Solution Manual for Genetics Analysis and Principles

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Chapter 6: Genetic Linkage and Mapping in Eukaryotes

Key Terms

Ascus Nonparental ditype

Bivalent Nonrecombinant offspring
CentiMorgans Null hypothesis
Crossing over Octad
Dihybrid cross Ordered tetrad (octrad)
First-division segregation Parental ditype
Genetic linkage Parental offspring
Genetic linkage map Positive interference
Genetic map Recombinant cells
Genetic mapping Second-division segregation
Genetic recombination Spores
Linkage groups Synteny
Locus Testcross
Map distance Tetrad
Map units Tetratype
Mitotic recombination Trihybrid cross
Nonparental cells Unordered tetrad (octad)

Chapter Outline

6.1 Overview of Linkage

Learning Outcomes:
1. Define genetic linkage.
2. Explain how linkage affects the outcome of crosses.

Synteny refers to two or more genes that are located on the same chromosome.
1. Chromosomes consist of more than one gene, typically in the hundreds to
thousands.
2. The term genetic linkage is use to indicate two genes that are located on the same
chromosome.
a. Genes that are close together tend to be transmitted from parent to
 offspring as a group.
b. Genes that are farther apart have a greater chance of being separated
during crossing over.
3. Chromosomes are often called linkage groups, since the genes on a chromosome
are physically connected to one another.
a. In humans there are 22 autosomal linkage groups, an X linkage group, and
a Y linkage group.
4. When geneticists follow traits they rely upon dihybrid (two-factor) and trihybrid
(three-factor) crosses.
Bateson and Punnett Discovered Two Traits That Did Not Assort Independently
1. Bateson and Punnett were the first researchers (1905) to demonstrate that not all
traits assort independently.
2. In crosses involving flower color and pollen length in the sweet pea, the
researchers noticed that the offspring did not display a 9:3:3:1 phenotypic ratio as
expected from a dihybrid cross (Figure 6.1).
3. They suggested that their traits were coupled to one another in some manner.

6.2 Relationship between Linkage and Crossing Over

Learning Outcomes:
1. Describe how crossing over can change the arrangements of alleles along a
chromosome.
2. Explain how the distance between linked genes affects the proportions of
recombinant and nonrecombinant offspring.
3. Apply a chi square analysis to distinguish between linkage and independent
assortment.
4. Analyze the data of Creighton and McClintock, and explain how it indicated that
recombinant offspring carry chromosomes that are the result of crossing over.

Crossing Over May Produce Recombinant Genotypes

1. Crossing over may alter linkage of genes.
a. The bivalent chromosomes consist of two homologous chromosomes with a pair
of sister-chromatids each.
2. Genetic recombination by crossing over can produce new combinations of alleles on
chromosomes (Figure 6.2).
a. The cells that contain the new allelic combinations are called nonparental or
recombinant cells.
b. The cells that contain the original combination of alleles are called parental
offspring or nonrecombinant offspring.

Morgan Provided Evidence for the Linkage of X-linked Genes and Proposed That
Crossing Over Between X Chromosomes Can Occur
1. The first direct evidence that different genes are physically located on the same
chromosome was provided by Thomas Hunt Morgan (Figure 6.3).
a. Morgan studied X-linked patterns of inheritance.
b. His experimental proof used three traits: body color, eye color, and wing
shape.
 2. With three traits assorting independently, it was expected that there would be
eight phenotypic classes, each in equal proportion.
a. Morgan’s results (Figure 6.3) indicated that the parental combinations
were the most prevalent in the offspring. Morgan correctly suggested that
these three traits are found on the X chromosome and are inherited
together as a unit.
b. For offspring that did not contain the parental combinations, Morgan
suggested that there was crossing over between the homologous X
chromosomes.
c. The concept of homologous crossing over had been previously introduced
by the French cytologist F. A. Janssens.
3. Morgan suggested three hypotheses to explain his results:
a. All three genes are located on the same chromosome (the X chromosome).
b. Crossing over produces new combinations of alleles.
c. The likelihood of crossing over depends on the distance between the two
genes. Genes that are far apart are more likely to cross over than genes
that are close together.
4. Figure 6.4 demonstrates what Morgan was viewing at the chromosomal level.

The Likelihood of Crossing Over Between Two Genes Depends on the Distance Between
Them
1. On order to explain the different proportions of nonparental offspring in his
crosses, Morgan proposed that the likelihood of crossing over depends on the
distance between two genes. The further the genes are apart, the more likely
crossing over will occur. Thus, the more nonparental offspring present, the
further apart the genes are.
2. Double crossovers between two genes which are far apart can rarely occur as
well.

