Kitabı oku: «The Eight Strokes of the Clock», sayfa 5

Mlle. Boussignol bent her head and wept. After a moment, Rénine said:

"Your deposition agrees with the result of my investigations."

"Can I go?"

"Yes."

"And is it over, as far as I'm concerned? They won't be talking about this all over the district?"

"No. Oh, just one more question: do you know the man's name?"

"No. He didn't tell me his name."

"Have you ever seen him since?"

"Never."

"Have you anything more to say?"

"No."

"Are you prepared to sign the written text of your confession?"

"Yes."

"Very well. I shall send for you in a week or two. Till then, not a word to anybody."

He saw her to the door and closed it after her. When he returned, Jean Louis was between the two old ladies and all three were holding hands. The bond of hatred and wretchedness which had bound them had suddenly snapped; and this rupture, without requiring them to reflect upon the matter, filled them with a gentle tranquillity of which they were hardly conscious, but which made them serious and thoughtful.

"Let's rush things," said Rénine to Hortense. "This is the decisive moment of the battle. We must get Jean Louis on board."

Hortense seemed preoccupied. She whispered:

"Why did you let the woman go? Were you satisfied with her statement?"

"I don't need to be satisfied. She told us what happened. What more do you want?"

"Nothing.... I don't know...."

"We'll talk about it later, my dear. For the moment, I repeat, we must get Jean Louis on board. And immediately.... Otherwise...."

He turned to the young man:

"You agree with me, don't you, that, things being as they are, it is best for you and Madame Vaurois and Madame d'Imbleval to separate for a time? That will enable you all to see matters more clearly and to decide in perfect freedom what is to be done. Come with us, monsieur. The most pressing thing is to save Geneviève Aymard, your fiancée."

Jean Louis stood perplexed and undecided. Rénine turned to the two women:

"That is your opinion too, I am sure, ladies?"

They nodded.

"You see, monsieur," he said to Jean Louis, "we are all agreed. In great crises, there is nothing like separation … a few days' respite. Quickly now, monsieur."

And, without giving him time to hesitate, he drove him towards his bedroom to pack up.

Half an hour later, Jean Louis left the manor-house with his new friends.

"And he won't go back until he's married," said Rénine to Hortense, as they were waiting at Carhaix station, to which the car had taken them, while Jean Louis was attending to his luggage. "Everything's for the best. Are you satisfied?"

"Yes, Geneviève will be glad," she replied, absently.

When they had taken their seats in the train, Rénine and she repaired to the dining-car. Rénine, who had asked Hortense several questions to which she had replied only in monosyllables, protested:

"What's the matter with you, my child? You look worried!"

"I? Not at all!"

"Yes, yes, I know you. Now, no secrets, no mysteries!"

She smiled:

"Well, since you insist on knowing if I am satisfied, I am bound to admit that of course I am … as regards my friend Geneviève, but that, in another respect–from the point of view of the adventure–I have an uncomfortable sort of feeling...."

"To speak frankly, I haven't 'staggered' you this time?"

"Not very much."

"I seem to you to have played a secondary part. For, after all, what have I done? We arrived. We listened to Jean Louis' tale of woe. I had a midwife fetched. And that was all."

"Exactly. I want to know if that was all; and I'm not quite sure. To tell you the truth, our other adventures left behind them an impression which was–how shall I put it?–more definite, clearer."

"And this one strikes you as obscure?"

"Obscure, yes, and incomplete."

"But in what way?"

"I don't know. Perhaps it has something to do with that woman's confession. Yes, very likely that is it. It was all so unexpected and so short."

"Well, of course, I cut it short, as you can readily imagine!" said Rénine, laughing. "We didn't want too many explanations."

"What do you mean?"

"Why, if she had given her explanations with too much detail, we should have ended by doubting what she was telling us."

"By doubting it?"

"Well, hang it all, the story is a trifle far-fetched! That fellow arriving at night, with a live baby in his pocket, and going away with a dead one: the thing hardly holds water. But you see, my dear, I hadn't much time to coach the unfortunate woman in her part."

Hortense stared at him in amazement:

"What on earth do you mean?"

"Well, you know how dull-witted these countrywomen are. And she and I had no time to spare. So we worked out a little scene in a hurry … and she really didn't act it so badly. It was all in the right key: terror, tremolo, tears...."

"Is it possible?" murmured Hortense. "Is it possible? You had seen her beforehand?"

"I had to, of course."

"But when?"

"This morning, when we arrived. While you were titivating yourself at the hotel at Carhaix, I was running round to see what information I could pick up. As you may imagine, everybody in the district knows the d'Imbleval-Vaurois story. I was at once directed to the former midwife, Mlle. Boussignol. With Mlle. Boussignol it did not take long. Three minutes to settle a new version of what had happened and ten thousand francs to induce her to repeat that … more or less credible … version to the people at the manor-house."

"A quite incredible version!"

