drigues
An Artist in Crime
CHAPTER I.
A GENTLEMAN THINKS HE CAN COMMIT A CRIME AND ESCAPE DETECTION
"Jack Barnes never gets left, you bet."
"That was a close call, though," replied the Pullman porter who had given Mr. Barnes a helping hand, in his desperate effort to board the midnight express as it rolled out of Boston. "I wouldn't advise you to jump on moving trains often."
"Thank you for your good advice, and for your assistance. Here's a quarter for you. Show me to my section, I am nearly dead, I am so tired."
"Upper ten, right this way, sir. It is all ready for you to turn in."
When Mr. Barnes entered the coach, no one was in sight. If there were other passengers, they were abed. A few minutes later, he himself was patting two little bags of feathers, and placing one atop of the other in a vain attempt to make them serve as one pillow. He had told the porter that he was tired, and this was so true that he should have fallen asleep quickly. Instead, his brain seemed specially active, and sleep impossible.
Mr. Barnes, Jack Barnes, as he called himself to the porter, was a detective, and counted one of the shrewdest in New York, where he controlled a private agency established by himself. He had just completed what he considered a most satisfactory piece of work. A large robbery had been committed in New York, and suspicion of the strongest nature had pointed in the direction of a young man who had immediately been arrested. For ten days the press of the country had been trying and convicting the suspect, during which time Mr. Barnes had quietly left the Metropolis. Twelve hours before we met him, those who read the papers over their toast had been amazed to learn that the suspect was innocent, and that the real criminal had been apprehended by the keen-witted Jack Barnes. What was better, he had recovered the lost funds, amounting to thirty thousand dollars.
He had had a long chase after his man, whom he had shadowed from city to city and watched day and night, actuated to this course by a slight clue in which he had placed his faith. Now, his man fast in a Boston prison, he was on his way to New York for requisition papers. As he had said, he was tired, yet despite his need of complete rest his thoughts persisted in rehearsing all the intricate details of the reasoning which had at last led him to the solution of the mystery. As he lay in his upper berth awake these words reached his ears:
"If I knew that man Barnes was after me, I should simply surrender."
This promised to be the beginning of an entertaining conversation, and as he could not sleep, Mr. Barnes prepared to listen. Extensive experience as a detective had made him long ago forget the philosophic arguments for and against eavesdropping. The voice which had attracted him was low, but his ears were keen. He located it as coming from the section next ahead of his, number eight. A second voice replied:
"I have no doubt that you would. But I wouldn't. You overestimate the ability of the modern detective. I should actually enjoy being hounded by one of them. It would be so much pleasure, and I think so easy, to elude him."
The last speaker possessed a voice which was musical, and he articulated distinctly, though he scarcely ventured above a loud whisper. Mr. Barnes cautiously raised his head, arranging his pillows so that his ear would be near the partition. Fortunately, the two men next to him had taken the whole section, and the upper berth had been allowed to remain closed. Mr. Barnes now found that he could readily follow the conversation, which continued thus:
"But see how that Barnes tracked this Pettingill day and night until he had trapped him. Just as the fellow supposed himself safe, he was arrested. You must admit that was clever work."
"Oh, yes, clever enough in its way, but there was nothing specially artistic about it. Not that the detective was to blame; it was the fault of the criminal. There was no chance for the artistic." Yet Mr. Barnes had used that very adjective to himself in commenting upon his conduct of this case. The man continued: "The crime itself was inartistic. Pettingill bungled, Barnes was shrewd enough to detect the flaw, and with his experience and skill in such cases the end was inevitable."
"It seems to me either that you have not read the full account of the case, or else you do not appreciate the work of the detective. Why, all the clue he had was a button."
"Ah! Only a button – but such a button! That is where I say that the criminal was inartistic. He should not have lost that button."
"It was an accident I suppose, and one against which he could not have guarded. It was one of the exigencies of his crime."
"Exactly so; and it is these little accidents, always unforeseen, though always occurring, which hang so many, and jail so many, and give our detectives such an easy road to fame. That is the gist of the whole matter. It is an unequal game, this between the criminal and the detective."
"I don't catch what you are driving at?"
"I'll give you a dissertation on crime. Attend! In ordinary business it is brains versus brains. The professional man contends with his fellows, and if he would win the race towards fortune he must show more brains. The commercial man competes with other tradesmen all as clever as himself. So it goes from the lawyer to the locksmith, from the preacher to the sign painter. It is brains rubbing against brains, and we get the most polished thought as the result. Thus the science of honest living progresses."
"What has this to do with the criminal class?"
"One moment. Let the philosopher teach you in his own way. With the criminal it is different. He is matched against his superior. Those in his own class do not contend with him; they are rather his partners, his 'pals,' as they term it. His only contention therefore is with the detective who represents society and the law. No man, I suppose, is a criminal from choice, and it is the criminal's necessity which leads to his detection."
"Then all criminals should be caught."
"All criminals should be caught. That they are not is a strong argument against your detective; for every criminal, we may say is actuated by necessity, and therein lies the possibility of his defeat. For example: You may claim that the expert burglar lays his plans in advance, and that the crime being premeditated he should be able to make such careful pre-arrangements that he could avoid leaving tell-tale marks behind him. This, however, is rarely the case, for this reason: the unexpected often, if not always, happens, and for that he has not prepared. In a moment he sees prison ahead of him, and his fear steals away his caution, so that, as we have seen, he does leave a clue behind him."
"But when you say the unexpected happens, you admit the possibility for that to occur which could not have been premised, and therefore could not have been guarded against."
"That is true as the case stands. But remove the necessity which actuates our criminal, and make of him simply a scientific man pursuing crime as an art! In the first place, we get an individual who will prepare for more accidents, and secondly, would know how best to meet emergencies which occur during the commission of his crime. For example: if you will pardon the conceit, were I to attempt a crime I should be able to avoid detection."
"I should think that from your inexperience as a criminal you would be run to earth – well, about as quickly as this man Pettingill. This was his first crime you know."
"Would you be willing to make a wager to that effect?" This last remark fairly startled Mr. Barnes, who instantly understood the meaning, which, however, at first escaped the other listener. He waited eagerly for the reply.
"I don't grasp the idea. Make a wager about what?"
"You