A Chi Square Analysis Can Be Used to Distinguish Between Linkage and Independent
Assortment
1. Researchers need a mechanism of testing whether two genes are linked or
assorting independently.
2. The chi square test allows a researcher to test the goodness of fit between the
observed and expected data.
3. To test for linkage using a chi square analysis:
a. Propose a hypothesis. The usual hypothesis is that the traits are assorting
independently. This is known as the null hypothesis, since it assumes
there is no real difference between the observed and expected values.
b. Calculate the expected values for each of the phenotypes that are possible
with the hypothesis.
c. Perform a chi square analysis using the expected values from above and
the observed phenotypic data.
d. Interpret the chi-square. A rejected hypothesis that the genes are assorting
independently indicates linkage.
Creighton and McClintock Showed That Crossing Over Produced New Combinations of
Alleles and Resulted in the Exchange of Segments Between Homologous
Chromosomes
1. Creighton and McClintock are responsible for providing the first direct evidence
that crossing over is associated with genetic recombination.
2. In their work they identified two chromosomal abnormalities (Figure 6.6) that
allowed them to track the movement of specific chromosomes during meiosis.
a. The chromosomes consisted of unusual staining patterns or translocations.
b. They used these abnormalities to trace the movement of alleles for kernel
color and the texture of the kernel endosperm.
3. Their experimental system (Figure 6.7) indicated that the process of crossing over
was responsible for the generation of genetic recombinants (nonparentals) and
that this was due to a physical exchange of material between the homologous
chromosomes.

6.3 Genetic Mapping in Plants and Animals

Learning Outcomes:
1. Describe why genetic mapping is useful.
2. Calculate the map distance between linked genes using data from a testcross.
3. Explain how interference affects the number of double crossovers.

1. Genetic mapping determines the linear order of genes on a chromosome and the
separation of those genes on the chromosome.
a. Genes have a specific place on a chromosome, called a locus.
b. Crossing over can separate alleles found at different loci.
2. Genetic maps serve the following purposes:
a. It allows geneticists to understand the complexity and genetic organization
of the species.
b. It illustrates the underlying basis for the inherited traits of an organism.
c. The location of a gene may allow the use of molecular techniques to clone
and study the gene in greater detail.
d. Comparisons of genetic maps are often used in evolutionary studies.
e. Once the location of disease-causing genes are determined, it may be
possible to diagnose and treat the disease.
f. The location of the gene may allow genetic counselors to predict the
likelihood that parents will produce offspring with a given trait/disease.
g. Genetic maps are becoming common in agriculture to enhance selective
breeding by farmers.
3. The linear order of genes on the chromosome is called a genetic linkage map
(Figure 6.8).

A Testcross is Conducted to Produce a Genetic Linkage Map

1. Genetic mapping allows the determination of relative distances between genes,

since the further two genes on the same chromosome are from one another, the
greater the chance that crossing over will occur between them.
 a. The percent of recombinant offspring is correlated to the distance between
the genes.
2. The construction of a genetic linkage map utilizes a testcross. Testcrosses
typically involve an individual who is heterozygous for the traits being mapped,
and an individual who is homozygous recessive for the traits being mapped.
3. Testcrosses allow a researcher to distinguish between recombinant and
nonrecombinant offspring (Figure 6.9).
a. Recombinant offspring have different combinations of alleles than either
of the parental strains.
b. Nonrecombinant offspring have the same combinations of alleles as one of
the parental strains.
c. Crossing over during meiosis produces recombinant offspring.
d. Recombinant offspring are typically fewer in number than
nonrecombinant offspring.
4. Map distance is defined as the number of recombinant offspring divided by the
total number of offspring, multiplied by 100.
a. Note that the total includes both recombinant and nonrecombinant
offspring.
b. The units for map distance are called map units (mu) or centiMorgans
(cM).
c. One map unit (or centiMorgan) equals a 1% recombination frequency.
5. The first genetic map was constructed by Alfred Sturtevant in 1911.
a. Used Drosophila melanogaster as the model system.
b. Map was constructed of X-linked traits.
6. Sturtevant correctly assumed that the most accurate distances would be those
between genes that are closely linked.
a. At map distances approaching 50.0 (50% recombination), there is a greater
chance that undetected multiple crossover events may be influencing the
results (Figure 6.10).

Trihybrid Crosses Can Be Used to Determine the Order and Distance Between Linked
Genes
1. Trihybrid crosses (three traits) may be used to determine the map distance and
order of genes on a chromosome.
2. The procedure for constructing a trihybrid cross is as follows (pgs. 139 – 141):
a. Cross two true-breeding strains that differ with regard to three alleles.
b. Perform a testcross by mating F1 female heterozygotes to males that are
homozygous recessive for all three alleles.
c. Collect the F2 data. The parental phenotypes should occur with the greatest
frequency in the offspring. The next highest frequency should be the
offspring with a recombination event between one of the genes, followed
by those individuals that display a double-crossover. The double-crossover
phenotypes indicate which of the three genes is in the middle (Table 6.1).
d. Calculate the map distance between pairs of genes.
e. Construct the map.
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The Project Gutenberg eBook of The girl in the crowd
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Title: The girl in the crowd

Author: Albert Payson Terhune

Release date: September 23, 2022 [eBook #69030]

