Chapter 9

"He made up his mind in advance, in adopting this course, to disappear, fly, conceal himself, change his personality; to suppress, in short, Count Hector de Tremorel, and make for himself, under another name, a new position and identity. These hypotheses, easily admitted, suffice to explain the whole series of otherwise inconsistent circumstances. They explain to us in the first place, how it was that on the very night of the murder, there was a large fortune in ready money at Valfeuillu; and this seems to me decisive. Why, when a man receives sums like this, which he proposes to keep by him, he conceals the fact as carefully as possible. Monsieur de Tremorel had not this common prudence. He shows his bundles of bank-notes freely, handles them, parades them; the servants see them, almost touch them. He wants everybody to know and repeat that there is a large sum in the house, easy to take, carry off, and conceal. And what time of all times, does he choose for this display? Exactly the moment when he knows, and everyone in the neighborhood knows, that he is going to pass the night at the chateau, alone with Madame de Tremorel.

"For he is aware that all his servants are invited, on the evening of July 8th to the wedding of the former cook. So well aware of it is he, that he defrays the wedding expenses, and himself names the day. You will perhaps say that it was by chance that this money was sent to Valfeuillu on the very night of the crime. At the worst that might be admitted. But believe me, there was no chance about it, and I will prove it. We will go to-morrow to the count's banker, and will inquire whether the count did not ask him, by letter or verbally, to send him these funds precisely on July 8th. Well, if he says yes, if he shows us such a letter, or if he declares that the money was called for in person, you will confess, no doubt, that I have more than a probability in favor of my theory."

Both his hearers bowed in token of assent.

"So far, then, there is no objection."

"Not the least," said M. Plantat.

"My conjectures have also the advantage of shedding light on Guespin's position. Honestly, his appearance is against him, and justifies his arrest. Was he an accomplice or entirely innocent? We certainly cannot yet decide. But it is a fact that he has fallen into an admirably well-laid trap. The count, in selecting him for his victim, took all care that every doubt possible should weigh upon him. I would wager that Monsieur de Tremorel, who knew this fellow's history, thought that his antecedents would add probability to the suspicions against him, and would weigh with a terrible weight in the scales of justice. Perhaps, too, he said to himself that Guespin would be sure to prove his innocence in the end, and he only wished to gain time to elude the first search. It is impossible that we can be deceived. We know that the countess died of the first blow, as if thunderstruck. She did not struggle; therefore she could not have torn a piece of cloth off the assassin's vest. If you admit Guespin's guilt, you admit that he was idiot enough to put a piece of his vest in his victim's hand; you admit that he was such a fool as to go and throw this torn and bloody vest into the Seine, from a bridge, in a place where he might know search would be made--and all this, without taking the common precaution of attaching it to a stone to carry it to the bottom. That would be absurd.

"To me, then, this piece of cloth, this smeared vest, indicate at once Guespin's innocence and the count's guilt."

"But," objected Dr. Gendron, "if Guespin is innocent, why don't he talk? Why don't he prove an alibi? How was it he had his purse full of money?"

"Observe," resumed the detective, "that I don't say he is innocent; we are still among the probabilities. Can't you suppose that the count, perfidious enough to set a trap for his servant, was shrewd enough to deprive him of every means of proving an alibi?"

"But you yourself deny the count's shrewdness."

"I beg your pardon; please hear me. The count's plan was excellent, and shows a superior kind of perversity; the execution alone was defective. This is because the plan was conceived and perfected in safety, while when the crime had been committed, the murderer, distressed, frightened at his danger, lost his coolness and only half executed his project. But there are other suppositions. It might be asked whether, while Madame de Tremorel was being murdered, Guespin might not have been committing some other crime elsewhere."

This conjecture seemed so improbable to the doctor that he could not avoid objecting to it. "Oh!" muttered he.

"Don't forget," replied Lecoq, "that the field of conjectures has no bounds. Imagine whatever complication of events you may, I am ready to maintain that such a complication has occurred or will present itself. Lieuben, a German lunatic, bet that he would succeed in turning up a pack of cards in the order stated in the written agreement. He turned and turned ten hours per day for twenty years. He had repeated the operation 4,246,028 times, when he succeeded."

M. Lecoq was about to proceed with another illustration, when M. Plantat interrupted him by a gesture.

"I admit your hypotheses; I think they are more than probable--they are true."

M. Lecoq, as he spoke, paced up and down between the window and the book-shelves, stopping at emphatic words, like a general who dictates to his aides the plan of the morrow's battle. To his auditors, he seemed a new man, with serious features, an eye bright with intelligence, his sentences clear and concise--the Lecoq, in short, which the magistrates who have employed his talents, would recognize.

"Now," he resumed, "hear me. It is ten o'clock at night. No noise without, the road deserted, the village lights extinguished, the chateau servants away at Paris. The count and countess are alone at Valfeuillu.

