He was sitting in the library of the Morton apartment, and with him were his wife, Mrs. Morton and Ruth.
"The thing was certainly very cleverly done," Mrs. Morton remarked. "I still do not understand it in the least. How, for instance, were the letters placed in my daughter's room?"
"I am coming to that," replied Duvall. "But first I will run over the case in the light of Miss Norman's confession1 to me so that you may understand it thoroughly2 and decide what action you wish to take against her and her sister, Miss Ford3."
"Her sister?"
"Yes. The woman's name is not Norman. It is Ford—Jane Ford. Norman is an assumed name.
"The two of them came to New York about a year ago from somewhere up the state—a small town near Rochester, I believe. One secured employment in the motion picture studio—the other, the one calling herself Miss Norman, worked as a stenographer4.
"Her interest in motion pictures having been aroused by her sister's stories of the life in the studio, she became an ardent5 picture 'fan,' and spent every evening watching the films.
"Her attention was particularly devoted6 to the pictures in which your daughter appeared, owing to the stories her sister told her about Miss Morton's marvelous salary, her beauty, the ease with which she had become famous.
"These stories naturally inflamed7 her sister's mind. Working for ten dollars a week, she began to compare her state with that of a girl of her own age earning a hundred times as much, and gradually the idea began to possess her that she could become a motion-picture star herself.
"At first she admired Miss Morton immensely and never missed an opportunity to see the pictures in which she appeared. Then, convinced of her own ability as an actress, she made application at the studio at which her sister worked for a position.
"It seems she haunted the studio for several weeks without getting any encouragement. Then, more to get rid of her than for any other reason, one of the directors offered her a place as extra woman in a picture Miss Morton was doing—a very minor8 part, in which she had to appear momentarily as a saleswoman at a counter in a department store.
"Unfortunately, when Miss Morton saw her she happened to say to the director that she would have preferred a woman of a different type, dark, taller, so as to provide a more effective foil to her own type of beauty. As a result, the girl did not get the position."
"I am so sorry," Ruth cried. "I hadn't the least idea who the girl was, and, of course, I wouldn't have done her any harm for the world."
"I know that," Duvall replied, "but she did not. She is mentally rather erratic9, and she at once conceived the idea that you had singled her out for persecution10; that, in fact, you were envious11 of her abilities and meant to prevent her from getting a chance.
"The thing preyed12 on her mind, and I fancy, unbalanced it a little. She conceived a violent hatred13 for you, and with her sister began to plot revenge.
"Her first move was to persuade her sister to move to the house on Fifty-seventh Street, close to your apartment. It took them some time to find the place—to secure a room situated14 as Miss Ford's was, but at last they managed it. Then they went to work.
"The letters were all typewritten on a machine belonging to a public stenographer whom the girls knew. Jane Ford would stop in at this woman's place late in the afternoon and asking permission to use one of the machines would type the threatening letters. The paper she used was procured15 especially for her by her sister at a stationery16 store downtown.
"The seal, a curious thing, had belonged to the girls' father, and she conceived the idea of signing the letters with it to add to the grimness of her threats. As a matter of fact, I do not think she ever had the least intention of carrying them out. It was to be solely17 a campaign of fear. She probably thought that she could so frighten you, Miss Morton, that your health would be broken down, and your work consequently interfered18 with to such an extent that you would lose your position. As I say, I think she is mentally somewhat unbalanced. I cannot account for some of her actions, otherwise.
"The mailing of the first letter, the telephone messages, were comparatively simple. It was the delivery of those at the apartment that taxed her ingenuity19. Yet the method was simple enough.
"The girls' father, I am told, had been an animal trainer in a circus, and one of his bequests20 to his daughters was a pet monkey named Jack21, that had been taught to do all sorts of tricks. The girls brought this monkey to New York with them after their father's death. When the question arose of delivering the letters in your room, Miss Morton, she decided22 to make use of the animal.
"Creeping out of Marcia Ford's bedroom to the roof of the back building, and taking the monkey with her, she crossed the roof of the second house and reached the wall of the apartment. From here she was in a position to reach either of your bedroom windows in the following manner.
"The monkey was led by means of a long, thin rope, attached to a sort of harness about his neck and shoulders. By going to the rear edge of the back building they could readily swing him over to the fire-escape, while by ascending23 to the top of the attic24 roof overlooking the court, they could in the same way enable him to reach the other window. The monkey had been trained to carry objects in his mouth. This accounts for the row of indentations on the letters found in your room. I had supposed they came from some mechanical device, fastened to the end of a long pole, but as a matter of fact, they were made by the monkey's teeth.
"The animal being light in weight, and the pads of his feet being, of course, soft, no traces of his presence were left on the newly painted surface of the fire-escape. The handkerchief that I found there had been knotted about his neck as the collar to which the rope was fastened had seemed a bit weak. In some way it became detached, probably when the girls jerked on the cord to summon him back after he had completed his task.