Most recently updated: October 9, 2022

Language: English

Original publication: United States: The Story-Press Corporation, 1917

Credits: Roger Frank

*** START OF THE PROJECT GUTENBERG EBOOK THE GIRL IN

THE CROWD ***
 The Girl in the Crowd

by Albert Payson Terhune

Stretch an invisible cord knee-high across the sidewalk at Broadway

and Forty-second Street, and in five minutes a hundred prettier girls than
Daisy Reynolds will stumble over it. (A hundred homelier girls too, for
that matter!)
Daisy was just the Girl in the Crowd. Look down the aisle of your
subway- or surface- or L-car on the way home to-night, and you will see
her. You will see her by the dozen.
But you will not observe her, unless you look hard. She is not the type
of girl to make you murmur fatuously: “Gee, but I wish she was my
stenographer!” Nor is she the sort that excites pity for her plainness. She
is—yes, my term “the Girl in the Crowd” best fits her.
For three years, after she left high school, Daisy occupied twenty-
eight inches of space along one of the two sides of a room whose walls
were wainscoted in honeycombed metal. At shelves in front of the
honeycombing sat double lines of girls with ugly steel appliances over
their frizzed or lanky hair. Their hands were ever flitting from spot to
spot in the perforated wainscoting, deftly shifting plugs from hole to
hole.
 An excrescence, like a misshapen black-rubber lily, jutted forth from
the wall facing each girl. Into these lily-mouths the damsels were wont to
croon such airy sentiments as these:
“Schuyler 9051 don’t answer. —Yes, I’m ringing Aud’bon 2973. —
Beekman 4000 is busy. —I’ll give you Inf’ma-tion. —’Xcuse it,
please. —No’m, I didn’t cut you off. What number was you talking
to? —Schuyler 4789 is still busy. —It’s just twelve-forty-two, by the
c’rect time. —Number, please.”
Up and down the double rank marched a horribly efficient woman
who discouraged repartee and inter-desk conversation. The long room
buzzed with the rhythmic droning of fifty voices and with the purring of
countless plugs clicked into innumerable sockets.
To end, once and for all, the killing suspense, the room wherein Daisy
Reynolds toiled for the first three years of her business career was a
telephone exchange.
And at the three years’ end, she was assigned to the job of day-
operator at the Clavichord Arms.

The pay at the hotel was no larger than at the exchange; but there was
always the possibility of tips, and the certainty of Christmas-money.
Besides, there were chances to rest or to read between calls. On the
whole, Daisy rejoiced at the change—as might a private who is made
corporal.
The Clavichord Arms is a glorious monument to New York’s efforts
at boosting the high cost of living. The building occupies nearly a third
of a city block, in length and depth, and it towers to the height of nine
stories. Its facade and main entrance and cathedral-like lobby are rare
samples of an architecture whose sacred motto is, “Put all your goods in
the show-window.”
When the high cost of living first menaced our suffering land, scores
of such apartment-houses sprang into life, in order that New Yorkers
might do their bit toward the upkeep of high prices. Here, at a rental
ranging from fifteen hundred to five thousand dollars a year, one may
live in quarters almost as commodious as those for which a suburbanite
or smaller city’s dweller pays fifty dollars a month.
And nobly did New York rally to the aid of the men who sought thus
to get its coin. So quickly did the new apartments fill with tenants that
more and yet more and more such buildings were run up.
 Men who grumbled right piteously at the advance of bread from five
to six cents a loaf eagerly paid three thousand dollars a year for the
privilege of living in the garish-fronted abodes, and they sneered at
humbler friends who, for the same sum, rented thirty-room mansions in
the suburbs.
And this, by prosy degrees, brings us back to Daisy Reynolds.

The Clavichord Arms’ interior decorator had used up all his ingenuity
and his appropriation before he came to the cubby-hole behind the gilded
elevators—the cubby-hole that served as the telephone-operator’s
quarters. The cubby-hole was airless, windowless, low and sloped of
ceiling, calcimined of wall, and equipped with no furniture at all except
the switchboard-desk, a single kitchen chair, one eight-candle-power
electric light and an iron clothes-hook.
Here, for eight hours a day, sat Daisy Reynolds. Here, with stolid
conscientiousness, she manipulated the plugs, that the building’s seventy
tenants might waste their own and their friends’ time in endless phone-
chats.
It was dull and uninspiring and lonely in the dark cubby-hole, after
the lights and the constant work and companionship of the Exchange.
There was much more leisure, too, than at the Exchange.
Daisy at first tried to enliven this leisure by reading. She loved to
read; book or magazine—it was all the same to Daisy, so long as the hero
and heroine at last outwitted the villain and came together at the altar.
But there are drawbacks to reading all day—even to reading union-
made love stories, by eight-candle-power light and with everlasting
interruption from the switchboard. So Daisy, by way of amusement,
began to “listen in.”
“Listening in” is a plug-shifting process whereby the telephone-
operator may hear any conversation over the wire. In some States, I
understand, it is a misdemeanor. But perhaps there is no living operator
who has not done it. In some private exchanges it is so common a
custom that the cry of “Fish!” warns every other operator in the room
that a particularly listenable talk is going on. This same cry of “Fish” is
an invitation for all present to listen in.
(Yes, your telephonic love-talk, your fierce love-spats and your
sacredest love-secrets have been avidly heard—and possibly repeated—
again and again, by Central. Remember that, next time. When you hear a
faint click on the wire during your conversation,—and sometimes when
you don’t,—an operator is pretty certain to be listening in.)
At first Daisy was amused by what she heard. The parsimonious
butcher-order of the house’s richest woman, the hiccoughed excuses of a
husband whom business detained downtown, the vapid chatter of lad and
lass, the scolding of slow dressmakers, the spicy anecdotes told by half-
hour phone-gabblers—all these were a pleasant variation on the day’s
routine. But at last, they began to pall. And just as they waxed tiresome
—romance began.

