Besides these things, I noticed that he had innumerable
photographs, many of which were labelled with the stamp of the
bureau in the Paris Palais de Justice, over which Bertillon had
presided.
One after another he looked at the carbon prints, comparing them
point by point with the specially prepared copy of the shoe-prints
in the sarcophagus. It was, after all, a comparatively simple job.
We had the prints of de Moche and Lockwood, as well as Whitney,
all of them crossed by steps from Norton.
"Well, what do you think of that?" I heard him mutter.
I quit my typewriter, with a piece of paper still in it, and
hurried into the main room.
"Have you found anything?"
"I should say I had," he replied, in a tone that betrayed his own
astonishment at the find. "Look at that," he indicated to me,
handing over one of the sheets. "Compare it with this Museum foot-
print."
With his pencil Kennedy rapidly indicated the tell-tale points of
similarity on the two shoe-prints.
I looked up at him, convinced now of some one's identity.
"Who was it?" I asked, unable to restrain myself longer.
Kennedy paused a minute, to let the importance of the surprise be
understood.
"The man who entered the Museum and concealed himself in the
sarcophagus in the Egyptian section adjoining Norton's treasures,"
replied Kennedy slowly, "was Lockwood himself!"
XII
THE EVIL EYE
Completely at sea as a result of the unexpected revelation of the
shoe-prints we had found in the Museum, and with suspicions now
thoroughly aroused against Lockwood, I accompanied Kennedy to keep
our appointment with the Senorita at the Prince Edward Albert.
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