The unexpected meeting with Grace caused him the utmost anxiety. He appreciated fully2 her reasons for having come to see him, and yet he deeply regretted her coming. The enemies of Ruth Morton were far too clever, too shrewd, he feared, not to take advantage of her mistake, and by means of it, trace him at once to his present address. A complete disguise became an immediate3 necessity. He decided4 to assume one, as soon as Mrs. Morton had arrived.
The latter came in about ten minutes later accompanied by Nora. Duvall explained matters to the clerk at the desk, and the supposed Mrs. Bradley was conducted to her rooms at once. Duvall accompanied her.
They found Ruth resting quietly, but her joy at her mother's arrival was very apparent. She feared to be left alone, and seemed to expect her persecutors to appear from every closet, through every door or window.
"Oh, mother, I'm so glad to see you," she exclaimed.
"I'm glad to find you safe," Mrs. Morton returned.
"I advise you to stay right here with your daughter throughout the evening, Mrs. Morton," said Duvall, as he made ready to go to his own room. "Have your meals sent up. Admit no one. Open no packages. I have every hope that before the night is over, I may have some most important and satisfactory news for you. I shall probably not see you again until after the performance to-night, but if anything vital occurs, I will of course communicate with you by telephone. Good-by, and good luck."
When he reached his own room, he proceeded to the business of divesting5 himself completely of all resemblance to Richard Duvall. It was clear that the persons he was seeking knew him by sight, and hence his opportunities to accomplish anything against them were very greatly lessened6. The threatening telephone message received by Grace did not worry him at all, but the fact that those people were so constantly upon his heels did. He determined8 to disappear completely as Duvall, and reappear in the person of John Bradley, using all his skill in the matter of disguise to create for himself a totally different personality.
Taking a makeup9 box from his grip, he proceeded first to give his dark brown hair a very decided and natural looking touch of gray, over the temples and at the sides. Then he fitted into place a short pointed10 grayish beard, and a mustache with waxed ends. These were products of the skill of one of the best wig-makers in Paris, and so cleverly made that they would defy detection, even in broad daylight. A pair of gold-rimmed eyeglasses completed the facial disguise. Duvall might now have passed anywhere for a well-groomed professional man of fifty-five or sixty.
The impression was heightened by his frock coat and silk hat. He felt quite sure that, in his present disguise, the plotters against Ruth Morton's welfare could not possibly recognize him.
He went down to the theater very early, after a hasty dinner, and found Mr. Baker11 in the box office. The moving picture man did not recognize him, of course, and Duvall, after drawing him aside, had some little difficulty in convincing him of his identity. Once it had been established, however, Mr. Baker conducted him to a dressing12 room behind the scenes, and motioned him to a chair.
"We can talk here without being seen or heard," he said. "Is there anything new?"
"Nothing. I have taken Mrs. Morton and her daughter to a hotel, where I feel sure they will be quite safe from further annoyance13. Ruth will not come to the studio for a few days, until we have gotten to the bottom of this affair. I am staying in an adjoining room, so as to be on hand at once in case of any trouble. I suppose you have everything fixed14 for to-night?"
"Yes." Mr. Baker's tone was dubious15. "I have inserted in the film the material you gave me. It will appear just at the end of Part I. I hope it will not spoil our picture."
"I think not. As a matter of fact, when the reasons for its introduction become known, I imagine it will give you a lot of very valuable advertising16."
"Possibly so," Mr. Baker granted. "But after all, I begin to feel very doubtful as to the results. This woman, whoever she is, that is persecuting17 Miss Morton seems to be mighty18 clever. She may not be affected19 in the way you think, by what she sees on the screen."
"I realize that. It is only a chance. But don't you think that, under the circumstances, it is a chance worth taking?"
"Most certainly; otherwise I should not have consented to it. But, as I say, I doubt very much its success."
"Well—we can only try. You will remember what I said about the lights, and the call for a doctor, if one appears to be needed."
"Yes. I have all that in mind. Miss Morton is not coming to-night, I presume."
"No. I advised against it."
"I'm glad of that."
Duvall sat in silence for a moment.
