feet down, 13.10 feet east, and 3.43 feet north. You see I am exact. I have to be. In one minute it moved 0.080 feet upward, 0.053 feet to the right, and 0.096 feet in its apparent path. It passes the width of a weatherboard, 0.37 foot, in four minutes and thirty-seven seconds."

Kennedy was talking rapidly of data which he had derived from his metric photograph, from plumb line, level, compass, and tape, astronomical triangle, vertices, zenith, pole and sun, declination, azimuth, solar time, parallactic angles, refraction, and a dozen bewildering terms.

"In spherical trigonometry," he concluded, "to solve the problem three elements must be known. I knew four. Therefore I could take each of the known, treat it as unknown, and have four ways to check my result. I find that the time might have been either three o'clock, twenty-one minutes and twelve seconds, in the afternoon, or 3:21 :31, or 3 :21 :29, or 3:21 :33. The average is 3 :21 :26, and there can therefore be no appreciable error except for a few seconds. For that date must have been one of two days, either May 22 or July 22. Between these two dates we must decide on evidence other than the shadow. It must have been in May, as the immature condition of the foliage shows. But even if it had been in July, that is far from being September. The matter of the year I have also settled. Weather conditions, I find, were favourable on all=20these dates except that in September. I can really answer, with an assurance and accuracy superior to that of the photographer himself - even if he were honest - as to the real date. The real picture, aside from being doctored, was actually taken last May. Science is not fallible, but exact in this matter."

Kennedy had scored a palpable hit. McLaughlin and Hanford were speechless. Still Craig hurried on.

"But, you may ask, how about the automobile picture? That also is an unblushing fake. Of course I must prove that. In the first place, you know that the general public has come to recognise the distortion of a photograph as denoting speed. A picture of a car in a race that doesn't lean is rejected - people demand to see speed, speed, more speed even in pictures. Distortion does indeed show speed, but that, too, can be faked.

"Hanford knows that the image is projected upside down by the lens on the plate, and that the bottom of the picture is taken before the top. The camera mechanism admits light, which makes the picture, in the manner of a roller blind curtain. The slit travels from the top to the bottom and the image on the plate being projected upside down, the bottom of the object appears on the top of the plate. For instance, the wheels are taken before the head of the driver. If the car is moving quickly the image moves on the plate and each successive part is taken a little in advance of the last. The whole leans forward. By widening the slit and slowing the speed of the shutter, there is more distortion.