Suddenly I had it.
Teresa Farmer. She could be Teresa’s cousin, if not her sister.
THIRTY-TWO
I stared at the photo of Yancy Thigpen. Did she really look like Teresa Farmer, or was I imagining it? The longer I examined the photo, the less sure I was.
I shifted the laptop on the table so Melba could see.
“Take a gander at this image and tell me what you think. Does this person remind you of anyone?”
Melba glanced at the screen and frowned. “Charlie, you’re always thinking somebody strange looks like somebody you know.” She leaned forward and peered more closely at the screen. I pushed the laptop a little nearer.
“Well?” I said after a long moment of silence.
Melba shrugged. “I guess she reminds me a little bit of Teresa Farmer from the public library.”
“You think in dim light you could mistake Teresa for this woman?” I recalled the incident when Teresa and I visited Mrs. Cartwright and her daughter and how Marcella Marter reacted so oddly when she opened the door and saw Teresa standing there. I figured she might have mistaken Teresa for Yancy Thigpen.
“I reckon I might,” Melba said. She didn’t sound convinced. “What does this have to do with anything, though? You think they could be related?”
“I hadn’t really thought about that,” I said. I told her what happened when we first met Marcella Marter.
“That’s weird enough,” Melba said. “But does it really mean anything?”
“I don’t know,” I replied. Melba shrugged and went back to work on her list.
I examined a few more pictures of Yancy Thigpen, and I soon realized that they all had one thing in common. In every single photograph, each apparently taken on different occasions, Ms. Thigpen was wearing a red dress with a scarf. The scarf in each photo was different, but they were all vivid geometric prints. What this had to do with anything, I wasn’t sure, but the information could be useful to the authorities looking for her. I fired off a brief e-mail to Kanesha, just in case.
That was enough about Yancy Thigpen for the moment, I decided. I needed to get on to the main subject of my research, Electra Barnes Cartwright. The solution to the murder, the disappearance, the strange theft—she was the common denominator. I was convinced of that.
I typed in her name, hit Enter, and got back over twenty-five thousand results. I knew many of them would be repetitive, but I still had to comb through them to make sure I didn’t miss anything significant. As I stared at the screen, I realized I still hadn’t formulated a coherent strategy for my research. I needed to have some focus to what I was doing; otherwise I would easily get sidetracked and end up following trails that would yield nothing helpful. That was what made surfing the Internet both frustrating and fun.
“Melba, let me have a couple of pieces of paper. I need to make a few notes.”
She glanced up from her work, her expression one of fierce concentration. “What? Oh, okay.” She tore several pages out of the notebook and handed them to me.
I found a pen in the jumble drawer and resumed my seat. I stared at the blank page. What should I focus on to start with? Basic biographical information was the logical answer. I made a heading for that on the paper before I turned back to the laptop.
The first result on the screen—after the commercial links to used book sites—led me to a bio of Mrs. Cartwright on a popular Internet encyclopedia. There was only one image attached to the article, a rather grainy photo of her when she was about forty years old. That was during the height of her fame as the creator of Veronica Thane. The first book in the series was published when the author was only twenty-six.
I studied the photograph. Because of the mediocre quality, whether from the original itself or a bad scanning job, I couldn’t see the kind of detail I wanted. I could see the resemblance to Marcella Marter and her son, Eugene, however. They both had the same aquiline nose and rather prominent brows, but Mrs. Cartwright’s mouth looked smaller and softer. Marcella had rather heavy jowls—from her father’s side, I supposed—and Eugene was somewhere in between.
Mrs. Cartwright at the century mark favored the woman of sixty years ago, but of course age exacted a toll on everyone. The younger Electra Cartwright was fleshier, probably plumper in all respects, but I could see the resemblance to the older woman.
I skimmed the basic early biographical details and made a few notes as I went. She was born near Calhoun City, her father a farmer and her mother a schoolteacher. She was an only child who excelled at school—except for mathematics, which she apparently loathed, according to an interview early in her career. There was no money for her to go to college, but apparently she was so eager to get away from small-town life in Mississippi that she struck out for New York when she was barely eighteen. A distant relative offered her a place to live in Connecticut, and off she went. She had performed in plays in high school and was stagestruck, determined to make it on Broadway.
Other than a few bit parts in summer stock and off-Broadway productions, though, Electra Barnes found little success on the stage. She married a young actor named Ellsworth Cartwright when she was twenty, and three years later published her first book, The Mystery at Spellwood Mansion. There were few details in the article about her early life as Mrs. Ellsworth Cartwright, other than the fact that her husband was only slightly more successful on the stage than she had been. Mrs. Cartwright quickly became the breadwinner of the family, and Ellsworth faded into the background. The final mention of him in the article was an obituary notice in 1947.
All this was interesting, but I wasn’t sure it was helpful. Ellsworth Cartwright certainly could have little to do with the present situation since he’d died more than sixty years ago. I moved on to the section that covered her writing career and the brief flirtation with Hollywood. I didn’t find anything particularly exciting or helpful, but the article did name the hopeful starlet who was supposed to portray Veronica Thane in the film.
Her name was Marietta Dubois, and I had never heard of her. Curious, I put her name in the search engine and found a few pages of results. Her career in Hollywood was short-lived, according to one resource. She had minor roles in minor films, and her one chance at a starring role was the proposed Veronica Thane film. Shortly after that fizzled, Marietta married a businessman from her hometown in Iowa and went back there to be a housewife and mother. There were three images of her, and she did fit my mental image of Veronica. Dark hair and eyes, lovely face, enigmatic smile—too bad she hadn’t been able to bring Veronica to life.
Funding for the production never materialized, and news of Warner Brothers’s plans to bring Nancy Drew to the screen killed the idea completely.
That trail really didn’t lead anywhere useful, I realized, but it was interesting. A good example, though, of how easy it was to get distracted and go haring off in one direction when you really needed to be going in another. Back to Electra Barnes Cartwright.
After her disappointment in California, Mrs. Cartwright returned to Connecticut and kept on writing. She gave birth to her only child, Marcella Ann Cartwright, two months after the death of her husband from a heart attack. She never remarried.