Madam, in your eyes the more important of the two, because all the rest belongs to the past.
"Let us state the facts precisely. Three weeks ago, on one of those rare occasions when you consented to break through the praiseworthy monotony of your existence, on a Thursday evening when you took your assistants to a cinema-theatre, you were struck by a really incomprehensible detail. The principal film, entitled 'A Breton Legend,' represented a scene which occurred, in the course of a pilgrimage, outside a little deserted road-side hut which had nothing to do with the action. The hut was obviously there by accident. But something really extraordinary attracted your attention. On the tarred boards of the old door were three letters, drawn by hand: 'V. d'H.,' and those three letters were precisely your signature before you were married, the initials with which you used to sign your intimate letters and which you have not used once during the last fourteen years! Véronique d'Hergemont! There was no mistake possible. Two capitals separated by the small 'd' and the apostrophe. And, what is more, the bar of the letter 'H.', carried back under the three letters, served as a flourish, exactly as it used to do with you!
"It was the stupefaction due to this surprising coincidence that decided you, Madam, to invoke my assistance. It was yours without the asking. And you knew, without any telling, that it would be effective.
"As you anticipated, Madam, I have succeeded. And here again I will be brief.
"What you must do, Madam, is to take the night express from Paris which brings you the next morning to Quimperlé. From there, drive to Le Faouet. If you have time, before or after your luncheon, pay a visit to the very interesting Chapel of St. Barbe, which stands perched on the most fantastic site and which gave rise to the 'Breton Legend' film. Then go along the Quimper road on foot. At the end of the first ascent, a little way short of the parish-road which leads to Locriff, you will find, in a semicircle surrounded by trees, the deserted hut with the inscription. It has nothing remarkable about it. The inside is empty. It has not even a floor. A rotten plank serves as a bench. The roof consists of a worm-eaten framework, which admits the rain. Once more, there is no doubt that it was sheer accident that placed it within the range of the cinematograph. I will end by adding that the 'Breton Legend' film was taken in September last, which means that the inscription is at least eight months old.
"That is all, Madam. My two commissions are completed. I am too modest to describe to you the efforts and the ingenious means which I employed in order to accomplish them in so short a time, but for which you will certainly think the sum of five hundred francs, which is all that I propose to charge you for the work done, almost ridiculous.
"I beg to remain,
"Madam, &c."
Véronique folded up the letter and sat for a few minutes turning over the impressions which it aroused in her, painful impressions, like all those revived by the horrible days of her marriage. One in particular had survived and was still as powerful as at the time when she tried to escape it by taking refuge in the gloom of a convent. It was the impression, in fact the certainty, that all her misfortunes, the death of her father and the death of her son, were due to the fault which she had committed in loving Vorski. True, she had fought against the man's love and had not decided to marry him until she was obliged to, in despair and to save M. d'Hergemont from Vorski's vengeance. Nevertheless, she had loved that man. Nevertheless, at first, she had turned pale under his glance: and this, which now seemed to her an unpardonable example of weakness, had left her with a remorse which time had failed to weaken.
"There," she said, "enough of dreaming. I have not come here to shed tears."
The craving for information which had brought her from her retreat at Besançon restored her vigour; and she rose resolved to act.
"A little way short of the parish-road which leads to Locriff.. a semicircle surrounded by trees," said Dutreillis' letter. She had therefore passed the place. She quickly retraced her steps and at once perceived, on the right, the clump of trees which had hidden the cabin from her eyes. She went nearer and saw it.
It was a sort of shepherd's or road-labourer's hut, which was crumbling and falling to pieces under the action of the weather. Véronique went up to it and perceived that the inscription, worn by the rain and sun, was much less clear than on the film. But the three letters were visible, as was the flourish; and she even distinguished, underneath, something which M. Dutreillis had not observed, a drawing of an arrow and a number, the number 9.
Her emotion increased. Though no attempt had been made to imitate the actual form of her signature, it certainly was her signature as a girl. And who could have affixed it there, on a deserted cabin, in this Brittany where she had never been before?
Véronique no longer had a friend in the world. Thanks to a succession of circumstances, the whole of her past girlhood had, so to speak, disappeared with the death of those whom she had known and loved. Then how was it possible for the recollection of her signature to survive apart from her and those who were dead and gone? And, above all, why was the inscription here, at this spot? What did it mean?
Véronique walked round the cabin. There was no other mark visible there or on the surrounding trees. She remembered that M. Dutreillis had opened the door and had seen nothing inside. Nevertheless she determined to make certain that he was not mistaken.
The door was closed with a mere wooden latch, which moved on a screw. She lifted it; and, strange to say, she had to make an effort, not a physical so much as a moral effort, an effort of will, to pull the door towards her. It seemed to her that this little act was about to usher her into a world of facts and events which she unconsciously dreaded.
"Well," she said, "what's preventing me?"
She gave a sharp pull.
A cry of horror escaped her. There was a man's dead body in the cabin. And, at the moment, at the exact second when she saw the body, she became aware of a peculiar characteristic: one of the dead man's hands was missing.
It was an old man, with a long, grey, fan-shaped beard and long white hair falling about his neck. The blackened lips and a certain colour of the swollen skin suggested to Véronique that he might have been poisoned, for no trace of an injury showed on his body, except the arm, which had been severed clean above the wrist, apparently some days before. His clothes were those of a Breton peasant, clean, but very threadbare. The corpse was seated on the ground, with the head resting against the bench and the legs drawn up.
These were all things which Véronique noted in a sort of unconsciousness and which were rather to reappear in her memory at a later date, for, at the moment, she stood there all trembling, with her eyes staring before her, and stammering:
"A dead body!.. A dead body!."
Suddenly she reflected that she was perhaps mistaken and that the man was not dead. But, on touching his forehead, she shuddered at the contact of his icy skin.
Nevertheless this movement roused her from her torpor. She resolved to act and, since there was no one in the immediate neighbourhood, to go back to Le Faouet and inform the authorities. She first examined the corpse for any clue which could tell her its identity.
The pockets were empty. There were no marks on the clothes or linen. But, when she shifted the body a little in order to make her search, it came about that the head drooped forward, dragging with it the trunk, which fell over the legs, thus uncovering the lower side of the bench.
Under this bench, she perceived a roll consisting of a sheet of very thin drawing-paper, crumpled, buckled and almost wrung into a twist. She picked up the roll and unfolded it. But she had not finished doing so before her hands began to tremble and she stammered:
"Oh, God!.. Oh, my God!."
She summoned all her energies to try and enforce upon herself the calm needed to look with eyes that could see and a brain that could understand.
The most that she could do was to stand there for a few seconds. And during those few seconds, through an ever-thickening mist that seemed to shroud her eyes, she was able to make out a drawing in red, representing four women crucified on four tree-trunks.
And, in the foreground, the first woman, the central figure, with the body stark under its clothing and the features distorted with the most dreadful