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 but there was no cause. The State's challenges were gone, and Elmen, smiling sleepily, waved Andreapolos into the jury box.

When the jury was complete, twenty minutes later, Andreapolos obviously was the member of most force and energy; inevitably, he became foreman.

At the beginning of the court session, in the afternoon of the eighth day, Calvin called the witnesses for the State: the tenants of the flat-building by the lake who heard the shot, which killed Adele Ketlar, and who called the police; the policemen who found Adele's body and examined the flat and who arrested and questioned Ketlar and Joan Daisy Royle.

Calvin offered a large plat of Adele Ketlar's flat, showing the plan, the position of furniture and the spot where Adele's body lay. Witnesses approved it, and it was hung upon the wall above the jury box, where it remained throughout the trial.

Two tenants, of neighboring apartments, swore solemnly that they had seen Frederic Ketlar, the same person who now sat in court before them, hurriedly leave the building after the shot was heard.

Max Elmen, for the defense, cross-examined for more than an hour, but failed to shake or discredit them; and at adjournment for the day Calvin felt that the case was proceeding better than he had hoped.

Comment, upon the next morning, was favorable to the State, but after court convened Calvin was conscious of a slight ebb in his tide. The jurymen, as well as the crowd in the court, appeared to expect the prosecution to present some new and more sensational evidence, whereas the case was complete after the State had called Weigal and members of the Echo orchestra—Ketlar's own orchestra—to testify that Ketlar had abandoned the Garden without explanation early in the night on which