Of course, next day the newspapers contained details of the murder at The Home of Art, and the mystery fascinated the public. Crook7 Street was never so full since it had been a thoroughfare. Motor-cars, hansom cabs, four-wheelers, taxicabs, carts, bicycles, and conveyances8 of every description, came to the curved cul de sac. Also, sight-seers on foot came to survey the house, and Number III appeared in the daily illustrated9 papers. When the reporters became more fully10 acquainted with what had taken place, the portrait of Patricia appeared also, together with an account of how the murdered woman had induced her to leave the house. It was generally considered, notwithstanding that the errand had been proved to be a genuine one, that Mrs. Pentreddle had sent the girl away in order that she might see the mysterious person who had murdered her. If this was not so, argued everybody, how came it that the man--people were certain that the criminal was a man--had gained admission into the house? An examination of the snicks to the windows had proved that they were too stiff to be pressed back from the outside, and, indeed, that the upper and lower sashes of the windows were so close together that the blade of a knife could not be slipped in between. Plainly the man could not have entered in this way, so the only assumption that was natural appeared to be that the dead woman had admitted him by the door. The fact that the middle window was unlatched and slightly open was accounted for by the presumption11 that the man had left in that way. But why he should have chosen this odd means of exit, when he could have more easily have left by the front door, the theorists did not pretend to explain.
However, the general opinion was that Patricia's fantastic tale was true--the finding of the articles on the bench and the evidence of the two policemen, together with the cabman's statement, proved this--and that Mrs. Pentreddle had got rid of her, as an inconvenient12 witness to an unpleasant interview. How unpleasant it had proved for Mrs. Pentreddle herself, could be plainly seen from the fact that she was now dead, and that a jury and a coroner were about to sit on her remains13. Harkness had gathered together what evidence he could, which was not much, and the reporters were all on the qui vive for startling revelations to be made. The whole affair was so out of the ordinary that the journalists, anxious to fill up the columns of their respective papers during the dull season, made the most of the very excellent and unusual copy supplied to them. They added to this, they took away from that, and so distorted the truth that plain facts became even more sensational14 than they truly were. And this painting of the lily brought Miss Carrol into prominence15 as the heroine of the day.
The girl shrank from such sordid16 publicity17, but it was useless to try and hide, as the searchlight of journalism18 played fiercely upon her. That she was so pretty only added to the attractiveness of the unwholesome episode, and when her portrait was published, Patricia received at least six offers of marriage. All of these she naturally refused, and was, indeed, very indignant that they should have been made. Mrs. Sellars was rather surprised at this indignation, as, having the instincts of a successful actress, she looked on such publicity as an excellent advertisement.
"My dear," she said impressively, two or three days after the murder, and when The Home of Art was the centre of attraction to all morbid19 people, "sorry as I am that Martha, poor darling, met with such a sad death, there is no denying that the tragedy will do the house good."
"Oh," cried Patricia, her highest instincts outraged20, "how can you talk so?"
"I am a sensible woman, and must talk so," said Ma firmly; "tears and sorrow won't bring Martha back again, and perhaps she is better where she is, as she certainly never enjoyed life in a sensible way. Since this is the case, let us take good out of evil. I thought, my dear, that the Home would have been ruined, but instead of that, it has become famous. I could fill the place twice over, as so many people wish to come; but I intend to keep my present lodgers21 at the same prices. Never shall it be said that I made capital out of my dear sister's death. But you, my dear, need not be so particular, since you are not connected with her in a flesh-and-blood way as I am. Do you see?"
Patricia shivered. "No, Mrs. Sellars, I really don't see. I am connected with poor Mrs. Pentreddle in a blood way certainly, for if I had not gone out she would have been alive now."
"Well, my dear, you couldn't help going out, since you had to go on the errand, and no one knows better than I do how obstinate22 Martha was. Well, she's gone, and as soon as they've settled who killed her we must send her to Devonshire."
"To Devonshire?" echoed Patricia, surprised.
"Yes. Didn't I tell you that Squire23 Colpster, whose housekeeper24 she was, has come to London? Well, he is in town now, and called to see me to-day. He is very shocked at Martha's death, and intends to take the body back to lay in Beckleigh churchyard near that of her late husband--or, perhaps, I should say, its late husband, although I am not sure that an 'it' can have a husband. It's very kind of the Squire, but the Colpsters were always kind. He is coming to see you this afternoon before the inquest takes place."
"What about?" asked Patricia uneasily.
"He wishes to hear the story from your own lips."
"It is in all the papers; and much of what the papers say is untrue."
"All the better advertisement," said Mrs. Sellars cheerfully. "I'm quite sure, my dear, that your troubles are over. You can marry when you choose."
"I certainly shan't marry those horrid25 men who have had the impertinence to write to me!" declared Patricia indignantly.
