The Craig Kennedy Scientific Detective MEGAPACK ®. Brander Matthews
let her do as she pleases.”
Some moments elapsed while the others wrote. Apparently they were trying to devise methods of testing Doctor Karatoff’s mettle. Then the papers were collected and deposited on the table beside him.
Apparently at random Karatoff picked out one of the folded papers, then, seemingly without looking at it and certainly without unfolding it, as far as I could determine, he held it up to his forehead.
It was an old trick, I knew. Perhaps he had palmed a sponge wet with alcohol or some other liquid, had brushed it over the paper, making the writing visible through it, and drying out rapidly so as to leave the paper opaque again long before any of us saw it a second time. Or was he really exercising some occult power? At any rate, he read it, or pretended to read it, at least.
“I am asked to hypnotize Mrs. Gaines,” he announced, dropping the paper unconcernedly on the table beside the other pile, as though this were mere child’s play for his powers. It was something of a shock to realize that it was my paper he had chanced to pick up first, and I leaned forward eagerly, watching.
Mrs. Gaines rose and every eye was riveted on her as Karatoff placed her in an easy-chair before him. There was an expectant silence, as Karatoff moved the chair so that she could concentrate her attention only on a bright silver globe suspended from the ceiling. The half-light, the heavy atmosphere, the quiet, assured manner of the chief actor in the scene, all combined to make hypnotization as nearly possible as circumstances could. Karatoff moved before her, passing his hands with a peculiar motion before her eyes. It seemed an incredibly short time in which Edith Gaines yielded to the strange force which fascinated the group.
“Quite susceptible,” murmured Kennedy, beside me, engrossed in the operation.
“It is my test,” I whispered back, and he nodded.
Slowly Edith Gaines rose from the chair, faced us with unseeing eyes, except as Karatoff directed. Karatoff himself was a study. It seemed as if he had focused every ounce of his faculties on the accomplishment of the task in hand. Slowly still the woman moved, as if in a dream walk, over toward the phonograph, reached into the cabinet beneath it and drew forth a book of records. Karatoff faced us, as if to assure us that at that point he had resigned his control and was now letting her act for her subconscious self.
Her fingers passed over page after page until finally she stopped, drew forth the record, placed it on the machine, wound it, then placed the record on the revolving disk.
My first surprise was quickly changed to gratification. She had picked out the music to the “Hypnotic Whirl.” I bent forward, more intent. What would she do next?
As she turned I could see, even in the dim light, a heightened color in her cheeks, as though the excitement of the catchy music had infected her. A moment later she was executing, and very creditably, too, an imitation of Carita herself in the Revue. What did it mean? Was it that consciously or unconsciously she was taking the slender dancer as her model? The skill and knowledge that she put into the dance showed plainly.
Next to Kennedy, I saw Gaines leaning far forward, looking now at his wife, now at the little group. I followed his eyes. To my surprise, I saw Marchant, his gaze riveted on Edith Gaines as if she had been the star performer in a play. Evidently my chance request to Karatoff had been builded better than I knew. I ran my gaze over the others. Errol was no less engrossed than Marchant. Quickly I glanced at Carita, wondering whether she might be gratified by the performance of a pupil. Whether it was natural grace or real hypnotism in the “Hypnotic Whirl,” I was surprised to see on Carita’s face something that looked strangely akin to jealousy. It was as though some other woman had usurped her prerogative. She leaned over to speak to Errol with the easy familiarity of an old admirer. I could not hear what was said and perhaps it was inconsequential. In fact, it must have been the very inconsequentiality of his reply that piqued her. He glanced at Marchant a moment, as if she had said something about him, then back at Edith Gaines. On his part, Professor Gaines was growing more and more furious.
I had just about decided that the little drama in the audience was of far more importance and interest than even the dance, when the music ceased. Karatoff approached, took Mrs. Gaines by the hand, led her back to the chair, and, at a word, she regained her normal consciousness. As she rose, still in a daze it seemed, it was quite evident that she had no waking realization of what had happened, for she walked back and sat down beside her husband, quite as though nothing had happened.
As for me, I could not help wondering what had actually happened. What did it all mean? Had Mrs. Gaines expressed her own self—or was it Karatoff—or Marchant—or Errol? What was the part played by Carita Belleville? Gaines did not betray anything to her, but their mutual attitude was eloquent. There was something of which he disapproved and she knew it, some lack of harmony. What was the cause?
As for Karatoff’s exhibition, it was all truly remarkable, whether in his therapeutics the man was a faker or not.
Karatoff seemed to realize that he had made a hit. Without giving any one a chance to question him, he reached down quickly and picked up another of the papers, repeating the process through which he had gone before.
“Mr. Errol,” he summoned, placing the second folded paper on the table with the first.
Errol rose and went forward and Karatoff placed him in the chair as he had Mrs. Gaines. There seemed to be no hesitation, at least on the part of Karatoff’s followers, to being hypnotized.
Whatever it was written on the paper, the writer had evidently not trusted to chance, as I had, but had told specifically what to do.
At the mute bidding of Karatoff Errol rose. We watched breathlessly. Deliberately he walked across the room to the table, and, to the astonishment of all save one, picked up a rubber dagger, one of those with which children play, which was lying in the miscellaneous pile on the table. I had not noticed it, but some one’s keen eye had, and evidently it had suggested a melodramatic request.
Quickly Errol turned. If he had been a motion-picture actor, he could not have portrayed better the similitude of hate that was written on his face. A few strides and he had advanced toward our little audience, now keyed up to the highest pitch of excitement by the extraordinary exhibition.
“Of course,” remarked Karatoff, as at a word Errol paused, still poising the dagger, “you know that under hypnotism in the psychological laboratory a patient has often struck at his ‘enemy’ with a rubber dagger, going through all the motions of real passion. Now!”
No word was said by Karatoff to indicate to Errol what it was that he was to do. But a gasp went up from some one as he took another step and it was evident that it was Marchant whom he had singled out. For just a moment Errol poised the rubber dagger over his “victim,” as if gloating. It was dramatic, realistic. As Errol paused, Marchant smiled at the rest of us, a sickly smile, I thought, as though he would have said that the play was being carried too far.
Never for a moment did Errol take from him the menacing look. It was only a moment in the play, yet it was so unexpected that it seemed ages. Then, swiftly, down came the dagger on Marchant’s left side just over the breast, the rubber point bending pliantly as it descended.
A sharp cry escaped Marchant. I looked quickly. He had fallen forward, face down, on the floor.
Edith Gaines screamed as we rushed to Marchant and turned him over. For the moment, as Kennedy, Karatoff, and Gaines bent over him and endeavored to loosen his collar and apply a restorative, consternation reigned in the little circle. I bent over, too, and looked first at Marchant’s flushed face, then at Kennedy. Marchantwas dead!
There was not a mark on him, apparently. Only a moment before he had been one of us. We could look at one another only in amazement, tinged with fear. Killed by a rubber dagger? Was it possible?
“Call an ambulance—quick!” directed Kennedy to me, though I knew that he knew it was of no use except as a matter of form.
We stood about the prostrate form, stunned. In a few moments the police would be there. Instinctively we looked at Karatoff. Plainly he was nervous and