"In crossing the roofs of the two houses, the monkey's paws, as well as the rope, became covered with dust. This explains the spots which seemed to be finger marks upon the counterpane of your bed, and the long, dark straight line across the bed, which I thought might have been left by a rod or pole. As a matter of fact, it was made by a tightly stretched rope.
"The sending of the monkey on the night when you were lying in bed must have been a mistake. You will remember that, contrary to your usual habit, you retired25 that night very early—a little after eight o'clock, if I remember correctly. The girls, coming over the room, saw that your room was dark, and naturally supposed that no one was in it. The grinning face of the monkey standing26 on the bed beside you, was the death's head apparition27 you thought you saw. At your cries the two women at once jerked on the cord, and the monkey hastened back to them through the partly raised window, leaving no trace of his presence except the black smudges of which I have spoken.
"I have no doubt that Jane Ford followed me back to my hotel after one of my early visits to your apartment, and thus learned my name and address. Her supposition that I was engaged in an attempt to ferret out the writer of the letters was a shrewd guess.
"The photograph was stolen from the studio by Marcia Ford who, being an employee, had ample opportunity to stroll about the place after office hours without exciting suspicion. She also arranged the subsequent delivery of the photograph and the substitution of the fake telegram.
"Even when I made my night visit to Marcia Ford's room, and was attacked in the dark by the monkey, I did not suspect what it was. The room was pitch dark, and in the gloom I got the impression of a much larger object—a person, in fact, and this impression was heightened by the fact that the animal wore a silken jacket, and I felt the sleeve of it against my throat. I only regret that the noise, the cries he made, singularly human in quality, made it necessary for me to leave the place so precipitately28.
"The Ford girl and her sister had evidently just come in, and rushing to the room found evidences of some one having been there. The monkey had been shut in a closet, and by opening the door I had, of course, released it. Fearing discovery, they arranged to flee at once. Jane Ford went uptown. Her sister remained to pack up her belongings29.
"The visit to your hotel, the attack on you, was a crazy inspiration of the moment. Not knowing that my wife was following her, and having seen me on the sidewalk on Fifty-seventh Street as she drove away, Miss Norman naturally felt that if she could get you, Mrs. Morton, out of the way, she would be perfectly30 safe in going up to your rooms.
"Even when alone with your daughter, she did not attempt to do her any serious bodily injury, but contented31 herself with hurling32 the ammonia in her face, counting, no doubt, upon the effect of the shock that would result. As I have said, the woman is mentally a little unbalanced. The things she does are not normal."
"Nevertheless, they came very near being fatal," Mrs. Morton remarked grimly. "The doctor informed me that the fright, the shock of her experience, might readily have caused Ruth's death, or upset her reason."
"I do not doubt it," replied Duvall. "The woman has all the cunning of an insane person. She showed it when, overcome by the sight of the death's-head seal I had flashed upon the screen at the theater, she so quickly recovered herself that she was able to deceive me completely regarding her condition, and subsequently to make her escape.
"Both she and her sister realized that it had become necessary for them to leave the city. Marcia Ford, taking the monkey with her in a cab, hastened uptown to join her sister at the latter's apartment. She knew that I was not following her, for she had seen me drive off to join you, Mrs. Morton, at my hotel. They both thought themselves quite safe, and able to leave the city without interference.
"The arrival of my wife at their apartment caused them to hasten their plans. They realized that we were close upon their heels. Jane Ford knew that the ring containing the death's-head seal was about the only evidence that existed against her, yet she hesitated to throw it away, as it had belonged to her father, and she prized it highly. With the cunning that she had exhibited throughout, she conceived the idea of hiding it in one of the tassels33 upon the handle of her umbrella.
"These tassels, as you perhaps know, are usually made of round bits of wood, enclosed in a covering of knitted silk. The girl removed one of the wooden balls, and having embedded34 the ring in a ball of black sealing wax, put it in place of the wooden one. It was a most ingenious hiding place, and one extremely unlikely to be discovered."
"How did you happen to discover it, Mr. Duvall?" Mrs. Morton asked.
"In this way. When my wife called my attention to the spots of black wax on the tray of the candlestick, I saw at once that a far larger amount of the wax had been melted than would have been required in making an ordinary seal. The impressions on the warnings the woman sent were very small and flat, so as to readily be inserted in the envelopes containing the letters without being bulky, or becoming broken while passing through the mails. But here were spots of the wax that had dripped down as large as a silver quarter and larger. What, I wondered, had caused the woman to melt so large a quantity of wax?
"I attempted to put myself in her place and to think what she would do to hide the seal ring. The idea of embedding35 it in a ball of the wax occurred to me. But, having done this, what would she do with the ball? It was not an easy thing to hide; in her purse, her satchel36, it would have attracted attention at once. Then I noticed the round black ornaments37 hanging from her umbrella, with their silken cords and tassels. What better place to hide the ball of wax?
"In order to test my theory, I twice attempted to take the umbrella from her on our way here, as though to relieve her of the trouble of carrying it. In both instances she drew back at once, and refused to allow the umbrella to leave her possession. This action on her part convinced me that my guess had been a correct one. The subsequent finding of the ring broke down her assurance. As you know, she has made a complete confession."
