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Page 109
Mackay burst in upon us, very elated, and produced a handkerchief
with a bit of blood upon it.
"I scratched her deliberately with the sharp point of my ring,"
he chuckled. "I found her in the restaurant and the seat beside
her was empty. I--I talked about everything under the sun and I
guess she thinks I'm a clumsy boob! Anyhow she cried out when I
did it, and got red in the face for a moment; but she suspects
nothing."
Kennedy cut the spot from the handkerchief, put it in an
envelope, and turned back to his table. I drew Mackay into the
corner.
As the minutes sped by and Craig worked in absorbed
concentration, Mackay grew more and more impatient to get back to
the studio.
"Did you find anything?" repeated Mackay, for the tenth time.
With a gesture of annoyance, Kennedy reached out for the nail
files.
"This is a grave matter," he frowned. "I must check it up--and
double check it--then I'm going back to the studio to triple
check it. Let me see what the nail files reveal. It will be a
bare ten minutes more."
Insisting that we remain back in the corner, he spread out the
four nail files and the open blades of the three pocket knives,
setting each upon the envelope which identified it.
The next quarter of an hour seemed interminable. Finally Kennedy
started replacing the files and the pocket knives in their
envelopes, his face still wearing the inscrutable frown. Next he
packed the blood samples and other evidence in the traveling bag
once more.
Mackay was bursting with impatience, but Craig still refused to
betray his suspicions.
"I must get back there--quick," he hastened. "I want everybody in
the projection room. In court, a jury might not grasp the
infallibility of the methods I've used. There would be a great
deal of medical and expert testimony required--and you know,
Mackay, what that means."
"Is it a man--or a woman you suspect?" persisted the district
attorney. "Three of the men had pocket knives and--"
Kennedy led the way to the door without answering, and Mackay cut
short his hopeless quizzing as Craig nodded to me to carry the
bag.
XXX
THE BALLROOM SCENE
Sounds of music caught our ears as we entered the studio
courtyard of Manton Pictures. Carrying the bag with its
indisputable proof of some person's guilt, we made our way
through the familiar corridor by the dressing rooms, out under
the roof of the so-called large studio. There a scene of gayety
confronted us, in sharp contrast with the gloomy atmosphere of
the rest of the establishment.
Kauf, however, had thoroughly demonstrated his genius as a
director. To counteract the depression caused by all the recent
melodramatic and tragic happenings, he had brought in an eight-
piece orchestra, establishing the men in the set itself so as to
get full photographic value from their jazz antics. Where Werner
and Manton had dispensed with music, in a desperate effort at
economy, Kauf had realized that money saved in that way was lost
through time wasted with dispirited people. It was a lesson
learned long before by other companies. In other studios I had
seen music employed in the making of soberly dramatic scenes,
solely as an aid to the actors, enabling them to get into the
atmosphere of their work more quickly and naturally.
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