“What do you want?” Roger asked, heavily.
“I want you to get some facts straight. Don’t you remember going to Paris? Don’t you remember going to the cottage?”
“I haven’t been to Paris for over a year.”
“You could have seen her then.”
“I didn’t see her. I’ve never seen her before.”
The man drew nearer.
“West, you don’t seem to realize your position. You went to Paris and saw that girl—the camera doesn’t lie, the film is here, a copy of it can be sent to Scotland Yard. You went to Copse Cottage, you were alone there when the girl was killed. You appeared to be someone other than yourself—to fool the police. You were rescued by friends, who nearly killed a police-constable. Your colleagues at the Yard think you killed the girl. The evidence is so strong. That film, proving that you knew her before and had an affaire with her, gives you a motive. You met her by assignation in a lonely country cottage. You arranged that someone should telephone the Yard with a faked message, pretending to come from your wife, but you didn’t realize that your wife would deny having sent such a message. You thought you’d get safely home and no one would suspect you, didn’t you? But you didn’t have the
Roger said: “One of us is crazy.”
“No one at Scotland Yard would believe that you’re crazy. You’re too well known, too clever. This has all the hall-marks of a crafty crime—the kind of crime that a man who knows the law might commit. You’re a policeman.” The voice maintained its monotonous level, there was no sneer, no hint of a gloating smile, it was just factual. “You know how the police build up their cases, you’ve often collected the evidence to send a man to the gallows. You’ve briefed the prosecuting counsel a hundred times. Imagine him being briefed with all this evidence! That you once went to Paris; that this girl is French; that you saw her there; that she came to England and threatened to break up your home life; that you planned to meet her and to kill her, to save your domestic life from collapse. Don’t just tell me that you didn’t do it. West, tell me what you think a prosecuting counsel would make of it.”
Roger said: “In every trial, there’s a defending counsel, too.”
“I’ll leave you to think it over,” said the man abruptly. He put his hand to his pocket, pulled out an envelope and tossed it into Roger’s lap. He turned towards the door, and as he went out of the room the shutter began to fold up, and sunlight came in through the window again.
Roger fingered the large envelope, which seemed to have several folded papers inside. He groped for another cigarette. His hand was unsteady when he took the contents from the envelope. There were three smaller envelopes, each of them stamped with a French stamp; each with a Paris postmark, each with a blue sticker reading Par Avion, each addressed to Arthur King, at 18 Sedgley Road, Kingston-on-Thames. The writing was large and feminine, the ink bright blue. He took out the first letter, and the words which flew up at him were: “My darling Arthur—”
The writing was the same as on the envelope. The address was simply: Paris, with the date. He scanned the first. It was a love letter, as from a woman pouring out her heart. It was a good letter, written in fair English with a few odd turns of phrase, and an occasional word or expression in French; the signature was “Lucille.” There was a postcript: “Soon, I must see you, when can you come?”
He opened the second letter, dated two weeks afterwards, and the first words were the same, and then it went on with a fierce directness which shook him badly. “I am coming to see you. Yes! I am able to come to London, very soon. I am delirious with the delight of it. Cheri . . .”
The third letter was very brief; she would be in England on Saturday, March 12, and he was to write to her at the Oxford Palace Hotel, London, to say when and where he could meet her.
* * * *
He could tear the letters up and be no better off. They would have anticipated that, would have photostat copies, and there would be other letters, too, not just these three. Letters addressed to Arthur King, and passionately written. Put these into the hands of the prosecuting counsel together with everything else, and no jury in the country would acquit him. The film was faked. It wasn’t hard for experts to fake a film, and it might be possible to get other experts to testify that it had been faked, that one had been placed upon another—but by itself that wouldn’t be a defence. He had been superimposed on the picture; that was all—a simple technical problem. Someone had photographed him, taken away the background—or it needn’t be a faked film! Make-up could create features like his for the purposes of a film.
He went back to his chair and read the letters through again and felt something of the passion in them and knew one thing; Lucille had been in love with the man to whom she had written. They weren’t faked; they had a quality which reflected sincerity. So Lucille had had a lover, and had come to London to see him.
Who was the lover?
The man with the fiery eyes?
* * * *
The man came in again.
* * * *
Roger really saw him, this time. Apart from his eyes there was nothing remarkable about him. He had a thin face, not ugly, not handsome—a vague kind of face. His lips were unusually well-shaped and red. He had brown hair, brushed straight back from a high forehead, with a wide centre parting. He was dressed well in dark grey, but apart from those eyes, he was just an ordinary man. He walked easily, smiled, and sat down.
“Have you read them?”
“Yes.”
“Have you asked yourself what a prosecuting counsel would say?”
“The defence would want proof that the letters were addressed to me.”
“Oh, they’d have proof. Admirable proof. From two or three blameless people who would swear that you often went to 18 Sedgley Road to collect these letters—irreproachable witnesses. West. Do you like it?”
Roger said: “Not much. When are you going to tell me what it’s all about?”
The man laughed—as lightly as if this were a normal conversation, and Roger had made some casual quip.
“Now you’re being sensible,” he said. “You’re half-way towards doing a deal. Before you’ve finished you’ll have to come all the way, because it’s the only thing that will save your neck from being stretched. I’ll tell you, later, possibly to-morrow. I’ve one or two other items of information for you. This house is a private asylum. You’re not the only borderline case they’ve had here. The doctor, like those witnesses, is irreproachable. The staff is thoroughly trained. Some time ago, a Mr. King was brought here by his friends, because he was a psychopathic case and given to moods of violence. He received treatment for a few days and was released. He came back once, before this week. He came when you were away from the Yard on special jobs, and you would have great difficulty in proving you had been somewhere else. He was a fair-haired man, who might be mistaken for you. The only two members of the staff who really saw him at close quarters and could be sure it wasn’t you, were the male nurse who shaves you and the doctor. Your own nurse never saw him—nice girl, isn’t she? She’s very sorry for you. She thinks that you’ve committed some violent crime and are under the proper treatment. The doctor who is prescribing for you will swear that Arthur King and you are one and the same. The theory will be, of course, that as Roger West you knew something was going wrong with your mind, you called yourself King and submitted to treatment. Now the defending counsel might make something of that, but—think what the prosecutor would say.”