The voice in Apartment 60—a clear voice, girlish and vibrant—called

up 9999-Z Worth. And Worth 9999-Z replied in a tone that fairly
throbbed with eager longing. That was the beginning. Shamelessly—
soon rapturously—Daisy Reynolds listened in.
The voice in Apartment 60 belonged to a girl named Madeline. And
Worth 9999-Z (whose first name, by the way, was Karl) spoke that
foreign-sounding name Madeline as though it were a phrase of
hauntingly sweet church music. He and Madeline had known each other,
it appeared, for some months; but only recently had they made the divine
discovery of their mutual love. It was then that the phone talks had begun
—the talks that varied in number from three to seven a day, and in length
from three to thirty minutes.
Always, now, promptly at nine o’clock in the morning, Karl called up
his sweetheart. And always, an hour or so later, she called him up for a
return-dialogue. Their talk was not mushy; it was beautiful. It thrilled
with a love as deathless as the stars, a love through whose longing ran a
current of unhappiness that Daisy could not understand.
Daisy grew to live for those talks. They became part of her very life—
the loveliest part. She was curt, almost snappish, when other calls
interfered with the bliss of listening-in. More than once she shamelessly
broke off the connection when Madeline chanced to be talking to some
old bore at a time when Karl sought to speak to her.
Karl, it seemed, was a downtown business man. As scientists
reconstruct an entire fossil animal from a single bone of its left hind leg,
so Daisy Reynolds built up a vision of Karl from his deep and powerful
voice. He was tall, slender, graceful, yet broad of shoulder and deep of
chest. Brown curls crisped above his white Greek forehead. His eyes
were somber yet glowing. His age was from twenty-eight to thirty. He
dressed like a collar advertisement.
 Madeline was still easier to reconstruct, from her voice. She too was
tall. She was willowy and infinitely graceful—gold-brown of hair, dark
blue of eye, with soft-molded little features and long jetty lashes. With
such a voice, she could not have been otherwise.
Daisy gathered from their earlier talks that Madeline’s family
disapproved the match. She even learned, from something Karl said, that
there was another suitor—one Phil—on whom the family smiled and
whom Madeline cordially detested. Once or twice, too, Phil called up
Apartment 60. He had a husky voice and spoke brief commonplaces.
Madeline answered him listlessly and still more briefly. But he seldom
phoned to her. And she never, by any chance, phoned to him.

So the ardent, tenderly melancholy love-story wore on. The lovers

would make appointments for clandestine meetings—would speak in
joyous retrospect of luncheons or motor-drives of the preceding day.
Evidently, Madeline’s cruel family kept stern watch upon her
movements. Daisy used to smile in joyous approval at the girl’s dainty
cleverness in outmaneuvering them and meeting her sweetheart.
Ever through the glory of their love ran that black thread of
melancholy. Apparently all the glad secret meetings and the adoring
phone-talks could not make up to them for the family’s opposition. Daisy
had to bite her lips, sometimes, to keep from breaking in on the
conversation and demanding:
“Why don’t you two run off and get married? They’d have to come
around, then. And if they didn’t, why should you care?”
To a girl cooped up alone all day in a stuffy cubby-hole, imagination
is ten times stronger than to the girl whose thoughts can be distracted by
outside things. To Daisy, immured in her dim-lighted cupboard behind
the elevators, this romance of Karl and Madeline was fast becoming the
very biggest thing in her drab life.
These two lovers were as romantic, as poetical, as yearningly adoring
as Romeo and Juliet. Karl was as desperately jealous as Othello or as the
hero of one of Laura Jean Libbey’s greatest books. Madeline was the
Captive Maid come to life again. Oh, it was all very, very wonderful!
Then came the day of jarring disillusionment, a day which Daisy
followed by sobbing until midnight on her none-too-soft boarding-house
bed, three blocks to westward.

Promptly at nine that morning, as usual, Karl called up Apartment 60.