"They have gone to their bedroom.

"The countess has seated herself at the table where tea has been served. The count, as he talks with her, paces up and down the chamber.

"Madame de Tremorel has no ill presentiment; her husband, the past few days, has been more amiable, more attentive than ever. She mistrusts nothing, and so the count can approach her from behind, without her thinking of turning her head.

"When she hears him coming up softly, she imagines that he is going to surprise her with a kiss. He, meanwhile, armed with a long dagger, stands beside his wife. He knows where to strike that the wound may be mortal. He chooses the place at a glance; takes aim; strikes a terrible blow--so terrible that the handle of the dagger imprints itself on both sides of the wound. The countess falls without a sound, bruising her forehead on the edge of the table, which is overturned. Is not the position of the terrible wound below the left shoulder thus explained--a wound almost vertical, its direction being from right to left?"

The doctor made a motion of assent.

"And who, besides a woman's lover or her husband is admitted to her chamber, or can approach her when she is seated without her turning round?"

"That's clear," muttered M. Plantat.

"The countess is now dead," pursued M. Lecoq. "The assassin's first emotion is one of triumph. He is at last rid of her who was his wife, whom he hated enough to murder her, and to change his happy, splendid, envied existence for a frightful life, henceforth without country, friend, or refuge, proscribed by all nations, tracked by all the police, punishable by the laws of all the world! His second thought is of this letter or paper, this object of small size which he knows to be in his wife's keeping, which he has demanded a hundred times, which she would not give up to him, and which he must have."

"Add," interrupted M. Plantat, "that this paper was one of the motives of the crime."

"The count thinks he knows where it is. He imagines that he can put his hand on it at once. He is mistaken. He looks into all the drawers and bureaus used by his wife--and finds nothing. He searches every corner, he lifts up the shelves, overturns everything in the chamber--nothing. An idea strikes him. Is this letter under the mantel-shelf? By a turn of the arm he lifts it--down the clock tumbles and stops. It is not yet half-past ten."

"Yes," murmured the doctor, "the clock betrays that."

"The count finds nothing under the mantel-shelf except the dust, which has retained traces of his fingers. Then he begins to be anxious. Where can this paper be, for which he has risked his life? He grows angry. How search the locked drawers? The keys are on the carpet--I found them among the debris of the tea service--but he does not see them. He must have some implement with which to break open everything. He goes downstairs for a hatchet. The drunkenness of blood and vengeance is dissipated on the staircase; his terrors begin. All the dark corners are peopled, now, with those spectres which form the cortege of assassins; he is frightened, and hurries on. He soon goes up again, armed with a large hatchet--that found on the second story--and makes the pieces of wood fly about him. He goes about like a maniac, rips up the furniture at hazard; but he pursues a desperate search, the traces of which I have followed, among the debris. Nothing, always nothing! Everything in the room is topsy-turvy; he goes into his cabinet and continues the destruction; the hatchet rises and falls without rest. He breaks his own bureau, since he may find something concealed there of which he is ignorant. This bureau belonged to the first husband--to Sauvresy. He takes out all the books in the library, one by one, shakes them furiously, and throws them about the floor. The infernal paper is undiscoverable. His distress is now too great for him to pursue the search with the least method. His wandering reason no longer guides him. He staggers, without calculation, from one thing to another, fumbling a dozen times in the same drawer, while he completely forgets others just by him. Then he thinks that this paper may have been hid in the stuffing of a chair. He seizes a sword, and to be certain, he slashes up the drawing-room chairs and sofas and those in the other rooms."

M. Lecoq's voice, accent, gestures, gave a vivid character to his recital. The hearer might imagine that he saw the crime committed, and was present at the terrible scenes which he described. His companions held their breath, unwilling by a movement to distract his attention.

"At this moment," pursued he, "the count's rage and terror were at their height. He had said to himself, when he planned the murder, that he would kill his wife, get possession of the letter, execute his plan quickly, and fly. And now all his projects were baffled! How much time was being lost, when each minute diminished the chances of escape! Then the probability of a thousand dangers which had not occurred to him, entered his mind. What if some friend should suddenly arrive, expecting his hospitality, as had occurred twenty times? What if a passer-by on the road should notice a light flying from room to room? Might not one of the servants return? When he is in the drawing-room, he thinks he hears someone ring at the gate; such is his terror, that he lets his candle fall--for I have found the marks of it on the carpet. He hears strange noises, such as never before assailed his ears; he thinks he hears walking in the next room; the floor creaks. Is his wife really dead; will she not suddenly rise up, run to the window, and scream for help? Beset by these terrors, he returns to the bedroom, seizes his dagger, and again strikes the poor countess. But his hand is so unsteady that the wounds are light. You have observed, doctor, that all these wounds take the same direction. They form right angles with the body, proving that the victim was lying down when they were inflicted. Then, in the excess of his frenzy, he strikes the body with his feet, and his heels form the contusions discovered by the autopsy."