"By the way," he said presently. "There is one important matter that I have overlooked. Do you give your employees passes for these opening performances?"
"No—not regularly, that is. But any member of our organization who wishes to see the performance would of course be admitted. We reserve a section of the house for that purpose. A number of our people usually come over."
"Good! That's just what I had hoped for. Where is this section?"
"The last five rows on the left-hand side of the house. But why?"
"Don't you see? All the evidence points to the fact that the person who is responsible for these threats either works in your studio, or is in some way able to gain access to it at any time. Witness the stolen photograph—the substituted telegram of this morning. In the latter it was definitely stated that the woman in the case would be in the audience to-night. I am hoping sincerely that she will not have the cleverness to enter as one of the public, but will come in as one of your people, and sit in the section of the house reserved exclusively for your employees. In that event, I think we shall discover who she is beyond a doubt."
"I certainly hope so," sighed Mr. Baker. "This thing has got us all up in the air. Our President had a long conference with me this afternoon about Miss Morton. He seems to think she is going to pieces, and recommended trying to get Joan Clayton away from the Multigraph people to take her place. He says that she is losing her good looks. I told him nothing, of course, but it worried me a lot. I am very fond of Ruth Morton, and I don't want to see her lose her place."
"She won't lose it," asserted Duvall. "When we get through, her position with your company will be stronger than it has ever been before. Shall we go out in the lobby and take a look at the crowd as it comes in?"
Mr. Baker assented20, and the two men stationed themselves near the box office.
Without appearing to do so, Duvall inspected the various members of the incoming crowd. His scrutiny21 was careful, comprehensive, but the only person he recognized was Grace.
That she also recognized him he knew. She had seen the disguise he wore, many times, and was familiar with it. She did not betray herself, however, by so much as a glance, but proceeded at once to her seat.
When the moment arrived for the beginning of the performance, the house was filled. Duvall, with Baker at his side, stationed himself back of the left-hand section of seats, so that the rows reserved for the employees of the company were directly in front of him. He occupied himself, during the interval22 before the lights were switched off, by noting carefully all the women in the last five rows, but none of them attracted his attention particularly.
Soon the performance began. Ruth Morton, the American Beauty, stepped upon the screen, a compelling vision of loveliness. The audience followed eagerly her exciting adventures. Duvall himself, in spite of his preoccupation, found himself absorbed by the charm and action of the picture. In the opening scenes, Ruth appeared as a poor girl, trying to make her way in the great world of the theater. Her struggles, her sacrifices, her failures, were almost vividly23 portrayed24. When at last, through her marvelous beauty, she succeeded in gaining recognition from the critics, he applauded with those about him, completely under the spell of her charm.
The final scene of the first part was a view of Ruth, as Catherine Grey, the American Beauty, refusing the dubious offers made her by a rich New Yorker. With a faith in herself by no means assumed, Catherine turned from his picture of luxury, of steam yachts, of country estates, of unlimited25 bank accounts, with a smile which showed her confidence in her beauty, her talents. The audience watched her, spellbound, as she stood on the sidewalk before the theater, looking with grave inscrutable eyes after the costly26 limousine27 that had just driven away without her. In no picture heretofore taken of the girl had she appeared to better advantage. Every line of her lovely face seemed responsive to the effect of the lighting28, the situation, the motives29 which inspired her. The audience drew itself back, ready to register its approval of the first part of the film with hearty30 applause.
And then, something happened. The lovely, smiling face of Ruth Morton faded from view, and in its place came with brutal31 suddenness the picture of a huge grinning death's head, amazing in its suggestion of horror. The audience sat in utter silence, wondering what could be the reason for this sudden apparition32. Beneath the death's head appeared in huge letters the words:
"We know the woman."
The thing had come as a complete surprise. The tension throughout the house was electric. Duvall saw his wife rise from her seat on the aisle33, a few rows away, and come quickly to the rear of the house. She, at least, realized that a moment of importance had arrived.
And then, without warning, the stillness of the theater was broken by a sudden cry, and a woman, sitting some three rows from where Duvall stood, but on the opposite side of the aisle from the seats indicated by Mr. Baker, rose to her feet, turned, and fell heavily against the back of the seat ahead of her. At almost the same moment the lights were switched on, and a voice was heard calling. "Is there a doctor in the house?"