 “Sweetheart,” he joyfully hailed Madeline, “I’ve just bought the new
car. It’s a beauty. And you’re going to be the very first person to ride in it
—to consecrate it.”
“That’s darling of you!” replied Madeline in evident delight. “I’d
rather ride in a wheelbarrow with you than in a Rolls-Royce with—with
—”
“With Phil?” asked Karl almost savagely.
“With anybody,” she evaded. “Tell me more about the car. Is it—”
“I’m not going to tell you,” he refused. “I’m going to show it to you
instead. Here’s my idea: I’ll knock off work at noon and bring the car
uptown. I’ll meet you at the subway kiosk at half-after twelve; we can
run up to the Arrowhead to lunch, and then on up to the Tumble Inn for
—”
“But I can’t, dear—I can’t!” expostulated Madeline. “Don’t you
remember? I told you I have to lunch with Phil and those people from
Buffalo, at the Knickerbocker, at one o’clock. Oh, dear! I wish I didn’t
have to. But I—”
“Phone him you’re sick,” urged Karl. “I’ve set my heart on
christening the new car this way.”
“I could get away to-morrow—” she began.
“But I can’t,” he said. “I’ve a directors’ meeting at three. Oh, come
along to-day, Beautiful! Tell Phil you’re sick and—”
“And have him come rushing up here, in a fidget, for fear I’m going
to die?” she suggested. “That is just what Phil would do. No, dear, I—”
“Then tell him you don’t want to lunch with him,” urged Karl, losing
patience as a man will when some babyishly cherished woman-plan of
his is upset. “Tell him you have to go to your sister’s or—”
“I can’t, Karl!” she declared; and she added, beseechingly: “Don’t be
unreasonable, dear boy. Please don’t. And don’t be cross; it makes me so
unhappy when you are. You know how hard I try to do everything you
want me to—and how glad I am to. But I can’t get out of this luncheon.
Phil especially wants me to be there. These Buffalo people are old
friends of his.”
“Why should you have to go there, just because he wants you to?”
demanded Karl, far more crankily than ever Daisy had heard him speak.
“Why do you? You aren’t his slave.”
“No,” returned Madeline, her own temper beginning to fray, “but I am
his wife. You seem to forget that.”
“I don’t forget it half as often as you do!” flashed Karl.
 At which brutally truthful reply, the receiver of Apartment 60’s wire
clanked down upon its hook. Nor could all of Karl’s repeated efforts
bring Madeline back to the telephone.

Daisy Reynolds slumped forward upon the switchboard desk, her face
in her hands, her slim body a-shake. She felt as though her every nerve
had been wrenched. She was sick all over. This, then, was the wondrous
romance in which she had reveled. This was the melancholy, beauteous
love-story which had become part of her own colorless life! A vulgar
intrigue between a married woman (not a wife, but a married woman—
Daisy now realized the difference between the two) and a man not her
husband!
The iridescent bubbles of romance burst into thinnest air. Daisy was
numb with the horror and disgust of it all. Even of old she had
fastidiously refused to listen in when another girl’s merry cry of “Fish!”
had told that some such illicit dialogue was on the wire. And now, for
weeks, she had been raptly listening to just such talks.
She loathed herself for the silly bubbles she had blown. Their lovely
sheen was miasmic slime. They were filled with foul gases. A great
shame possessed Daisy Reynolds.
Next morning Daisy came to work swollen-eyed from futile crying
over the death of her dreams, and dull-headed from too little sleep. Half
an hour later, promptly at nine, Karl called up Apartment 60.
Daisy’s hand trembled as she made the connection. She hated herself
for listening in. Yet from morbid fascination she did it.
“Darling!” was Karl’s remorsefully passionate greeting as Madeline
answered the phone-bell’s summons. “I’m so sorry! So horribly sorry! I
spoke rottenly to you yesterday. Wont you forgive me? Please do!”
“Please don’t let us speak about it,” began Madeline stiffly.
Then her shell of offendedness collapsed, and she went on with a
break in her sweet voice.
“Oh, I’m so glad you called up! I was so afraid you wouldn’t. And I
was going to try so hard not to phone to you. But I knew I’d do it—I
knew I would—if you didn’t call me first. I’ve been terribly unhappy,
dear.”
“You’ve had nothing on me, in that,” he made answer. “I haven’t slept
all night, thinking how I spoke to you. It was our first quarrel. And it was
all my fault.”
 “It wasn’t,” she contradicted chokily. “It was all mine. I shouldn’t
have been hurt by what you said about my forgetting so often that—”
“Don’t, dear,” he begged. “Don’t! It was a rotten thing for me to say.”
“It was—it was true,” she replied, her voice quavering as she fought
back the tears. “But you told me yourself that you don’t blame me. You
know what my life with him has been, from the very beginning. And till
I met you I used to wish I were dead. Oh, you can’t blame me for
forgetting him, for—for you!”
“You’re an angel!” he declared. “I’m not fit to touch your hand. But
my love for you is the only thing there is in my life. And it’s brought me
the only happiness I ever knew. I used to think I’d like to kill myself if it
weren’t for my mother. And now you’ve given me something—
everything—to live for. I love you so, Madeline! Are you sure you’ve
forgiven me?”
“Forgiven you?” she echoed. “Why, Karl, I love you.”
Yes, the reply was banal enough. But the tone was not, nor was the
wordless exclamation of worship with which Karl received it. And to her
own self-disgust Daisy felt a stir of answering emotion in her own breast.
Just then she was required to connect Apartment 42 with the market,
and at once afterward to put through a long-distance call for the
building’s superintendent. And when next she sought to listen in, Karl
and Madeline were finishing their talk. All Daisy could catch was
Madeline’s childish query:
“Can’t we please try out the new car to-morrow, if the directors’
meeting is going to keep you this afternoon?”
And he answered gayly:
“To blue blazes with the directors! We’re going to Tumble Inn to-day,
you and I, sweetheart—even if New York doesn’t get a stroke of
business done south of Canal Street all afternoon. Good-by. You’ll be
sure to call me up later, wont you?”

