LITMIR.BIZ

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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,

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