"Oh, I should, if you find one of the men is nice and rich. But if you don't feel inclined to marry, you are at least sufficiently26 widely known to get a good situation."
Patricia shuddered27 again and to her soul. "Who would engage a girl connected with such a horrid crime?"
"Lots of people," said Mrs. Sellars promptly28; "and the crime is not so horrid as mysterious. Who can have murdered Martha?--and why?"
"Everyone is asking that question, Mrs. Sellars."
"No one seems to obtain an answer," observed the good lady mournfully; "not even Inspector29 Harkness or the police. Well, my dear, I must go and see about the dinner. Remember what I said to you. You have a magnificent boom on just now, and if you take full advantage of it, you are made for life."
Miss Carrol did not know whether to laugh or to scold when Ma left her, but finally took refuge in quiet merriment, notwithstanding her disgust at finding herself the centre of such a sordid sensation. Good-natured and kind as Mrs. Sellars undoubtedly30 was, the idea that she could urge anyone--as she phrased it--to make capital out of her sister's death, revolted Patricia's finer feelings. Certainly, since the old actress intended to retain her children even though she could have obtained more lucrative31 boarders, she was behaving extraordinarily32 well, considering her limitations. But in spite of her own self-denial, her theatrical33 instincts were so very strong, that she had to induce someone to make use of the advertisement, as she could not bear to see such a chance of gaining a wide publicity wasted. It quite grieved her that Patricia should so persistently34 refuse, especially when she considered that the girl required money. But Miss Carrol not only declined to entertain the idea, but kept as much as she could to her own room and refused interviews to several inquisitive35 reporters.
"She has no business capabilities," mourned Ma to the playwright36. "Why, if this had happened to me when I was on the stage, I should have doubled my salary in a week and trebled it in a month!" which statement was undoubtedly true, since the majority of people greatly enjoy the morbid.
Squire Colpster--as Patricia learned the country gentleman was always called at Beckleigh, and also by Mrs. Sellars, who was a Beckleigh woman--appeared at The Home of Art immediately before the inquest was held, and, therefore, had scanty37 opportunity of talking with the girl, although he managed to exchange a few words. He turned out to be a tall, lean, and rather bent38 man, with a dry, ivory-hued skin and gold-rimmed spectacles, perched on an aquiline39 nose. The term "Squire" suited the John Bull personality of Inspector Harkness better than it did this quiet student. And Patricia, although she did not learn at the moment what Mr. Colpster's particular studies were, gathered that he passed the greater part of his days in a well-furnished library. Only the tragic40 death of an old and valued servant, this gentleman hinted, would have brought him up to London during the very damp month of November. He spoke41 with considerable emotion.
"Poor Martha, how strange it is that she should have come to town to meet with this terrible doom42! I was never so shocked in my life as when I read the telegram sent by Mrs. Sellars."
"Do you know why she came to London?" asked Patricia bluntly.
Mr. Colpster shook his head, which was covered with rather long, iron-grey hair, in true student fashion. "I only know that Martha wanted to go for a fortnight's jaunt43 to London--her own words. And I rather think, although she did not say so," added the Squire musingly44, "that she expected to meet her son Harry45, who is a sailor."
"Is he in town now?"
"I believe so. My nephew, Theodore Dane, told me that he had seen him over a week ago. Harry then said that he had returned from the Far East, and was going later to Amsterdam for a few days. If he has carried out his intention I expect that he is ignorant of his mother's death."
"When he hears of it will he return?"
"Immediately, I think, as Harry is greatly attached to, his mother. If anyone can find the assassin, Harry Pentreddle will, as he is smart, and very tenacious46 of anything he takes up. I wish I knew where he was in Amsterdam, Miss Carrol, as I could then send him a telegram."
Patricia pondered. "I wonder if he can throw any light on the motive47 for the commission of the crime?"
"It seems impossible, as Harry, having been on a year's voyage, has not seen his mother for twelve months. It is just possible that, as Martha was a week in town before her murder, she may have seen Harry in the interval48. Of course, I understand that Martha only sprained49 her foot on the night previous to her death."
"She slipped on the stairs," said Patricia mechanically. "Her son certainly has not been here, or Mrs. Sellars would have told me. Have you any idea what caused the crime to be committed?"
Mr. Colpster pondered in his turn. "I rather think I will wait until the inquest is ended before answering that question," he said judicially51.
"But won't you answer it at the inquest, so that the truth of the matter may be known," urged the girl, puzzled by his tone.
"I may not be asked the question at the inquest," said Mr. Colpster blandly52, and declined to discuss the matter further. Indeed, there was no time, as they were summoned at this moment to the drawing-room, where the jurymen, under the control of the coroner, were waiting for the various witnesses. They had already inspected the body of the unfortunate woman, which was lying in an upstairs bedroom.