It was Mr. Baker, and Duvall, who stood beside him, sprang forward at once.
"I am a doctor," he cried, and approached the place where the woman sat.
"Can I be of any assistance?" Grace asked. "I am a trained nurse."
"Yes," replied Duvall, quickly. "Get this woman to the ladies' dressing room at once."
Grace sprang forward. There was a bustle34 among the audience, a sudden rising, a craning of necks. Everyone seemed to be looking for the person who had uttered the sudden cry. Before anyone fully realized what had happened, Grace had reached the fainting woman's side, and supporting her with an arm about her waist, was leading her toward the rear of the house.
Almost at once the theater became dark, and the second part of the picture was flashed upon the screen. The lovely face of Ruth Morton once more greeted the eyes of the audience. The interruption had occupied less than a minute.
Duvall, standing35 at the entrance to the aisle, watched Grace come quickly toward him, supporting the fainting woman. The latter seemed completely overcome, and Grace was obliged almost to carry her.
"Keep her there, in the dressing room, until I return," he said in a quick whisper. Then with a nod to Mr. Baker, who stood close by, he went toward the street. A taxicab drew up, awaiting a fare. Duvall signaled to it.
"Wait for me here," he said to the driver. "I will be back in a moment." Then he re-entered the theater.
Grace meanwhile had conducted the woman to the ladies' dressing room, and placed her upon a couch.
She was a frail36, insignificant37 looking creature, not at all the sort of person one would associate with threats of the kind that Ruth Morton had been receiving. She appeared to be greatly ashamed of her sudden collapse38, and kept insisting, in spite of her evident weakness, that she was quite all right again, and wanted to go.
Grace, however, paid no attention to her protestations, but insisted that she remain quiet.
"The doctor will be here in a moment," she said. "You must wait quietly until he comes."
The woman, however, seemed determined to leave, and it was with a sigh of relief that Grace welcomed her husband's return.
Duvall came in hurriedly, as he did so taking a small brown bottle from his waistcoat pocket.
"Get me a glass of water," he said to the negro maid. The woman brought one at once.
Duvall took a tablet from the bottle and placed it in the glass, stirring the water about with the end of a lead pencil until the tablet was dissolved. Then he went up to the woman on the couch.
"Here—drink this," he commanded. "It will quiet your nerves."
The woman took the glass, her eyes regarding him with suspicion. Duvall, in his character of a physician, turned aside, and addressed a few words to Grace, fearing that in some way the woman might succeed in recognizing him. As a result both failed to see that instead of drinking the medicine he had given to her, the girl swiftly poured it upon the floor. When he again turned to her, she held the empty glass in her hand.
Duvall took it from her, and handed it to Grace.
"Come with me, Miss," he said. "I will see you home."
"It isn't necessary," the woman gasped39. "I—I'm all right now."
"You have had a severe shock, Miss. As a physician, it is my duty to see that you arrive home safely. I have already engaged a cab. Come." He took the woman by the arm and in spite of her objections, raised her from the couch.
Suddenly her opposition40 vanished. She seemed glad of his assistance, and, leaning on his arm, made her way from the theater. Duvall was in high spirits. He fully believed that his plan had succeeded, that the woman at his side was the one who was responsible for the threats which had made Ruth Morton so wretched for the past few days.
The cab that he had engaged stood waiting at the door. He put the woman inside. She seemed very weak and helpless. "Drive to the —— Hotel," Duvall called to the chauffeur41, then entered the cab and seated himself at the woman's side. He saw Mr. Baker standing upon the sidewalk, and nodded. Then they drove off.
The woman lay, in a state of apparent collapse, in one corner of the cab, her face pale, her eyes closed. Duvall, inspecting her as well as he could in the faint light, began to feel grave doubts as to whether after all he had been successful in his ruse42. She seemed so little the type of woman he would have associated with the brutal campaign of terror that had been directed against Miss Morton.
She clutched a black leather satchel43 tightly in one hand. Duvall regarded it with interest. If he was right in his assumption that this was the woman he sought, it seemed highly probable that within that satchel lay evidence that might convict her. At least there would be some clue as to who she was, and that in itself would be valuable.