Daisy sat back in her wabbly chair to take mental account of stock.
She was amazed at herself—amazed, and a bit displeased, though not
as much so as she could have wished. All her ideas and ideals seemed to
be as wabbly as the kitchen chair she sat in. Womanlike, she straightway
began to justify herself. True, an hour earlier, she had been filled with
contempt for these two. Equally true, she was now irresistibly drawn to
them again—which most certainly called for a reason; so she supplied
the reason:
 Madeline had been forced into a marriage, in mere childhood, with a
man she did not love. And had she not said, “You know what my life
with him has been, from the very beginning?” That alone told the story
—the heartbreaking story of neglected wifehood, of ill-treatment, of a
starved soul.
Who was Daisy to blame this pathetic young wife if she had at last let
love into her heart after years of bondage to a brute? Daisy recalled
Phil’s husky voice. From it she built up a physique that was a blend of
Simon Legree’s and Falstaff’s, with a tinge of Bill Sikes. And, her moral
sense deserting her, she realized that right or wrong she was steadfastly
on the side of the lovers.
During the days that followed, she listened in again, with all her old-
time hero-and-heroine-worship. Now she understood the strain of
melancholy in these two people’s love. It was the hopelessness of that
love which made them so sad, in the midst of their stolen happiness.
Once, in a free moment, Daisy slipped from her cubby-hole and into
the superintendent’s office, to ask for a stronger light-bulb. There on the
wall hung a typed list of the house’s tenants. Stealing a glance at it while
the superintendent’s back was turned, Daisy ran her eye down the list
until she came to the number she wanted:
Apartment 60—Mr. and Mrs. Philip Caleb Vanbrugh.
Caleb! Yes, that was the sort of middle name her ugly-tempered clod
of a husband would have been likely to own. The names Madeline and
Caleb could no more blend than could violets and prunes. Doubly, now,
Daisy’s heart was with the lovers.
One qualm, only, marred her sympathy. From the fact that Karl
always spoke of Vanbrugh by his first name, the men apparently were
friends. And to woo one’s friend’s wife is black vileness. Even Daisy
knew that. So she readjusted matters in her elastic mind, and decided the
men were merely close business acquaintances, and that friendship did
not enter into their relations. Daisy felt better about it, after that—much
better.

One morning when Daisy connected the wire for the lovers and
prepared for her daily feast of listening in, a sharp whir from another
apartment in the house drew her back to earth. In her nervous haste to
make the new connection and get back to her listening, she awkwardly
knocked out a plug or two. Absent-mindedly she readjusted them, trying
meantime to catch what the second caller was trying to say to her.
 This caller was a fussy woman in Apartment 12, who first wanted to
know the correct time and then asked for a wire to Philadelphia. A full
minute elapsed before Daisy could get back to the lovers. And as she
turned again to their talk, she realized with a guilty start that in the mix-
up of the various plugs she had left the switch open.
Have you ever called up a telephone number and been let in on a
conversation already going on between the person you called up and
somebody else? It gives one an absurdly guilty feeling. And it means the
switch has carelessly been left open, so that anybody calling up can tap
the wire. That is the condition in which Daisy had chanced to leave the
switch to Apartment 60. Eagerly she stretched forth her hand to repair
the error. As she did so, three sentences struck her ear. They were spoken
in quick succession by three people—as follows:
“Good-by, darling,” said Karl. “I’ll be there at one.”
“Good-by, boy dear,” answered Madeline. “I’ll call you up again
before then.”
“Who in hell are you?” bellowed a third and huskier voice. “And what
do you mean by calling my wife darling?”
Click! All three wires were shut off by one lightning swirl of Daisy’s
fingers.

She sat aghast. The third voice had most assuredly been Phil’s—
Philip Caleb Vanbrugh’s. What had she done? What hadn’t she done?
Then she became aware of a buzzing call.
“Clavichord Arms,” she said primly in reply as she sought to rally her
shaky nerves.
“That the house operator?” harshly demanded the husky voice. “I
called up my apartment—Apartment 60—a minute ago, and my wife
was talking over the phone. What number was she talking to?”
“What apartment did you say?” asked Daisy.
“Sixty!”
“Apartment 60 hasn’t had a call this morning,” solemnly answered
Daisy, her throat tightening under the grip of outraged conscience. “Nor
it hasn’t sent in one, either.”
“I’d swear that was my wife’s voice,” growled the man. “I couldn’t
place the man’s. But it was my wife’s, all right. And—”
“It may ’a’ been Sarah Bernhardt’s voice, for all I know,” snapped
Daisy. “But it didn’t come from Apartment 60. Not any calls have been
turned in from there since I came on.”
 “You’re sure?” he asked in sour doubt.
“You can look at my slip here on the desk,” pertly retorted Daisy. “All
the calls are marked on that.”
“No,” said the man slowly, “I wont do that—because, if you’ve lied,
you wouldn’t be past altering the slip. What I’m going to do is to ask the
building’s superintendent for an itemized list of all the calls from my
apartment for the past month or two. He’s obliged to furnish it on
demand. That ought to tell me something.”