"Poor woman," Ruth Morton remarked. "What are you going to do with her?"
"That rests with you, Miss Morton. If you decide to prosecute38 you can readily do so. The penalty for sending threatening letters through the mails is not a light one. And her attack upon you, under the circumstances, is a very serious matter indeed."
Ruth turned to her mother.
"I think we ought to let them go," she said.
"And have the same trouble over again," Mrs. Morton replied. "I could never feel safe with that woman at large."
"I do not think she will trouble you again, Mrs. Morton," remarked Duvall. "She is thoroughly frightened. All her assurance has disappeared. She begs that she and her sister be allowed to return home at once. It seems that some relative in Rochester has offered them a home there, and they were going to join her when we intercepted39 them."
"Then let them go," Ruth Morton exclaimed. "I certainly do not wish to cause them any harm, especially as you tell me the woman who originated the whole thing is mentally not quite right."
"She is certainly unbalanced, so far as her grievance40 against you is concerned. But I feel sure that were you to explain matters to her, and let her understand that your action in losing her the position at the studio was quite impersonal41 on your part, she will realize the folly42 of what she has done, and come to her senses."
"I will do it," said Ruth. "I don't want to injure her any more. Let them go home in peace."
"Very well." Duvall rose to go. "Permit me to say, Mrs. Morton, that I admire your daughter's generosity43 very much. Good morning." He and Grace bade their hosts good-by and took their leave.
"She's a lovely girl," Grace remarked, as they drove to their hotel. "I like her immensely."
"Then you aren't jealous of me any more, because I so suddenly became a motion-picture 'fan'?"
"Richard!" she laughed. "Don't be silly. I suppose I shall always be jealous of you when a girl, as beautiful as Ruth Morton, is concerned. After all, to be jealous is only a woman's way of paying tribute to another woman's charms."
Duvall laughed.
"It was Miss Ford's way, too," he said, "but as a means of showing one's appreciation44 it had its faults."
THE END.
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1
confession
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| n.自白，供认，承认 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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3
Ford
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| n.浅滩，水浅可涉处；v.涉水，涉过 | |
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stenographer
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| n.速记员 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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6
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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7
inflamed
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| adj.发炎的，红肿的v.（使）变红，发怒，过热( inflame的过去式和过去分词 ) | |
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8
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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9
erratic
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| adj.古怪的，反复无常的，不稳定的 | |
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persecution
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| n. 迫害,烦扰 | |
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11
envious
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| adj.嫉妒的，羡慕的 | |
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12
preyed
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| v.掠食( prey的过去式和过去分词 )；掠食；折磨；（人）靠欺诈为生 | |
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13
hatred
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| n.憎恶，憎恨，仇恨 | |
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14
situated
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| adj.坐落在...的，处于某种境地的 | |
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15
procured
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| v.（努力）取得， （设法）获得( procure的过去式和过去分词 )；拉皮条 | |
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16
stationery
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| n.文具；(配套的)信笺信封 | |
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17
solely
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| adv.仅仅，唯一地 | |
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18
interfered
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| v.干预( interfere的过去式和过去分词 )；调停；妨碍；干涉 | |
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19
ingenuity
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| n.别出心裁；善于发明创造 | |
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bequests
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| n.遗赠( bequest的名词复数 )；遗产，遗赠物 | |
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21
jack
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| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
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22
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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ascending
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| adj.上升的，向上的 | |
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attic
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| n.顶楼，屋顶室 | |
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retired
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| adj.隐退的，退休的，退役的 | |
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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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apparition
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| n.幽灵，神奇的现象 | |
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28
precipitately
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| adv.猛进地 | |
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belongings
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| n.私人物品，私人财物 | |
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30
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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31
contented
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| adj.满意的，安心的，知足的 | |
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32
hurling
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| n.爱尔兰式曲棍球v.猛投，用力掷( hurl的现在分词 )；大声叫骂 | |
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33
tassels
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| n.穗( tassel的名词复数 )；流苏状物；（植物的）穗；玉蜀黍的穗状雄花v.抽穗， （玉米）长穗须( tassel的第三人称单数 )；使抽穗， （为了使作物茁壮生长）摘去穗状雄花；用流苏装饰 | |
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34
embedded
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| a.扎牢的 | |
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35
embedding
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| 把…嵌入，埋入( embed的现在分词 )； 植入； 埋置； 包埋 | |
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satchel
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| n.(皮或帆布的)书包 | |
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ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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38
prosecute
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| vt.告发；进行；vi.告发，起诉，作检察官 | |
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39
intercepted
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| 拦截( intercept的过去式和过去分词 )； 截住； 截击； 拦阻 | |
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40
grievance
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| n.怨愤，气恼，委屈 | |
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41
impersonal
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| adj.无个人感情的，与个人无关的，非人称的 | |
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42
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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43
generosity
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| n.大度，慷慨，慷慨的行为 | |
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44
appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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