The Frame Up — Edition Insights
Edition facts
This digital edition of The Frame Up — Edition Insights is described by source-level measurements including 11,136 words, 49 min estimated reading time, and 2 detected text sections.
The text analysis averages about 15.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Short stories,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
n, had reported back that for their purpose his record was useless, that bribes and threats only flattered him, and that the traps set for him he had smilingly side-stepped. This was the situation a month before election day when, to oblige his brother-in-law, Wharton was up-town at Delmonico’s lunching with Senator Bissell.
Down-town at the office, Rumson, the assistant district attorney, was on his way to lunch when the telephone-girl halted him. Her voice was lowered and betrayed almost human interest.
From the corner of her mouth she whispered: “This man has a note for Mr. Wharton--says if he don’t get it quick it’ll be too late--says it will tell him who killed ‘Heimie’ Banf!”
The young man and the girl looked at each other and smiled. Their experience had not tended to make them credulous. Had he lived, Hermann Banf would have been, for Wharton, the star witness against a ring of corrupt police officials. In consequence his murder was more than the taking off of a shady and disreputable citizen. It was a blow struck at the high office of the district attorney, at the grand jury, and the law. But, so far, whoever struck the blow had escaped punishment, and though for a month, ceaselessly, by night and day “the office” and the police had sought him, he was still at large, still “unknown.” There had been hundreds of clews. They had been furnished by the detectives of the city and county and of the private agencies, by amateurs, by news-papers, by members of the underworld with a score to pay off or to gain favor. But no clew had led anywhere. When, in hoarse whispers, the last one had been confided to him by his detectives, Wharton had protested indignantly.
“Stop bringing me clews!” he exclaimed. “I want the man. I can’t electrocute a clew!”
So when, after all other efforts, over the telephone a strange voice offered to deliver the murderer, Rumson was skeptical. He motioned the girl to switch to the desk telephone.
“Assistant District Attorney Rumson speaking,” he said. “What can I do for you?”’
Before the answer came, as though the speaker were choosing his words, there was a pause. It lasted so long that Rumson exclaimed sharply:
“Hello,” he called. “Do you want to speak to me, or do you want to speak to me?”
“I’ve gotta letter for the district attorney,” said the voice. “I’m to give it to nobody but him. It’s about Banf. He must get it quick, or it’ll be too late.”
“Who are you?” demanded Rumson. “Where are you speaking from?”
The man at the other end of the wire ignored the questions.
“Where’ll Wharton be for the next twenty minutes?”
“If I tell you,” parried Rumson, “will you bring the letter at once?” The voice exclaimed indignantly:
“Bring nothing! I’ll send it by district messenger. You’re wasting time trying to reach me. It’s the LETTER you want. It tells----” the voice broke with an oath and instantly began again: “I can’t talk over a phone. I tell you, it’s life or death. If you lose out, it’s your own fault. Where can I find Wharton?”
“At Delmonico’s,” answered Rumson. “He’ll be there until two o’clock.” “Delmonico’s! That’s Forty-fort Street?” “Right,” said Rumson. “Tell the messenger----” He heard the receiver slam upon the hook. With the light of the hunter in his eyes, he turned to the girl.
“They can laugh,” he cried, “but I believe we’ve hooked something. I’m going after it.” In the waiting-room he found the detectives. “Hewitt,” he ordered, “take the subway and whip up to Delmonico’s. Talk to the taxi-starter till a messenger-boy brings a letter for the D. A. Let the boy deliver the note, and then trail him till he reports to the man he got it from. Bring the man here. If it’s a district messenger and he doesn’t report, but goes straight back to the office, find out who gave him the note; get his description. Then meet me at Delmonico’s.”
Rumson called up that restaurant and had Wharton come to the phone. He asked his chief to wait until a letter he believed to be of great importance was delivered to him. He explained, but, of necessity, somewhat sketchily. “It sounds to me,” commented his chief, “like a plot of yours to get a lunch up-town.”
“Invitation!” cried Rumson. “I’ll be with you in ten minutes.”