He hung up. Daisy sat gasping. Before her mental gaze ranged the
memory of forty-odd calls a month to Worth 9999-Z. Then she came to a
decision. Out into the marble-lined hallway she went. There she corralled
the second elevator-boy and bribed him with twenty-five cents to take
charge of the switchboard for a few minutes. A moment or so later, a
colored maid was ushering her into Apartment 60.
In the middle of a garish living-room stood Daisy, trying desperately
to think straight. The curtains parted, and a woman came into the room.
Daisy blinked at her in bewilderment—then said:
“I should like to speak to Mrs. Vanbrugh, please. It’s very important.”
“I’m Mrs. Vanbrugh,” answered the woman, eying the girl with
curiosity.
“I—I mean Mrs. Madeline Vanbrugh,” faltered the girl.
“I am Mrs. Madeline Vanbrugh,” was the answer, and now Daisy
recognized the voice, “—Mrs. Philip C. Vanbrugh. What can I do for
you?”
Daisy could not answer at once. Around her dumfounded head the
bubbles were bursting like a myriad Roman-candle balls.
This woman framed in the doorway was Madeline—her Madeline?
This woman whose dumpy figure was swathed in a bedraggled negligee
that had once been clean! This woman whose scalp was haloed by a
crescent of kid-curlers that held in hard lumps her brass-hued front hair!
This woman with the hard, light eyes and sagging mouth-lines and
beaklike nose—this woman whose face was sallow and coarse, because
it had not yet received its daily dress of make-up! This—this was
Madeline!
“What can I do for you?” the woman was saying for the second time,
her early air of curiosity merging into one of dawning hostility.
“I am the switchboard operator downstairs,” said Daisy faintly.
 A look of terror that had all along lurked in the hard eyes now sprang
to new light.
“What do you want of me?”
“I want to tell you your husband heard the last part of your phone-talk
just now,” returned Daisy conscientiously, though her heart was no
longer in her mission of rescue. “He called me up about it. I—”
“You told him?” blithered the woman in panic.
“I told him your apartment hadn’t had a call all morning.”
“You did?” cried the woman, her sweet voice sharpening to a peacock
screech of relief. “Good for you! Good for you! And you were perfectly
right to come directly up here for your pay. What do you think would be
fair reward? Don’t be afraid to say. You’ve done me a great service, and
—”
“I don’t understand you,” stammered Daisy. “I don’t understand you
at all. If you think I did this for money—”
“My dear,” laughed the woman nervously, “we do everything for
money. So you needn’t be ashamed. We don’t always say it’s for money.
But it is. That’s why I got into this scrape. My husband is the stingiest
man in New York. He pretends his business is on such a ragged edge that
he can’t give me any extra cash. But I know better. That’s why I let
myself get interested in Mr. Schreiner. He is a widower, and he has more
money than he can—”
“Oh!” cried Daisy in sick horror.
“So he’ll make it good to you for all that you’ve done for us,” prattled
on the woman, without noticing. “He’ll—”
“That isn’t why I came up here!” broke in Daisy angrily. “And I don’t
want your filthy money, either. I wont touch it. I came up here to warn
you that your husband is going to—”

The buzz of the flat’s front-door bell interrupted her. The woman, too,
turned nervously to look. They heard the maid fumble with the knob.
Then some one brushed past the servant and into the living-room.
The intruder was a chunky and yellowish man, of late middle years—
incredibly bald of head and suspiciously black of eyebrows. He caught
sight of Mrs. Vanbrugh, who chanced to be standing between him and
Daisy. And he exclaimed:
“I jumped into a taxi and hustled here, as soon as I left the phone. I
didn’t dare call up again. Do you suppose he recognized me?”
 Yes, the voice was indubitably the voice of Karl. But the fat and
elderly swain was in anything but a loverly mood. He was a-quake with
terror. Beads of sweat trickled down on his brows and mustache. His
yellowish complexion was blotchy from fear. He was not a pretty sight.
Daisy by this time should have been past surprise. Yet her
preconceived vision of Karl—of young, athletic, hero-featured Karl—
died hard and in much and sudden pain. Poor Daisy! Until he spoke, she
had mistaken him for the husband.
“If he knew my voice,” babbled the man, “we’re up against it. I’d
better get out of town for a while, I suppose. Maybe he—”
“Don’t worry!” interposed Madeline acidly. “You wont have to run
away from town and leave me to face it all. This girl has gotten us out of
it. She is the operator downstairs. Phil called up and asked her all sorts of
questions. And she told him the apartment hadn’t had a call all morning.
Isn’t she a brick?”
A sound like the exhaust of an empty soda-siphon broke from
between Karl’s puffy lips—a sound of pure if porcine reaction from
dread.
“Good girl!” he croaked, still hoarse with recent fright. “Dandy girl!”
He sought to pat Daisy approvingly on the shoulder with one pudgy
hand. She recoiled.
“How much?” he asked jovially, not observing the stark repulsion in
her face and gesture as she shrank away. “How much, little girl? You’ve
done a mighty big stroke of business this day. What do you say I owe
you? Or will you leave it to me to do the right thing by you?”
He juggled a bloated wad of bills from his trousers pocket as he
spoke. And at his motion something in Daisy’s taut brain seemed to
snap.