The woman seemed to grow weaker and weaker. Her closed eyes, her slow but regular breathing, indicated that the drug he had given her had begun to take effect. Stealthily Duvall's hand reached toward the small black satchel. With eager fingers he pressed the catch, and as the bag opened, began to draw out its contents.
The woman, however, seemed far less helpless than he had supposed. She pulled the satchel toward her, her fingers seeking to close it. Duvall discontinued his efforts at once. It would be time enough, he felt, when they had reached the hotel, and the woman had been safely conducted to a room there. He had made his plans carefully in advance, and arranged matters with the hotel manager. There was nothing to do, now, but wait.
Presently the woman, who had been regarding him, unnoticed, from beneath lowered lids, uttered a groan44, as though in great pain, and clutched her breast. Duvall turned to her at once, speaking in a soothing45 voice, and assuming a professional manner.
"Is anything wrong, Miss? I had hoped you were feeling better."
"No, doctor. I'm not. I feel terrible—terrible."
"In what way?"
"My—my heart. It is in awful shape. I need some stimulant46. The—the medicine you gave me made me feel very ill."
Her words surprised Duvall. He had given her a simple drug, the effect of which should have been to make her drowsy47, to quiet her nerves. That she had not taken it, he of course did not know. His greatest fear had been that she would refuse to enter the cab with him. Now that she had done so, he was prepared to use even force, if necessary, to retain her in his custody48 until he had either obtained the evidence he desired, or forced from her a confession49. What he particularly hoped to find was the seal with which the death's head impression had been made. He felt certain that, if this was the woman he sought, she would have this seal somewhere about her person. It was far too significant a bit of evidence to be left lying about at home.
But there was always the chance that this woman, who had been so instantly affected by the ghastly apparition on the screen, the significant words beneath it, might not, after all, be the right one, the one he sought. There was always the possibility that the real criminal, although present in the audience, had made no sign, and that his companion in the cab might be entirely50 innocent. As he had told Baker, it was a chance—a long chance, yet something seemed to say to him that he had made no mistake in taking it. Now, however, a new situation had arisen to upset his plans. His prisoner, instead of having been quieted by the drug he had administered, was apparently51 becoming more and more agitated52 and nervous every minute. Her groans53, as she lay huddled54 up in the corner of the cab, puzzled him, filled him with vague alarm. Was it possible that she had a weak heart? Had the sedative55 he had given her, harmless as he knew the dose would be to a normal person, affected her in so unfavorable a way? He took her wrist in his hand, and felt her pulse. It was quick, indicative of nervous excitement, but certainly not weak.
"Oh—doctor, doctor, won't you please give me something to make me feel a little better?" the woman gasped. "It's my heart, I tell you. I—I can't breathe. I'm suffocating56. I must have something at once—some aromatic57 spirits of ammonia—some brandy—anything, to make me feel a little better."
Her earnestness, her trembling voice, her excited manner, all served to convince Duvall that his companion was really in need of a stimulant of some sort. He decided to humor her. A dose of aromatic spirits, he reflected, could do no harm, and would doubtless serve to lessen7 her excitement. He leaned out, and directed the driver of the cab to stop at the nearest drug store.
"Oh—thank you—thank you," the woman gasped. "Tell him to hurry, please." Then collapsing58 in the corner of the seat, she closed her eyes and sat so silent that Duvall began to wonder whether she had lost consciousness.
The taxicab, meanwhile, had drawn59 up in front of a drug store on Sixth Avenue. Duvall took a look at the apparently unconscious woman, then spoke60 quickly to the chauffeur.
"Stay here until I return," he said. "Don't go away under any circumstances. I shall be gone but a moment."
The man nodded.
"I'll stay, sir," he said. "Don't worry."
Duvall went quickly into the store. Going up to the soda61 counter, he instructed the clerk to prepare him a dose of aromatic spirits of ammonia as quickly as possible. While waiting for it, he watched the cab through the store window.
