The Hollow Needle; Further adventures of Arsene Lupin. Leblanc Maurice
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it!"
"I have no proof to give. A picture is false because it is false; and I consider that it is not even necessary to examine these four."
M. Filleul and Ganimard exchanged glances of unconcealed astonishment. The inspector no longer thought of withdrawing. At last, the magistrate muttered:
"We must have M. de Gesvres's opinion."
And Ganimard agreed:
"Yes, we must have his opinion."
And they sent to beg the count to come to the drawing room.
The young sixth-form pupil had won a real victory. To compel two experts, two professionals like M. Filleul and Ganimard to take account of his surmises implied a testimony of respect of which any other would have been proud. But Beautrelet seemed not to feel those little satisfactions of self-conceit and, still smiling without the least trace of irony, he placidly waited.
M. de Gesvres entered the room.
"Monsieur le Comte," said the magistrate, "the result of our inquiry has brought us face to face with an utterly unexpected contingency, which we submit to you with all reserve. It is possible—I say that it is possible—that the burglars, when breaking into the house, had it as their object to steal your four pictures by Rubens—or, at least, to replace them by four copies—copies which are said to have been made last year by a painter called Charpenais. Would you be so good as to examine the pictures and to tell us if you recognize them as genuine?"
The count appeared to suppress a movement of annoyance, looked at Isidore Beautrelet and at M. Filleul and replied, without even troubling to go near the pictures:
"I hoped, Monsieur le Juge d'Instruction, that the truth might have remained unknown. As this is not so, I have no hesitation in declaring that the four pictures are false."
"You knew it, then?"
"From the beginning."
"Why didn't you say so?"
"The owner of a work is never in a hurry to declare that that work is not—or, rather, is no longer genuine."
"Still, it was the only means of recovering them."
"I consider that there was another and a better."
"Which was that?"
"Not to make the secret known, not to frighten my burglars and to offer to buy back the pictures, which they must find more or less difficult to dispose of."
"How would you communicate with them?"
As the count did not reply, Isidore answered for him:
"By means of an advertisement in the papers. The paragraph inserted in the agony column of the Journal, the Echo de Paris and the Matin runs, 'Am prepared to buy back the pictures.'"
The count agreed with a nod. Once again, the young man was teaching his elders. M. Filleul showed himself a good sportsman.
"There's no doubt about it, my dear sir," he exclaimed. "I'm beginning to think your school-fellows were not quite wrong. By Jove, what an eye! What intuition! If this goes on, there will be nothing left for M. Ganimard and me to do."
"Oh, none of this part was so very complicated!"
"You mean to say that the rest was more so I remember, in fact, that, when we first met you seemed to know all about it. Let me see, a far as I recollect, you said that you knew the name of the murderer."
"So I do."
"Well, then, who killed Jean Daval? Is the man alive? Where is he hiding?"
"There is a misunderstanding between us, Monsieur le Juge d'Instruction, or, rather, you have misunderstood the facts from the beginning The murderer and the runaway are two distinct persons."
"What's that?" exclaimed M. Filleul. "The man whom M. de Gesvres saw in the boudoir and struggled with, the man whom the young ladies saw in the drawing-room and whom Mlle. de Saint-Veran shot at, the man who fell in the park and whom we are looking for: do you suggest that he is not the man who killed Jean Daval?"
"I do."
"Have you discovered the traces of a third accomplice who disappeared before the arrival of the young ladies?"
"I have not."
"In that case, I don't understand.—Well, who is the murderer of Jean Daval?"
"Jean Daval was killed by—"
Beautrelet interrupted himself, thought for a moment and continued:
"But I must first show you the road which I followed to arrive at the certainty and the very reasons of the murder—without which my accusation would seem monstrous to you.—And it is not—no, it is not monstrous at all.—There is one detail which has passed unobserved and which, nevertheless, is of the greatest importance; and that is that Jean Daval, at the moment when he was stabbed, had all his clothes on, including his walking boots, was dressed, in short, as a man is dressed in the middle of the day, with a waistcoat, collar, tie and braces. Now the crime was committed at four o'clock in the morning."
"I reflected on that strange fact," said the magistrate, "and M. de Gesvres replied that Jean Daval spent a part of his nights in working."
"The servants say, on the contrary, that he went to bed regularly at a very early hour. But, admitting that he was up, why did he disarrange his bedclothes, to make believe that he had gone to bed? And, if he was in bed, why, when he heard a noise, did he take the trouble to dress himself from head to foot, instead of slipping on anything that came to hand? I went to his room on the first day, while you were at lunch: his slippers were at the foot of the bed. What prevented him from putting them on rather than his heavy nailed boots?"
"So far, I do not see—"
"So far, in fact, you cannot see anything, except anomalies. They appeared much more suspicious to me, however, when I learned that Charpenais the painter, the man who copied the Rubens pictures, had been introduced and recommended to the Comte de Gesvres by Jean Daval himself."
"Well?"
"Well, from that to the conclusion that Jean Daval and Charpenais were accomplices required but a step. I took that step at the time of our conversation."
"A little quickly, I think."
"As a matter of fact, a material proof was wanted. Now I had discovered in Daval's room, on one of the sheets of the blotting-pad on which he used to write, this address: 'Monsieur A.L.N., Post-office 45, Paris.' You will find it there still, traced the reverse way on the blotting-paper. The next day, it was discovered that the telegram sent by the sham flyman from Saint-Nicolas bore the same address: 'A.L.N., Post-office 45.' The material proof existed: Jean Daval was in correspondence with the gang which arranged the robbery of the pictures."
M. Filleul raised no objection.
"Agreed. The complicity is established. And what conclusion do you draw?"
"This, first of all, that it was not the runaway who killed Jean Daval, because Jean Daval was his accomplice."
"And after that?"
"Monsieur le Juge d'Instruction, I will ask you to remember the first sentence uttered by Monsieur le Comte when he recovered from fainting. The sentence forms part of Mlle. de Gesvres' evidence and is in the official report: 'I am not wounded.—Daval?—Is he alive?—The knife?' And I will ask you to compare it with that part of his story, also in the report, in which Monsieur le Comte describes the assault: 'The man leaped at me and felled me with a blow on the temple!' How could M. de Gesvres, who had fainted, know, on waking, that Daval had been stabbed with a knife?"
Isidore Beautrelet did not wait for an answer to his question. It seemed as though he were in a hurry to give the answer himself and to avoid all comment. He continued straightway:
"Therefore it was Jean Daval who brought the three burglars to the drawing room. While he was there with the one whom they call their chief, a noise was heard in the boudoir. Daval opened the door. Recognizing M. de Gesvres, he rushed at him, armed with the knife. M. de Gesvres succeeded in snatching the knife from him, struck him with it and himself fell,