M. Lecoq paused to take breath. He not only narrated the drama, he acted it, adding gesture to word; and each of his phrases made a scene, explained a fact, and dissipated a doubt. Like all true artists who wrap themselves up in the character they represent, the detective really felt something of the sensations which he interpreted, and his expressive face was terrible in its contortions.

"That," he resumed, "is the first act of the drama. An irresistible prostration succeeds the count's furious passion. The various circumstances which I am describing to you are to be noticed in nearly all great crimes. The assassin is always seized, after the murder, with a horrible and singular hatred against his victim, and he often mutilates the body. Then comes the period of a prostration so great, of torpor so irresistible, that murderers have been known literally to go to sleep in the blood, that they have been surprised sleeping, and that it was with great difficulty that they were awakened. The count, when he has frightfully disfigured the poor lady, falls into an arm-chair; indeed, the cloth of one of the chairs has retained some wrinkles, which shows that someone had sat in it. What are then the count's thoughts? He reflects on the long hours which have elapsed, upon the few hours which remain to him. He reflects that he has found nothing; that he will hardly have time, before day, to execute his plans for turning suspicion from him, and assure his safety, by creating an impression that he, too, has been murdered. And he must fly at once--fly, without that accursed paper. He summons up his energies, rises, and do you know what he does? He seizes a pair of scissors and cuts off his long, carefully cultivated beard."

"Ah!" interrupted M. Plantat, "that's why you examined the portrait so closely."

M. Lecoq was too intent on following the thread of his deductions to note the interruption.

"This is one of those vulgar details," pursued he, "whose very insignificance makes them terrible, when they are attended by certain circumstances. Now imagine the Count de Tremorel, pale, covered with his wife's blood, shaving himself before his glass; rubbing the soap over his face, in that room all topsy-turvy, while three steps off lies the still warm and palpitating body! It was an act of terrible courage, believe me, to look at himself in the glass after a murder--one of which few criminals are capable. The count's hands, however, trembled so violently that he could scarcely hold his razor, and his face must have been cut several times."

"What!" said Dr. Gendron, "do you imagine that the count spared the time to shave?"

"I am positively sure of it, pos-i-tive-ly. A towel on which I have found one of those marks which a razor leaves when it is wiped--and one only--has put me on the track of this fact. I looked about, and found a box of razors, one of which had recently been used, for it was still moist; and I have carefully preserved both the towel and the box. And if these proofs are not enough, I will send to Paris for two of my men, who will find, somewhere in the house or the garden, both the count's beard and the cloth with which he wiped his razor. As to the fact which surprises you, Doctor, it seems to me very natural; more, it is the necessary result of the plan he adopted. Monsieur de Tremorel has always worn his full beard: he cuts it off, and his appearance is so entirely altered, that if he met anyone in his flight, he would not be recognized."

The doctor was apparently convinced, for he cried:

"It's clear--it's evident,"

"Once thus disguised, the count hastens to carry out the rest of his plan, to arrange everything to throw the law off the scent, and to make it appear that he, as well as his wife, has been murdered. He hunts up Guespin's vest, tears it out at the pocket, and puts a piece of it in the countess's hand. Then taking the body in his arms, crosswise, he goes downstairs. The wounds bleed frightfully--hence the numerous stains discovered all along his path. Reaching the foot of the staircase he is obliged to put the countess down, in order to open the garden-door. This explains the large stain in the vestibule. The count, having opened the door, returns for the body and carries it in his arms as far as the edge of the lawn; there he stops carrying it, and drags it by the shoulders, walking backward, trying thus to create the impression that his own body has been dragged across there and thrown into the Seine. But the wretch forgot two things which betray him to us. He did not reflect that the countess's skirts, in being dragged along the grass, pressing it down and breaking it for a considerable space, spoiled his trick. Nor did he think that her elegant and well-curved feet, encased in small high-heeled boots, would mould themselves in the damp earth of the lawn, and thus leave against him a proof clearer than the day."

M. Plantat rose abruptly.

"Ah," said he, "you said nothing of this before."

"Nor of several other things, either. But I was before ignorant of some facts which I now know; and as I had reason to suppose that you were better informed than I, I was not sorry to avenge myself for a caution which seemed to me mysterious."

"Well, you are avenged," remarked the doctor, smiling.

"On the other side of the lawn," continued M. Lecoq, "the count again took up the countess's body. But forgetting the effect of water when it spirts, or--who knows?--disliking to soil himself, instead of throwing her violently in the river, he put her down softly, with great precaution. That's not all. He wished it to appear that there had been a terrible struggle. What does he do? Stirs up the sand with the end of his foot. And he thinks that will deceive the police!"