As has been before stated, Inspector Harkness had very little evidence to lay before those in authority. The criminal, whether man or woman, had disappeared in what seemed to be a magical manner. All the officer could do, and did do, was to produce various witnesses to relate baldly what had taken place; and these could say very little. Nothing could be proved save that Martha Pentreddle had been murdered, but by whom, and for what reason, it was impossible to say. The inspector gave a hurried sketch53 of all that had happened since he had been summoned to The Home of Art, and then called his first witness. This was Mrs. Sellars, who wept a great deal, and spoke volubly, adopting her best dramatic manner, so as to create a sensation; for she was always mindful, in spite of her genuine grief, that what she said would be printed in all the great newspapers. The chance of advertising54 herself as a retired55 star of the drama was too good to be lost.
But in spite of the good lady's volubility, she had really very little information to give. Her sister, Mrs. Pentreddle, had come to London six days previous to her death, from Devonshire, where she was housekeeper to Squire Colpster, ostensibly on the plea of shopping. She had gone out a great deal, but nearly always the witness was with her, and the deceased had not spoken to anyone in particular. She had certainly mentioned that her son Harry had returned from the Far East, and that she hoped to see him before she returned to Devonshire. But Harry had neither written nor had he called. "And I should have been so pleased to see Harry, who is a very charming nephew to have," ended Mrs. Sellars, with doubtful grammar.
"Did the deceased mention that she was expecting anyone on the night she was murdered?" asked the coroner gravely.
"Oh, dear me, no, sir. Had she done so, I should have forbidden her to receive a single person, as she was slightly feverish56 from a sprain50 caused by slipping on the stairs, and was not in a condition to see anyone. In fact, I was most unwilling57 to leave her, but she implored58 me to do so, as she knew how interested I was in the drama of Mr. Samuel Amersham. But only on the condition that someone remained to look after her did I agree to go. Miss Carrol kindly59 promised to remain, so I departed quite happy. Only to return," said Mrs. Sellars, with a burst of emotion, "to find that Martha had gone to that bourne whence no traveller returns."
"The deceased never hinted to you that she was in danger of her life?"
"Never! She was quite happy--that is, as happy as she could be with her religious views, which were extremely dull. She had no idea of dying, for she told me that she hoped Harry would return with her to Devonshire."
"Did you know of anything in her life which led you to believe that she had an enemy who desired her death."
"Certainly not! Martha never made an enemy in her life, although she certainly was the reverse of agreeable. She was as dull as I am bright," said Mrs. Sellars, blushing. "Comedy and Tragedy, Pa called us," and this remark ended the examination, as the witness apparently60 could throw no light on the darkness which environed the crime.
The doctor who had been called in to examine the body stated that the deceased had been murdered by some sharp instrument being thrust into the throat. This had pierced the jugular61 vein62, and the miserable63 woman, becoming unconscious almost at once, had slowly bled to death. Her hair was in disorder64, and when discovered, her body was lying half on and half off the sofa. It was the doctor's opinion that the assassin, grasping the hair, had drawn65 back his victim's head so that he could the more easily accomplish his deadly purpose. From the nature of the wound, it was probably inflicted66 by a fine and narrow blade--witness thought that a stiletto might have been used. From the condition of the body, death had undoubtedly taken place at ten o'clock, but probably, since the death was caused by h?morrhage, deceased must have been struck down some minutes earlier. This was all the medical evidence obtainable, and although it proved clearly how Mrs. Pentreddle died, could not show who had committed the crime. But the use of the word "stiletto" gave the coroner an idea.
"Only a foreigner would use such a weapon," he remarked.
The witness disagreed. "The word suggests an Italian, because it is the name of a weapon extensively employed by the bravi of the Middle Ages. But a murderer of any other nation would use it just as naturally, if it came to hand. Besides, I only assume from the nature of the wound--the smallness of the orifice--that a stiletto was used. I am sure that I am right, however!" and the coroner rather agreed, as he also was a doctor and had seen the wound himself.
"Could there have been a stiletto in the house?" he asked generally.
"Yes!" cried Mrs. Sellars unexpectedly, from her seat near the door, and became prodigiously67 excited.
"What's that?" asked the coroner, as the doctor stepped away from the place assigned to witnesses. "What do you say?"
Mrs. Sellars at once occupied the vacated position. "Now I remember, that only three days before poor, dear Martha met with her death, I was showing her some of my old stage dresses. There was a page's costume I wore in The Duke's Motto, and with it were the jewels and a stiletto."
"Pooh! Pooh! A stage weapon!" said the coroner contemptuously.
"Not at all; not at all! A friend of mine, who admired my acting68, gave me a real Italian stiletto to wear in the part: a very dangerous weapon it was, sharp and pointed69. I daresay Martha was killed with that."
"Have you missed it?"
