for her fate was bound up in his and she could not but feel the impulse to save him from the consequences of crime, if not from the crime itself.
As for the aforementioned flower, what more natural than that Frederick should have transferred it from her hair to his buttonhole during some of their interviews at the ball, and that it should have fallen from its place to the floor in the midst of his possible struggle with Batsy?
And with this assumption of her perfect knowledge as to who the man was who had entered Mrs. Webb’s house, how much easier it is to understand why she did not lift her head when she heard him descend the stairs! No woman, even one so depraved as she, would wish to see the handsome face of her lover in the glare of a freshly committed crime, and besides she might very easily be afraid of him, for a man has but a blow for the suddenly detected witness of his crime unless that witness is his confidant, which from every indication Sweetwater felt bound to believe Amabel was not.
Her flight to the Zabel cottage, after an experience which would madden most women, can now be understood. She was still following her lover. The plan of making Agatha’s old and wretched friend amenable for her death originated with Frederick and not with Amabel. It was he who first started for the Zabel cottage. It was he who left the bank bill there. This is all clear, and even the one contradictory fact of the dagger having been seen in the old man’s hand was not a stumbling-block to Sweetwater. With the audacity of one confident of his own insight, he explained it to himself thus: The dagger thrown from the window by the assassin, possibly because he knew of Zabel’s expected visit there that night, fell on the grass and was picked up by Amabel, only to be flung down again in the brightest part of the lawn. It was lying there then, when, a few minutes later and before either Frederick or Amabel had left the house, the old man entered the yard in a state of misery bordering on frenzy. He and his brother were starving, had been starving for days. He was too proud to own his want, and too loyal to his brother to leave him for the sake of the food prepared for them both at Agatha’s house, and this was why he had hesitated over his duty till this late hour, when his own secret misery or, perhaps, the hope of relieving his brother drove him to enter the gate he had been accustomed to see open before him in glad hospitality. He finds the lights burning in the house above and below, and encouraged by the welcome they seem to hold out, he staggers up the path, ignorant of the tragedy which was at that very moment being enacted behind those lighted windows. But half-way toward the house he stops, the courage which has brought him so far suddenly fails, and in one of those quick visions which sometimes visit men in extremity, he foresees the astonishment which his emaciated figure is likely to cause in these two old friends, and burying his face in his hands he stops and bitterly communes with himself before venturing farther. Fatal stop! fatal communing! for as he stands there he sees a dagger, his own old dagger, how lost or how found he probably did not stop to ask, lying on the grass and offering in its dumb way suggestions as to how he might end this struggle without any further suffering. Dizzy with the new hope, preferring death to the humiliation he saw before him in Agatha’s cottage, he dashes out of the yard, almost upsetting Mr. Crane, who was passing by on his homeward way from an errand of mercy. A little while later Amabel comes upon him lying across his own doorstep. He has made an effort to enter, but his long walk and the excitement of this last bitter hour have been too much for him. As she watches him he gains strength and struggles to his feet, while she, aghast at the sight of the dagger she had herself flung down in Agatha’s yard, and dreading the encounter between this old man and the lover she had been following to this place, creeps around the house and looks into the first window she finds open. What does she expect to see? Frederick brought face to face with this desperate figure with its uplifted knife. But instead of that she beholds another old man seated at a table and—Amabel had paused when she reached that AND—and Sweetwater had not then seen how important this pause was, but now he understood it. Now he saw that if she had not had a subtle purpose in view, that if she had wished to tell the truth rather than produce false inferences in the minds of those about her calculated to save the criminal as she called him, she would have completed her sentence thus: “I saw an old man seated at a table and Frederick Sutherland standing over him.” For Sweetwater had no longer a doubt that Frederick was in that room at that moment. What further she saw, whether she was witness to an encounter between this intruder and James, or whether by some lingering on the latter’s part Frederick was able to leave the house without running across him, was a matter of comparative unimportance. What is of importance is that he did leave it and that Amabel, knowing it was Frederick, strove to make her auditors believe it was Zabel, who carried the remainder of the money into the woods. Yet she did not say so, and if her words on this subject could be carefully recalled, one would see that it was still her lover she was following and no old man, tottering on the verge of the grave and only surviving because of the task he was bent on performing.
Amabel’s excuse for handling the treasure, and for her reburial of the same, comes now within the bounds of possibility. She hoped to share this money some day, and her greed was too great for her to let such an amount lie there untouched, while her caution led her to bury it deeper, even at the risk of the discovery she was too inexperienced to fear.
That she should forget to feign surprise when the alarm of murder was raised was very natural, and so was the fact that a woman with a soul so blunted to all delicate instincts, and with a mind so intent upon perfecting the scheme entered into by the murderer of throwing the blame upon the man whose dagger had been made use of, should persist in visiting the scene of crime and calling attention to the spot where that dagger had fallen. And so with her manner before her examiners. Baffling as that manner was, it still showed streaks of consistency, when you thought of it as the cloak of a subtle, unprincipled woman, who sees amongst her interlocutors the guilty man whom by a word she can destroy, but whom she exerts herself to save, even at the cost of a series of bizarre explanations. She was playing with a life, a life she loved, but not with sincerity sufficient to rob the game of a certain delicate, if inconceivable, intellectual enjoyment. 1
And Frederick? Had there been anything in his former life or in his conduct since the murder to give the lie to these heavy doubts against him? On the contrary. Though Sweetwater knew little of the dark record which had made this young man the disgrace of his family, what he did know was so much against him that he could well see that the distance usually existing between simple dissipation and desperate crime might be easily bridged by some great necessity for money. Had there been such a necessity? Sweetwater found it easy to believe so. And Frederick’s manner? Was it that of an honest man simply shocked by the suspicions which had fallen upon the woman he loved? Had he, Sweetwater, not observed certain telltale moments in his late behaviour that required a deeper explanation even than this?
The cry, for instance, with which he had rushed from the empty ballroom into the woods on the opposite side of the road! Was it a natural cry or an easily explainable one? “Thank God! this terrible night is over!” Strange language to be uttered by this man at such a time and in such a place, if he did not already know what was to make this night of nights memorable through all this region. He did know, and this cry which had struck Sweetwater strangely at the time and still more strangely when he regarded it simply as a coincidence, now took on all the force of a revelation and the irresistible bubbling up in Frederick’s breast of that remorse which had just found its full expression on Agatha’s grave.
To some that remorse and all his other signs of suffering might be explained by his passion for the real criminal. But to Sweetwater it was only too evident that an egotist like Frederick Sutherland cannot suffer for another to such an extent as this, and that a personal explanation must be given for so personal a grief, even if that explanation involves the dreadful charge of murder.
It was when Sweetwater reached this point in his reasoning that Frederick disappeared beneath Mr. Halliday’s porch, and Mr. Sutherland came up behind him. After the short conversation in which Sweetwater saw his own doubts more than reflected in the uneasy consciousness of this stricken father, he went home and the struggle of his life began.
Chapter XXII.
Sweetwater Acts
Sweetwater