saw her into her omnibus, and stood on the pavement looking wistfully at the lumbering vehicle as it dwindled in the distance. At last, with a sigh of deepest despondency, I turned my face homeward, and, walking like one in a dream, retraced the route over which I had journeyed so often of late and with such different sensations.
CHAPTER XIII
MURDER BY POST
The next few days were perhaps the most unhappy that I have known. My life, indeed, since I had left the hospital had been one of many disappointments and much privation. Unfulfilled desires and ambitions unrealised had combined with distaste for the daily drudgery that had fallen to my lot to embitter my poverty and cause me to look with gloomy distrust upon the unpromising future. But no sorrow that I had hitherto experienced could compare with the grief that I now felt in contemplating the irretrievable ruin of what I knew to be the great passion of my life. For to a man like myself, of few friends and deep affections, one great emotional upheaval exhausts the possibilities of nature; leaving only the capacity for feeble and ineffective echoes. The edifice of love that is raised upon the ruins of a great passion can compare with the original no more than can the paltry mosque that perches upon the mound of Jonah with the glories of the palace that lies entombed beneath.
I had made a pretext to write to Juliet and had received a reply quite frank and friendly in tone, by which I knew that she had not—as some women would have done—set the blame upon me for our temporary outburst of emotion. And yet there was a subtle difference from her previous manner of writing that only emphasised the finality of our separation.
I think Thorndyke perceived that something had gone awry, though I was at great pains to maintain a cheerful exterior and keep myself occupied, and he probably formed a pretty shrewd guess at the nature of the trouble; but he said nothing, and I only judged that he had observed some change in my manner by the fact that there was blended with his usual quiet geniality an almost insensible note of sympathy and affection.
A couple of days after my last interview with Juliet, an event occurred which served, certainly, to relieve the tension and distract my thoughts, though not in a very agreeable manner.
It was the pleasant, reposeful hour after dinner when it was our custom to sit in our respective easy chairs and, as we smoked our pipes, discuss some of the many topics in which we had a common interest. The postman had just discharged into the capacious letter-box an avalanche of letters and circulars, and as I sat glancing through the solitary letter that had fallen to my share, I looked from time to time at Thorndyke and noticed, as I had often done before, with some surprise, a curious habit that he had of turning over and closely scrutinising every letter and package before he opened it.
“I observe, Thorndyke,” I now ventured to remark, “that you always examine the outside of a letter before looking at the inside. I have seen other people do the same, and it has always appeared to me a singularly foolish proceeding. Why speculate over an unopened letter when a glance at the contents will tell you all there is to know?”
“You are perfectly right,” he answered, “if the object of the inspection is to discover who is the sender of the letter. But that is not my object. In my case the habit is one that has been deliberately cultivated—not in reference to letters only, but to everything that comes into my hands—the habit of allowing nothing to pass without a certain amount of conscious attention. The observant man is, in reality, the attentive man, and the so-called power of observation is simply the capacity for continuous attention. As a matter of fact, I have found in practice, that the habit is a useful one even in reference to letters; more than once I have gleaned a hint from the outside of a letter that has proved valuable when applied to the contents. Here, for instance, is a letter which has been opened after being fastened up—apparently by the aid of steam. The envelope is soiled and rubbed, and smells faintly of stale tobacco, and has evidently been carried in a pocket along with a well-used pipe. Why should it have been opened? On reading it I perceive that it should have reached me two days ago, and that the date has been skilfully altered from the thirteenth to the fifteenth. The inference is that my correspondent has a highly untrustworthy clerk.”
“But the correspondent may have carried the letter in his own pocket,” I objected.
“Hardly,” replied Thorndyke. “He would not have troubled to steam his own letter open and close it again; he would have cut the envelope and addressed a fresh one. This the clerk could not do, because the letter was confidential and was addressed in the principal’s handwriting. And the principal would have almost certainly added a postscript; and, moreover, he does not smoke. This, however, is all very obvious; but here is something rather more subtle which I have put aside for more detailed examination. What do you make of it?”
He handed me a small parcel to which was attached by string a typewritten address label, the back of which bore the printed inscription, “James Bartlett and Sons, Cigar Manufacturers, London and Havana.”
“I am afraid,” said I, after turning the little packet over and examining every part of it minutely, “that this is rather too subtle for me. The only thing that I observe is that the typewriter has bungled the address considerably. Otherwise this seems to me a very ordinary packet indeed.”
“Well, you have observed one point of interest, at any rate,” said Thorndyke, taking the packet from me. “But let us examine the thing systematically and note down what we see. In the first place, you will notice that the label is an ordinary luggage label such as you may buy at any stationer’s, with its own string attached. Now, manufacturers commonly use a different and more substantial pattern, which is attached by the string of the parcel. But that is a small matter. What is much more striking is the address on the label. It is typewritten and, as you say, typed very badly. Do you know anything about typewriters?”
“Very little.”
“Then you do not recognise the machine? Well, this label was typed with a Blickensderfer—an excellent machine, but not the form most commonly selected for the rough work of a manufacturer’s office; but we will let that pass. The important point is this: the Blickensderfer Company make several forms of machine, the smallest and lightest of which is the literary, specially designed for the use of journalists and men of letters. Now this label was typed with the literary machine, or, at least, with the literary typewheel; which is really a very remarkable circumstance indeed.”
“How do you know that?” I asked.
“By this asterisk, which has been written by mistake, the inexpert operator having pressed down the figure lever instead of the one for capitals. The literary typewheel is the only one that has an asterisk, as I noticed when I was thinking of purchasing a machine. Here, then, we have a very striking fact, for even if a manufacturer chose to use a ‘Blick’ in his factory, it is inconceivable that he should select the literary form in preference to the more suitable ‘commercial’ machine.”
“Yes,” I agreed; “it is certainly very singular.”
“And now,” pursued Thorndyke, “to consider the writing itself. It has been done by an absolute beginner. He has failed to space in two places, he has written five wrong letters, and he has written figures instead of capitals in two instances.”
“Yes; he has made a shocking muddle of it. I wonder he didn’t throw the label away and type another.”
“Precisely,” said Thorndyke. “And if we wish to find out why he did not, we have only to look at the back of the label. You see that the name of the firm, instead of being printed on the label itself in the usual manner, is printed on a separate slip of paper which is pasted on the label—a most foolish and clumsy arrangement, involving an immense waste of time. But if we look closely at the printed slip itself