"Yes, yes," muttered Plantat, "exactly so--I saw it."

"Having got rid of the body, the count returns to the house. Time presses, but he is still anxious to find the paper. He hastens to take the last measures to assure his safety. He smears his slippers and handkerchief with blood. He throws his handkerchief and one of his slippers on the sward, and the other slipper into the river. His haste explains the incomplete execution of his manoeuvres. He hurries--and commits blunder after blunder. He does not reflect that his valet will explain about the empty bottles which he puts on the table. He thinks he is turning wine into the five glasses--it is vinegar, which will prove that no one has drunk out of them. He ascends, puts forward the hands of the clock, but forgets to put the hands and the striking bell in harmony. He rumples up the bed, but he does it awkwardly--and it is impossible to reconcile these three facts, the bed crumpled, the clock showing twenty minutes past three, and the countess dressed as if it were mid-day. He adds as much as he can to the disorder of the room. He smears a sheet with blood; also the bed-curtains and furniture. Then he marks the door with the imprint of a bloody hand, too distinct and precise not to be done designedly. Is there so far a circumstance or detail of the crime, which does not explain the count's guilt?"

"There's the hatchet," answered M. Plantat, "found on the second story, the position of which seemed so strange to you."

"I am coming to that. There is one point in this mysterious affair, which, thanks to you, is now clear. We know that Madame de Tremorel, known to her husband, possessed and concealed a paper or a letter, which he wanted, and which she obstinately refused to give up in spite of all his entreaties. You have told us that the anxiety--perhaps the necessity--to have this paper, was a powerful motive of the crime. We will not be rash then in supposing that the importance of this paper was immense--entirely beyond an ordinary affair. It must have been, somehow, very damaging to one or the other. To whom? To both, or only the count? Here I am reduced to conjectures. It is certain that it was a menace--capable of being executed at any moment--suspended over the head of him or them concerned by it. Madame de Tremorel surely regarded this paper either as a security, or as a terrible arm which put her husband at her mercy. It was surely to deliver himself from this perpetual menace that the count killed his wife."

The logic was so clear, the last words brought the evidence out so lucidly and forcibly, that his hearers were struck with admiration. They both cried:

"Very good!"

"Now," resumed M. Lecoq, "from the various elements which have served to form our conviction, we must conclude that the contents of this letter, if it can be found, will clear away our last doubts, will explain the crime, and will render the assassin's precautions wholly useless. The count, therefore, must do everything in the world, must attempt the impossible, not to leave this danger behind him. His preparations for flight ended, Hector, in spite of his deadly peril, of the speeding time, of the coming day, instead of flying recommences with more desperation than ever his useless search. Again he goes through all the furniture, the books, the papers--in vain. Then he determines to search the second story, and armed with his hatchet, goes up to it. He has already attacked a bureau, when he hears a cry in the garden. He runs to the window--what does he see? Philippe and old Bertaud are standing on the river-bank under the willows, near the corpse. Can you imagine his immense terror? Now, there's not a second to lose--he has already delayed too long. The danger is near, terrible. Daylight has come, the crime is discovered, they are coming, he sees himself lost beyond hope. He must fly, fly at once, at the peril of being seen, met, arrested. He throws the hatchet down violently--it cuts the floor. He rushes down, slips the bank-notes in his pocket, seizes Guespin's torn and smeared vest, which he will throw into the river from the bridge, and saves himself by the garden. Forgetting all caution, confused, beside himself, covered with blood, he runs, clears the ditch, and it is he whom old Bertaud sees making for the forest of Mauprevoir, where he intends to arrange the disorder of his clothes. For the moment he is safe. But he leaves behind him this letter, which is, believe me, a formidable witness, which will enlighten justice and will betray his guilt and the perfidy of his projects. For he has not found it, but we will find it; it is necessary for us to have it to defeat Monsieur Domini, and to change our doubts into certainty."

XI

A long silence followed the detective's discourse. Perhaps his hearers were casting about for objections. At last Dr. Gendron spoke:

"I don't see Guespin's part in all this."

"Nor I, very clearly," answered M. Lecoq. "And here I ought to confess to you not only the strength, but the weakness also, of the theory I have adopted. By this method, which consists of reconstructing the crime before discovering the criminal, I can be neither right nor wrong by halves. Either all my inferences are correct, or not one of them is. It's all, or nothing. If I am right, Guespin has not been mixed up with this crime, at least directly; for there isn't a single circumstance which suggests outside aid. If, on the other hand, I am wrong--"

M. Lecoq paused. He seemed to have heard some unexpected noise in the garden.

"But I am not wrong. I have still another charge against the count, of which I haven't spoken, but which seems to be conclusive."

"Oh," cried the doctor, "what now?"