"No. I put away the dresses and never thought of looking, but Martha could easily have taken it while my back was turned. Just wait, sir, and I'll go and see," and before the coroner could give permission, Mrs. Sellars, as active as a young girl, was out of the room.
There was a pause, as it was impossible to continue the examination of other witnesses until this important point was settled. Everyone looked at one another, but no one spoke, as it was felt that here, at least, was a tangible70 clue. In a very short space of time Mrs. Sellars returned, red-faced and out of breath, waving an empty sheath. "It's not here," she declared quickly and giving the gold-embroidered sheath to the coroner; "this is all that I found. Martha must have taken the stiletto."
"But why should she?" demanded the coroner, doubtfully.
"Ask me another," said Mrs. Sellars vulgarly, and with a shrug71.
There was only one inference to be drawn from the absence of the weapon: Mrs. Pentreddle knew that she was in danger, and had therefore armed herself against a possible attempt being made on her life.
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1
possessed
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| adj.疯狂的；拥有的，占有的 | |
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toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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penury
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| n.贫穷，拮据 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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ordained
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| v.任命（某人）为牧师( ordain的过去式和过去分词 )；授予（某人）圣职；（上帝、法律等）命令；判定 | |
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crook
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| v.使弯曲；n.小偷，骗子，贼；弯曲(处) | |
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conveyances
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| n.传送( conveyance的名词复数 )；运送；表达；运输工具 | |
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illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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presumption
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| n.推测，可能性，冒昧，放肆，[法律]推定 | |
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inconvenient
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| adj.不方便的，令人感到麻烦的 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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sensational
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| adj.使人感动的，非常好的，轰动的，耸人听闻的 | |
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prominence
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| n.突出；显著；杰出；重要 | |
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sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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publicity
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| n.众所周知，闻名；宣传，广告 | |
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journalism
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| n.新闻工作，报业 | |
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morbid
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| adj.病的；致病的；病态的；可怕的 | |
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outraged
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| a.震惊的，义愤填膺的 | |
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lodgers
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| n.房客，租住者( lodger的名词复数 ) | |
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obstinate
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| adj.顽固的，倔强的，不易屈服的，较难治愈的 | |
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squire
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| n.护卫, 侍从, 乡绅 | |
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housekeeper
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| n.管理家务的主妇，女管家 | |
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horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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sufficiently
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| adv.足够地，充分地 | |
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shuddered
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| v.战栗( shudder的过去式和过去分词 )；发抖；（机器、车辆等）突然震动；颤动 | |
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promptly
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| adv.及时地，敏捷地 | |
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inspector
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| n.检查员，监察员，视察员 | |
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undoubtedly
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| adv.确实地，无疑地 | |
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lucrative
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| adj.赚钱的，可获利的 | |
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extraordinarily
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| adv.格外地；极端地 | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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persistently
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| ad.坚持地；固执地 | |
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inquisitive
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| adj.求知欲强的，好奇的，好寻根究底的 | |
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playwright
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| n.剧作家，编写剧本的人 | |
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scanty
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| adj.缺乏的，仅有的，节省的，狭小的，不够的 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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aquiline
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| adj.钩状的，鹰的 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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doom
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| n.厄运，劫数；v.注定，命定 | |
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jaunt
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| v.短程旅游；n.游览 | |
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musingly
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| adv.沉思地，冥想地 | |
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harry
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| vt.掠夺，蹂躏，使苦恼 | |
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tenacious
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| adj.顽强的，固执的，记忆力强的，粘的 | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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interval
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| n.间隔，间距；幕间休息，中场休息 | |
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sprained
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| v.&n. 扭伤 | |
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sprain
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| n.扭伤,扭筋 | |
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51
judicially
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| 依法判决地，公平地 | |
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blandly
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| adv.温和地，殷勤地 | |
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53
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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54
advertising
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| n.广告业；广告活动 a.广告的；广告业务的 | |
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55
retired
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| adj.隐退的，退休的，退役的 | |
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56
feverish
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| adj.发烧的，狂热的，兴奋的 | |
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57
unwilling
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| adj.不情愿的 | |
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58
implored
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| 恳求或乞求（某人）( implore的过去式和过去分词 ) | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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60
apparently
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| adv.显然地；表面上，似乎 | |
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61
jugular
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| n.颈静脉 | |
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62
vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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63
miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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64
disorder
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| n.紊乱，混乱；骚动，骚乱；疾病，失调 | |
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65
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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66
inflicted
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| 把…强加给，使承受，遭受( inflict的过去式和过去分词 ) | |
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67
prodigiously
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| adv.异常地，惊人地，巨大地 | |
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68
acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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69
pointed
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| adj.尖的，直截了当的 | |
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70
tangible
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| adj.有形的，可触摸的，确凿的，实际的 | |
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71
shrug
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| v.耸肩(表示怀疑、冷漠、不知等) | |
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