The preparation of the dose required but a few moments. Then, explaining matters to the clerk, Duvall took the glass in his hand and went back to the cab. He smiled to himself at his anxiety, as he passed through the door. The woman was far too ill, he reflected, to entertain any thoughts of escape.
"Here," the detective said, opening the door of the cab. "Drink this."
There was no response. Duvall stuck his head into the vehicle with some misgivings62. Then he experienced a sudden and most mortifying63 shock. There was no fainting woman huddled against the cushions in the far corner. There was no woman at all. The cab was empty!
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1
suite
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| n.一套(家具)；套房；随从人员 | |
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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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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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divesting
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| v.剥夺( divest的现在分词 )；脱去（衣服）；2。从…取去…；1。（给某人）脱衣服 | |
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lessened
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| 减少的，减弱的 | |
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lessen
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| vt.减少，减轻；缩小 | |
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determined
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| adj.坚定的；有决心的 | |
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makeup
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| n.组织；性格；化装品 | |
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pointed
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| adj.尖的，直截了当的 | |
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baker
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| n.面包师 | |
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dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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annoyance
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| n.恼怒，生气，烦恼 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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dubious
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| adj.怀疑的，无把握的；有问题的，靠不住的 | |
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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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persecuting
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| （尤指宗教或政治信仰的）迫害(~sb. for sth.)( persecute的现在分词 )； 烦扰，困扰或骚扰某人 | |
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mighty
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| adj.强有力的；巨大的 | |
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affected
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| adj.不自然的，假装的 | |
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assented
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| 同意，赞成( assent的过去式和过去分词 ) | |
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scrutiny
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| n.详细检查，仔细观察 | |
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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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vividly
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| adv.清楚地，鲜明地，生动地 | |
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portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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unlimited
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| adj.无限的，不受控制的，无条件的 | |
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costly
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| adj.昂贵的，价值高的，豪华的 | |
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limousine
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| n.豪华轿车 | |
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lighting
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| n.照明，光线的明暗，舞台灯光 | |
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motives
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| n.动机，目的( motive的名词复数 ) | |
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hearty
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| adj.热情友好的；衷心的；尽情的，纵情的 | |
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brutal
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| adj.残忍的，野蛮的，不讲理的 | |
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apparition
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| n.幽灵，神奇的现象 | |
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aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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bustle
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| v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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frail
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| adj.身体虚弱的；易损坏的 | |
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insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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collapse
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| vi.累倒；昏倒；倒塌；塌陷 | |
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gasped
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| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
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opposition
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| n.反对，敌对 | |
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chauffeur
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| n.(受雇于私人或公司的)司机；v.为…开车 | |
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ruse
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| n.诡计，计策；诡计 | |
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satchel
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| n.(皮或帆布的)书包 | |
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44
groan
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| vi./n.呻吟，抱怨；(发出)呻吟般的声音 | |
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soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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stimulant
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| n.刺激物，兴奋剂 | |
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drowsy
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| adj.昏昏欲睡的，令人发困的 | |
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custody
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| n.监护，照看，羁押，拘留 | |
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confession
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| n.自白，供认，承认 | |
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50
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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51
apparently
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| adv.显然地；表面上，似乎 | |
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52
agitated
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| adj.被鼓动的，不安的 | |
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53
groans
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| n.呻吟，叹息( groan的名词复数 )；呻吟般的声音v.呻吟( groan的第三人称单数 )；发牢骚；抱怨；受苦 | |
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54
huddled
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| 挤在一起（huddle的过去式与过去分词形式） | |
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55
sedative
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| adj.使安静的，使镇静的；n. 镇静剂，能使安静的东西 | |
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56
suffocating
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| a.使人窒息的 | |
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57
aromatic
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| adj.芳香的，有香味的 | |
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58
collapsing
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| 压扁[平]，毁坏，断裂 | |
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59
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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60
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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61
soda
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| n.苏打水；汽水 | |
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62
misgivings
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| n.疑虑，担忧，害怕；疑虑，担心，恐惧( misgiving的名词复数 )；疑惧 | |
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63
mortifying
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| adj.抑制的，苦修的v.使受辱( mortify的现在分词 )；伤害（人的感情）；克制；抑制（肉体、情感等） | |
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