A portion of the treacherous suspects being held in our prisons have been eliminated by the people, vigilant in the cause of freedom; and it is certain that the entire nation, driven to desperate measures by continuous conspiracies, will be inspired to pursue the same course. All will cry out with one voice: Our soldiers who go to fight the enemy must be secure in the knowledge that they do not leave thieves and murderers behind them, to prey upon their helpless wives and children.
It was signed by Marat and others. The cardboard was severely weatherworn in places, a reminder that Marat had been assassinated almost a year ago, a long time indeed when one was measuring the pace of Revolutionary events. Many of the other signatures were illegible.
I felt a chill of foreboding on behalf of Radcliffe—and for my vow that I would save his life. I would have to act with dispatch to free my benefactor, who might well face not only the threat of la mechanique, but the less predictable chance of another wave of prisoner-slaughtering by mobs.
But of course my first step must be to learn exactly where the unlucky wretch was being held. There were more than a dozen prisons now in the metropolitan area of Paris, with new ones being improvised, as it seemed, almost daily, and prisoners sometimes shuttled from one to another. I might conceivably search for days without finding the man I sought.
It was one of those times when the demands of honor grip a man like a migraine headache, an undeserved punishment from which there can be no escape. I had as yet no evidence that Radu was out to frustrate my purpose, or even that he was aware of Radcliffe's arrest or of my commitment to the American's welfare. But where Radu is concerned it is always wisest to assume the worst.
Several hours passed before I saw the silver lining of the cloud: It dawned on me that I might be able to use Radcliffe as bait to trap Radu.
* * *
I had tried several methods, including hypnosis, of interrogating Old Jules. But even so the willing and faithful servant could do little more than blubber helplessly. I could not extract from him information which was not in his possession. He had no idea to which prison his newly adopted Citizen Master had been taken.
It began to look as if I might be forced to look through all of the rapidly proliferating Parisian prisons cell by cell, a procedure which would take days, days my client probably could not spare. Unless I could find some shortcut, magical or otherwise. I might have attempted some variety of sorcery, had I had in my possession anything—a piece of clothing, a lock of hair—which had been in close personal contact with Philip. But nothing of the kind was available.
My thoughts next turned to the young woman, Melanie Remain, who obviously had some fairly close relationship with the man I was determined to protect. I did not really believe that they were simply old friends, as she had claimed. And now I regretted my carelessness in failing to find out more about her when I had had the chance.
I thought about her. About Melanie Remain, the practical, kindly doctor's daughter, whose mysterious job required her to work in a churchyard in the dead of night, briskly doing inexplicable things with freshly decapitated heads. She had told me that the older woman who shared her midnight labors was her teacher, Marie Grosholtz… but her teacher in what craft or art?
Of one thing I was certain, having had my knowledge confirmed by Old Jules: Melanie had accompanied Radcliffe to Paris. And the elderly servant, after their party had reached the city, had heard Melanie give the young man the same Parisian address I had happened to overhear—Number 20, Boulevard du Temple.
Well, the key to what success I enjoy usually lies in instincts and hunches, not in logic. It is somewhere away from the paths of science and reason that I will find my salvation, if I ever do. I might have taken other pathways to attempt to locate my savior in his own hour of need; but somehow this one beckoned.
Looking for the address, I made my way on foot at dusk along the tree-lined boulevard, passing the building which had housed the once-famous English circus, now shuttered and apparently fallen on hard times. A number of theaters were in the same neighborhood.
The establishment I was seeking turned out to be a large house, three stories high, with a covered porch in front. The building fronted closely on the street but possessed spacious grounds in the rear. On the front of the house a sign, large and brightly painted but with a certain dignity, announced an enterprise headed by Dr. Curtius: a wax museum.
And at last, belatedly, comprehension came.
Not wishing particularly to be observed, since it was by then after public viewing hours at the Cabinet du Cire, I entered the grounds at the rear. The habitation effect proved too weak to prevent my uninvited entrance to the museum portion of the building, though no doubt the actual living quarters would have been denied me.
Moments later, rummaging about at random, I found myself inside a locked and otherwise deserted storeroom. Here light was almost nonexistent, yet for my eyes quite adequate.
There I paused, marveling. I had thought that, after three hundred years of life, there was no longer much in the world that could surprise me. But I had been wrong.
Of course, after only a moment's shock, I understood what the figures were. But still they were surprising. The lopped-off heads of Louis XVI and his queen, Marie Antoinette, were looking at me from a shelf. Some eyeblink fraction of a second passed before I was entirely sure that they were only wax, glass-eyed and painted with great realism.
The modeled heads of royalty, in keeping with the times, were stored in an inconspicuous position on a low shelf. Other celebrities of the past, great and small, were stacked until their time should come again; and the elaborate costumes usually worn by many of these figures had, as I discovered later, been folded away and locked in trunks. A few were stored hanging up, and thus were easier to see. The most popular feature of the museum, to judge by the amount of space allotted, in notices and on the floor, was the Caverne des Grands Voleurs, a display of images of executed criminals.
A great many visitors of all kinds came through the museum every day that it was open. It was evidently nothing unusual for some of the customers to wander into the adjoining work areas and semidetached living quarters. None of the residents or workers were particularly surprised this early in the evening, so soon after closing time, to see a stranger poking about in their midst.
Politely I enquired of several workers for Melanie Remain, but for my trouble received only shrugs and thoughtful looks conveying cautious ignorance.
Attracted by a peculiar, small, mechanical noise issuing from a kind of workyard behind the house, I turned my steps in that direction. A moment later my eye fell upon the small form of a ten-year-old boy, raggedly clad in appropriate Revolutionary style, who was sitting by himself in a small veranda just outside the main building. I noted at once that the lad's features displayed an arresting resemblance to those of the woman I was trying to find. The likeness was so definite that I felt sure at once it was not accidental.
Casually I strolled in his direction, and observed what he was playing with. Or perhaps I should say, more accurately, what he was working on.
In the small model machine there lay a small wax doll, clumsily made from scraps by his own childish fingers, standing by in an attitude of sturdy indifference, ready to be beheaded. Whatever the lad's talents were to be in life, I thought, sculpture did not seem to be among them.