“How thrilling an actor’s dressing-room is!” exclaimed Mme. Holbord, inspecting everything in the room through her glass. “Just look at these darling little brushes! I suppose he uses those in making up? And, oh, my dear! There are actually three kinds of rouge!”
The Comtesse de Baral was fascinated by the photographs adorning the walls.
“ ‘To the admirable Valgrand from a comrade,’ ” she read in awestruck tones. “Come and look, dear, it is signed by Sarah Bernhardt! And listen to this one: ‘At Buenos Aires, at Melbourne, and New York, wherever I am I hear the praises of my friend Valgrand!’ ”
“Something like a globetrotter!” said Mme. Holbord. “I expect he belongs to the Comédie Française.”
Colonel Holbord interrupted, calling to his wife.
“Simone, come and listen to what our friend de Baral is telling me: it is really very curious.”
The young woman approached, and the Comte began again for her benefit.
“You have come back too recently from the Congo to be up to date with all our Paris happenings, and so you will not have noticed this little touch, but in the part that he created tonight Valgrand made himself up exactly like Gurn, the man who murdered Lord Beltham!”
“Gurn?” said Mme. Holbord, to whom the name did not convey much. “Oh, yes, I think I read about that: the murderer escaped, didn’t he?”
“Well, they took a long time to find him,” the Comte de Baral replied. “As usual, the police were giving up all hope of finding him, when one day, or rather one night, they did find him and arrested him; and where do you suppose that was? Why, with Lady Beltham! Yes, really: in her own house at Neuilly!”
“Impossible!” cried Simone Holbord. “Poor woman! What an awful shock for her!”
“Lady Beltham is a brave, dignified, and truly charitable woman,” said the Comtesse de Baral. “She simply worshipped her husband. And yet, she pleaded warmly for mercy for the murderer—though she did not succeed in getting it.”
“What a dreadful thing!” said Simone Holbord perfunctorily; her attention was wandering to all the other attractions in this attractive room. A pile of letters was lying on a writing-table, and the reckless young woman began to look at the envelopes. “Just look at this pile of letters!” she cried. “How funny! Every one of them in a woman’s hand! I suppose Valgrand gets all sorts of offers?”
Colonel Holbord went on talking to the Comte de Baral in a corner of the room.
“I am enormously interested in what you tell me. What happened then?”
“Well, this wretch, Gurn, was recognised by the police as he was leaving Lady Beltham’s, and was arrested and put in prison. The trial came on at the Court of Assize about six weeks ago. All Paris went to it, of course including myself! This man Gurn is a brute, but a strange brute, rather difficult to define; he swore that he had killed Lord Beltham after a quarrel, practically for the sake of robbing him, but I had a strong impression that he was lying.”
“But why else should he have committed the murder?”
The Comte de Baral shrugged his shoulders.
“Nobody knows,” he said: “politics, perhaps, nihilism, or perhaps again—love. There was one fact, or coincidence, worth noting: when Lady Beltham came home from the Transvaal after the war, during which, by the way, she did splendid work among the sick and wounded, she sailed by the same boat that was taking Gurn to England. Gurn also was a bit of a popular hero just then: he had volunteered at the beginning of the war, and came back with a sergeant’s stripes and a medal for distinguished conduct. Can Gurn and Lady Beltham have met and got to know each other? It is certain that the lady’s behaviour during the trial lent itself to comment, if not exactly to scandal. She had odd collapses in the presence of the murderer, collapses which were accounted for in very various ways. Some people said that she was half out of her mind with grief at the loss of her husband; others said that if she was mad, it was over someone, over this vulgar criminal—martyr or accomplice, perhaps. They even went so far as to allege that Lady Beltham had an intrigue with Gurn!”
“Come! come!” the Colonel protested: “a great lady like Lady Beltham, so religious and so austere? Absurd!”
“People say all sorts of things,” said the Comte de Baral vaguely. He turned to another subject. “Anyhow, the case caused a tremendous sensation; Gurn’s condemnation to death was very popular, and the case was so typically Parisian that our friend Valgrand, knowing that he was going to create the part of the murderer in this tragedy tonight, followed every phase of the Gurn trial closely, studied the man in detail, and literally identified himself with him in this character. It was a shrewd idea. You noticed the sensation when he came on the stage?”
“Yes, I did,” said the Colonel; “I wondered what the exclamations from all over the house meant.”
“Try to find a portrait of Gurn in some one of the illustrated papers,” said the Comte, “and compare it with—Ah, I think this is Valgrand coming!”
The Baronne de Vibray had tired of her conversation with the old dresser, Charlot, and had left him to take up her stand outside the dressing-room, where she greeted with nods and smiles the other actors and actresses as they hurried by on their way home, and listened to the sounds at the end of the passage. Presently a voice became distinguishable, the voice of Valgrand singing a refrain from a musical comedy. The Baronne de Vibray hurried to meet him, with both hands outstretched, and led him into his dressing-room.
“Let me present M. Valgrand!” she exclaimed, and then presented the two young women to the bowing actor: “Comtesse Marcelline de Baral, Mme. Holbord.”
“Pardon me, ladies, for keeping you waiting,” the actor said. “I was deep in conversation with the Minister. He was
