“Hist!” suddenly says Chamounix the ragpicker, who is worth 20,000,000 francs, “someone comes!”
The cellar door opened and a man crept softly down the rickety steps. The crowd watches him with silent awe.
He went to the bar, laid his card on the counter, bought a drink of absinthe, and then drawing from his pocket a little mirror, set it up on the counter and proceeded to don a false beard and hair and paint his face into wrinkles, until he closely resembled an old man seventy-one years of age.
He then went into a dark corner and watched the crowd of people with sharp, ferret-like eyes.
Gray Wolf slipped cautiously to the bar and examined the card left by the newcomer.
“Holy Saint Bridget!” he exclaims. “It is Tictocq, the detective.”
Ten minutes later a beautiful woman enters the cellar. Tenderly nurtured, and accustomed to every luxury that money could procure, she had, when a young vivandière at the Convent of Saint Susan de la Montarde, run away with the Gray Wolf, fascinated by his many crimes and the knowledge that his business never allowed him to scrape his feet in the hall or snore.
“Parbleu, Marie,” snarls the Gray Wolf. “Que voulez vous? Avez-vous le beau cheval de mon frère, oule joli chien de votre père?”
“No, no, Gray Wolf,” shouts the motley group of assassins, rogues and pickpockets, even their hardened hearts appalled at his fearful words. “Mon Dieu! You cannot be so cruel!”
“Tiens!” shouts the Gray Wolf, now maddened to desperation, and drawing his gleaming knife. “Voilà! Canaille! Tout le monde, carte blanche enbonpoint sauve que peut entre nous revenez nous a nous moutons!”
The horrified sans-culottes shrink back in terror as the Gray Wolf seizes Maria by the hair and cuts her into twenty-nine pieces, each exactly the same size.
As he stands with reeking hands above the corpse, amid a deep silence, the old, gray-bearded man who has been watching the scene springs forward, tears off his false beard and locks, and Tictocq, the famous French detective, stands before them.
Spellbound and immovable, the denizens of the cellar gaze at the greatest modern detective as he goes about the customary duties of his office.
He first measures the distance from the murdered woman to a point on the wall, then he takes down the name of the bartender and the day of the month and the year. Then drawing from his pocket a powerful microscope, he examines a little of the blood that stands upon the floor in little pools.
“Mon Dieu!” he mutters, “it is as I feared—human blood.”
He then enters rapidly in a memorandum book the result of his investigations, and leaves the cellar.
Tictocq bends his rapid steps in the direction of the headquarters of the Paris gendarmerie, but suddenly pausing, he strikes his hand upon his brow with a gesture of impatience.
“Mille tonnerre,” he mutters. “I should have asked the name of that man with the knife in his hand.”
It is reception night at the palace of the Duchess Valerie du Bellairs.
The apartments are flooded with a mellow light from paraffine candles in solid silver candelabra.
The company is the most aristocratic and wealthy in Paris.
Three or four brass bands are playing behind a portière between the coal shed, and also behind time. Footmen in gay-laced livery bring in beer noiselessly and carry out apple-peelings dropped by the guests.
Valerie, seventh Duchess du Bellairs, leans back on a solid gold ottoman on eiderdown cushions, surrounded by the wittiest, the bravest, and the handsomest courtiers in the capital.
“Ah, madame,” said the Prince Champvilliers, of Palais Royale, corner of Seventy-third Street, “as Montesquiaux says, ‘Rien de plus bon tutti frutti’—Youth seems your inheritance. You are tonight the most beautiful, the wittiest in your own salon. I can scarce believe my own senses, when I remember that thirty-one years ago you—”
“Saw it off!” says the Duchess peremptorily.
The Prince bows low, and drawing a jewelled dagger, stabs himself to the heart.
“The displeasure of your grace is worse than death,” he says, as he takes his overcoat and hat from a corner of the mantelpiece and leaves the room.
“Voilà,” says Bèebè Francillon, fanning herself languidly. “That is the way with men. Flatter them, and they kiss your hand. Loose but a moment the silken leash that holds them captive through their vanity and self-opinionativeness, and the son-of-a-gun gets on his ear at once. The devil go with him, I say.”
“Ah, mon Princesse,” sighs the Count Pumpernickel, stooping and whispering with eloquent eyes into her ear. “You are too hard upon us. Balzac says, ‘All women are not to themselves what no one else is to another.’ Do you not agree with him?”
“Cheese it!” says the Princess. “Philosophy palls upon me. I’ll shake you.”
“Hosses?” says the Count.
Arm and arm they go out to the salon au Beurre.
Armande de Fleury, the young pianissimo danseuse from the Folies Bergère is about to sing.
She slightly clears her throat and lays a voluptuous cud of chewing gum upon the piano as the first notes of the accompaniment ring through the salon.
As she prepares to sing, the Duchess du Bellairs grasps the arm of her ottoman in a vice-like grip, and she watches with an expression of almost anguished suspense.
She scarcely breathes.
Then, as Armande de Fleury, before uttering a note, reels, wavers, turns white as snow and falls dead upon the floor, the Duchess breathes a sigh of relief.
The Duchess had poisoned her.
Then the guests crowd about the piano, gazing with bated breath, and shuddering as they look upon the music rack and observe that the song that Armande came so near singing is “Sweet Marie.”
Twenty minutes later a dark and muffled figure was seen to emerge from a recess in the mullioned wall of the Arc de Triomphe and pass rapidly northward.
It was no other than Tictocq, the detective.
The network of evidence was fast being drawn about