The girl did not “see red.” She saw only two fat and greasy creatures
who thought she was as vile as they—who took it for granted that she
had done this thing to extort a rich tip from them, for covering up their
sin. And wrath gave her back her momentarily lost power of speech.
“Oh!” she cried in utter loathing, “you’d dare pay me for trying to
help you? If I’d known what you both are, all the money in New York
wouldn’t have gotten me to lift a finger for you. You horrible—”
“There, there, my dear!” oilily soothed Karl. “You’re a little bit
excited. Calm down and tell us how much—”
 “If you don’t want pay,” shrilled Madeline, “what did you come here
for?”
“What did I come here for?” echoed Daisy, white with rage. “To make
a fool of myself, of course. To warn you that your husband is going to
get the call-lists for the past month from the super, and find out from
them what numbers you’ve been calling up. That’s—”
“Good Lord!” gabbled the woman in crass horror.
Karl’s fat jaw dropped upon his fatter throat. He tried to speak. He
could only gargle.
“That’s why I came here!” finished Daisy, striding past them toward
the door. “To warn you. And now I’ve done it. Your husband’s liable to
be streaking back home any minute now. And I’m going. And if either of
you says any more about money, I’ll—”
She was making for the outer door. But for all her start, Karl reached
it three lengths ahead of her. He banged it shut after him as he darted out.
Through the panel Daisy could hear him ringing frantically for the
elevator.
Daisy was following, when a choking sound made her turn back. The
woman still stood in the middle of the living-room. Her hard, light eyes
were dark and dilated. Her sallow face was haggard and ghastly. Yet her
features were unmoved. There was about her bearing and expression a
certain hopeless courage that lent dignity to the squat figure.

Daisy hesitated—then turned back into the room. The woman stared
dully past her toward the doorway through which Karl had vanished. She
acknowledged the girl’s presence by muttering, in a curiously dead
voice, more to herself than to Daisy:
“Men are queer animals, aren’t they? He has sworn to me, time and
again, that he’d stand by me to the end.”
“Yes,” assented Daisy in perfect simplicity, “I’ve heard him say it to
you myself—twice.”
“He’s gone,” went on the woman in that same dead voice so unlike
her own. “He’s gone. And I’m left to hold the bag. I—I think I’m cured.
There are worse things than a husband who loves you—even if he can’t
give you all the money you want to spend. Phil would never have run
away like that, from anything—not that the lesson is likely to do me any
good, now.”
“Here!” exclaimed the girl, shaking the dazed Madeline roughly by
the shoulder. “I’m going to get you out of this. I don’t know why, but I
am. Maybe I’ve a bill of my own to pay, as well as you have. We’ve all
done some learning to-day, I guess. And learning isn’t on the free-list.”
“But—”
“Go to the phone right away,” commanded Daisy, “and call up the
super. Tell him you’ve got to see him, up here, in a hurry. Act scared.
Tell him it can’t wait a single minute. Get him up here. That’s the main
thing. Then—then tell him you want new faucets in the bathroom. Or tell
him anything at all. Do as I say. Jump! There isn’t much time to waste.
Hubby’s sure to be hotfooting it home. And when hubby comes, deny
everything. Deny! And keep on denying. He wont have any proof,
remember that. He’ll have no proof. Pay for the lie by being a whole lot
decenter to him, forever-after-amen.”

Moving away from the dumfounded woman, Daisy bolted out of the
flat and was lucky enough to catch a down-going elevator. She reached
the ground floor just as the building’s perplexed superintendent came to
the shaft on his way to answer Madeline’s urgent summons.
Into the superintendent’s deserted office sped Daisy. Going directly to
his unlocked desk, she rummaged feverishly amid its drawers until she
found what she wanted.
Crumpling and pocketing the telephone-sheets for the past two
months, she crossed to the file cabinet, hunted through a stack of dusty
papers and drew forth the sheaf of penciled telephone-slips for the
preceding year.
Selecting from these the slips for the two corresponding months, she
put back the rest of the Sheaf. Then, changing with eraser and pencil the
date of the year on the two slips she had abstracted from the cabinet, she
put them in the drawer. After which, feeling oddly weak about the knees,
she started out of the office.
At the door she almost collided with the returning superintendent.
Vexed at having been called upstairs in such haste on an utterly trivial
errand, he very naturally wreaked his ill-temper on the first subordinate
he chanced to meet—which was Daisy.
“What are you doing away from your switchboard?” he snarled. “I
won’t stand for any loafing. Get that into your mind, once and for all.
What did you want in here, anyhow?”
“I came in to see you, sir,” was the girl’s demure reply.
“What do you want of me?” he rasped.
 “I wanted to tell you I’m leaving here to-morrow,” said Daisy. “I’m
going back to work at the Exchange. I’m lonesome on this job. There
aren’t enough things happening at the Clavichord Arms. It’s too slow—
not enough excitement for a live wire like me. That’s all, sir.”

Transcriber’s Note: This story appeared in the October 1917 issue of Blue
Book magazine.
 *** END OF THE PROJECT GUTENBERG EBOOK THE GIRL IN
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