The story opens with District Attorney Wharton lunching at Delmonico's—a concession to his brother-in-law, Hamilton Cutler. The narrator immediately establishes Cutler's immense social stature: his family mansion on the Hudson is pointed at with deference, and even a sightseeing car slows respectfully past his Fifth Avenue town house. Wharton, by contrast, is described as having risen through his own exertions, keeping his hands clean and wearing no man's collar. This early contrast between inherited prestige and self-made integrity sets up the central tension of the narrative.
The excerpts reveal a story built on precise social observation and legal maneuvering. The title phrase "frame-up" appears late, when Wharton realizes he is being manipulated into covering up a crime. The prose is brisk, with dialogue that carries the plot forward, and the setting—from Delmonico's to a country yard with chickens and a chauffeur named Nolan—is rendered in concrete, sensory detail.
Social Hierarchy and the Weight of Reputation
The excerpts devote considerable space to establishing Hamilton Cutler's place in the world. He is one of four national party leaders, a former cabinet member and ambassador, and his family history is "the history of the State." The narrator uses a series of deferential gestures—passengers pointing, searchlights deferring, a sightseeing car slowing—to underline his status. Wharton's sister, Cutler's wife, is described as a woman who believes her happiness flows entirely from her husband, a view Wharton does not share.
This hierarchy is not merely decorative. When the woman reveals that Cutler is the murderer, Wharton's first thoughts are of his sister and children, of the party, and of himself. The story uses social position as a lever for plot: Cutler's power makes a cover-up plausible, and Wharton's independence makes his choice consequential. The excerpts do not reveal the outcome, but the structure suggests a conflict between personal loyalty and professional duty, mediated by class.
The Frame-Up as Narrative Mechanism
The phrase "It was a frame-up" appears at a key moment: Wharton, alone with a woman in a locked room, realizes he is being manipulated. The woman has just told him that Cutler shot a girl, and Wharton suspects a setup to force him to hush up the Banf murder. The term is used sparingly but precisely, marking a shift from investigation to entrapment.
The excerpts show the frame-up operating on multiple levels. The woman and her associates have arranged a scene—a locked door, a witness (Nolan the chauffeur) placed in the yard—to pressure Wharton. But the narrative also frames Wharton's own perceptions: he initially condemns Cutler unheard, then recognizes his panic. The story thus uses the frame-up as both a plot device and a metaphor for the way power distorts justice. The excerpts do not reveal whether Wharton succumbs or resists, but the mechanism is clearly laid out.
Sensory Details and Atmospheric Contrast
Davis fills the story with specific, sensory details that ground the melodrama in a recognizable world. The lunch at Delmonico's, the rustle of silk and stirring of perfumes, the tinkle of a piano playing "And you'll wear a simple gingham gown," the cluck of chickens and cooing of pigeons—these details create a vivid backdrop. The chauffeur Nolan, tossing sandwich remnants to hens, is described as presenting "a picture of bored indolence, of innocent preoccupation" that is "almost too well done."
This attention to atmosphere serves multiple purposes. It establishes the social milieu (Delmonico's, limousines, private hospitals) and the rural setting (the yard, the chickens). It also creates contrast: the lazy Indian-summer afternoon is disrupted by the revelation of murder. The sensory details are not merely decorative; they anchor the reader in time and place, making the ethical dilemma feel immediate. The excerpts show a writer who trusts concrete observation to carry emotional weight.
The excerpts present a tightly constructed story that uses a single, high-stakes situation to examine character under pressure. Readers may find it useful to attend to the way Davis distributes information: the narrative withholds Cutler's own account, leaving Wharton—and the reader—to act on secondhand revelations. The story's brevity (under 50 minutes' reading time) rewards attention to its layered ironies, particularly the gap between public reputation and private action. The frame-up, as both title and plot, invites reflection on how stories are constructed and who controls them.
I finished The Frame Up late last night, and Wharton’s quiet struggle with loyalty versus honesty stayed with me—that heavy, uneasy feeling of choosing what’s right when it costs you personally. It reminded me of a lighter, glancing sketch I once read, Reginald in Russia, and Other Sketches — Reading Notes, which lingers in a gentler way, playing with society’s masks instead of tearing them off. Funny how both leave that same aftertaste.
There are no reviews for this eBook.
How did this book work for you?
Your answers remain private and are stored only in this browser.