In just what way he had met her was never quite clear. Fanny, who had witnessed the preliminary skirmish, always believed that he had picked her up. Afterward, at the time of the trial, it was so reported. The report was false in addition to being vulgar. Marie Durand was not of that sort. There was nothing fast or flirtatious about her. But she was a human being. She had eyes. She had a heart. By nature she was sensitive. Moreover, she was but nineteen. Being human, sensitive, and not very old, having eyes to see and a heart that throbbed, she was impressionable and, to her misfortune, Loftus impressed her.
Loftus was rather used to impressing people. He saw the girl on Fifth avenue, followed her home, learned her name—or thought he did—and sent her flowers every day until he saw her again, when he presumed to accost her. At that impertinence Marie tilted her nose and trotted on, distant, disdainful, demure.
But not indifferent. Not oblivious either. Often she had seen him. Occasionally on a high drag behind a piebald four-in-hand. In crowded Fifth avenue, drags, with or without piebalds, are infrequent. This drag Marie had seen not merely tooling along the street but pictured in the press. With, of course, full accounts of the driver. As a consequence she knew who he was, knew that he was one of the rich young men of New York and that he moved and had his being in the upper circles.
Marie's own sphere of life was obscure. She lived with her father in Gay street. Her father, a tailor by trade, was a naturalized Frenchman, a gaunt Gaul, who had a sallow face, walked with a stoop, complained of his heart and adored his daughter. To him she was a pearl, a perle, rather. For though he had been long in New York and spoke English well, he had never quite acquired the accent.
Marie spoke English without any accent whatever. She also spoke French, sang in it, too, sang in Italian and, with a view to the lyric stage, or, more exactly, with the hope of studying for it abroad, was, at the time when this drama begins, taking lessons in what is termed the bel canto.
But her aspirations, in so far as they concerned Europe, her father was unable to gratify. He could not let her go alone and he could not afford to throw up what he called his beesness. Here, then, was this girl, pretty as a picture, with a lovely contralto voice, with aspirations entirely worldly, with wings, you might say, cooped in Gay street, spiritually and mentally starved there.
Gay street lies back of Jefferson Market. In shape a crescent, it curves briefly in a lost and dismal way through a region which, though but a block or two from Fifth avenue, is almost squalid. At one end of its short curve is a saloon, at the other an apothecary.
It was from this apothecary that Loftus learned Marie's name—or thought he did. For inadvertently the man got things mixed as his drugs and supplied Loftus with the name of a young woman who lived in a house next to the one in which Loftus had seen the girl enter.
What is more interesting is the fact that, though, while he was following her there, she had looked neither to the right nor to the left, or anywhere save straight ahead, she had been fully aware that he was behind her. How? We cannot tell. It is one of the mysteries of femininity. But once safely in, boldly she peeked out. Loftus was crossing the street. Presently he entered the shop. For what, it did not take Marie more than a minute to conjecture.
Later in the day a motor van appeared in that street. On it was the name of a Broadway florist. Since the memory of man never before had such a thing happened. From the van a groom had hopped and, if you please, with roses. That, too, was phenomenal. Yet thereafter every day for a week there was the motor, the groom and flowers at a dollar and a half apiece. The recipient of these attentions was Miss Rebecca Cohen, the daughter of Mr. Abraham Cohen, who also, like Marie's father, was a tailor.