"Not so bad as all that, my child, seeing that you believed it … and the others too. And that was the essential thing. What I had to do was to demolish at one blow a truth which had been twenty-seven years in existence and which was all the more firmly established because it was founded on actual facts. That was why I went for it with all my might and attacked it by sheer force of eloquence. Impossible to identify the children? I deny it. Inevitable confusion? It's not true. 'You're all three,' I say, 'the victims of something which I don't know but which it is your duty to clear up!' 'That's easily done,' says Jean Louis, whose conviction is at once shaken. 'Let's send for Mlle. Boussignol.' 'Right! Let's send for her.' Whereupon Mlle. Boussignol arrives and mumbles out the little speech which I have taught her. Sensation! General stupefaction … of which I take advantage to carry off our young man!"

Hortense shook her head:

"But they'll get over it, all three of them, on thinking!"

"Never! Never! They will have their doubts, perhaps. But they will never consent to feel certain! They will never agree to think! Use your imagination! Here are three people whom I have rescued from the hell in which they have been floundering for a quarter of a century. Do you think they're going back to it? Here are three people who, from weakness or a false sense of duty, had not the courage to escape. Do you think that they won't cling like grim death to the liberty which I'm giving them? Nonsense! Why, they would have swallowed a hoax twice as difficult to digest as that which Mlle. Boussignol dished up for them! After all, my version was no more absurd than the truth. On the contrary. And they swallowed it whole! Look at this: before we left, I heard Madame d'Imbleval and Madame Vaurois speak of an immediate removal. They were already becoming quite affectionate at the thought of seeing the last of each other."

"But what about Jean Louis?"

"Jean Louis? Why, he was fed up with his two mothers! By Jingo, one can't do with two mothers in a life-time! What a situation! And when one has the luck to be able to choose between having two mothers or none at all, why, bless me, one doesn't hesitate! And, besides, Jean Louis is in love with Geneviève." He laughed. "And he loves her well enough, I hope and trust, not to inflict two mothers-in-law upon her! Come, you may be easy in your mind. Your friend's happiness is assured; and that is all you asked for. All that matters is the object which we achieve and not the more or less peculiar nature of the methods which we employ. And, if some adventures are wound up and some mysteries elucidated by looking for and finding cigarette-ends, or incendiary water-bottles and blazing hat-boxes as on our last expedition, others call for psychology and for purely psychological solutions. I have spoken. And I charge you to be silent."

"Silent?"

"Yes, there's a man and woman sitting behind us who seem to be saying something uncommonly interesting."

"But they're talking in whispers."

"Just so. When people talk in whispers, it's always about something shady."

He lit a cigarette and sat back in his chair. Hortense listened, but in vain. As for him, he was emitting little slow puffs of smoke.

Fifteen minutes later, the train stopped and the man and woman got out.

"Pity," said Rénine, "that I don't know their names or where they're going. But I know where to find them. My dear, we have a new adventure before us."

Hortense protested:

"Oh, no, please, not yet!… Give me a little rest!… And oughtn't we to think of Geneviève?"

He seemed greatly surprised:

"Why, all that's over and done with! Do you mean to say you want to waste any more time over that old story? Well, I for my part confess that I've lost all interest in the man with the two mammas."

And this was said in such a comical tone and with such diverting sincerity that Hortense was once more seized with a fit of giggling. Laughter alone was able to relax her exasperated nerves and to distract her from so many contradictory emotions.

IV
THE TELL-TALE FILM

"Do look at the man who's playing the butler," said Serge Rénine.

"What is there peculiar about him?" asked Hortense.

They were sitting in the balcony at a picture-palace, to which Hortense had asked to be taken so that she might see on the screen the daughter of a lady, now dead, who used to give her piano-lessons. Rose Andrée, a lovely girl with lissome movements and a smiling face, was that evening figuring in a new film, The Happy Princess, which she lit up with her high spirits and her warm, glowing beauty.

Rénine made no direct reply, but, during a pause in the performance, continued:

"I sometimes console myself for an indifferent film by watching the subordinate characters. It seems to me that those poor devils, who are made to rehearse certain scenes ten or twenty times over, must often be thinking of other things than their parts at the time of the final exposure. And it's great fun noting those little moments of distraction which reveal something of their temperament, of their instinct self. As, for instance, in the case of that butler: look!"

The screen now showed a luxuriously served table. The Happy Princess sat at the head, surrounded by all her suitors. Half-a-dozen footmen moved about the room, under the orders of the butler, a big fellow with a dull, coarse face, a common appearance and a pair of enormous eyebrows which met across his forehead in a single line.

"He looks a brute," said Hortense, "but what do you see in him that's peculiar?"

"Just note how he gazes at the princess and tell me if he doesn't stare at her oftener than he ought to."

"I really haven't noticed anything, so far," said Hortense.

"Why, of course he does!" Serge Rénine declared. "It is quite obvious that in actual life he entertains for Rose Andrée personal feelings which are quite out of place in a nameless servant. It is possible that, in real life, no one has any idea of such a thing; but, on the screen, when he is not watching himself, or when he thinks that the actors at rehearsal cannot see him, his secret escapes him. Look...."

The man was standing still. It was the end of dinner. The princess was drinking a glass of champagne and he was gloating over her with his glittering eyes half-hidden behind their heavy lids.

Twice again they surprised in his face those strange expressions to which Rénine ascribed an emotional meaning which Hortense refused to see:

"It's just his way of looking at people," she said.

The first part of the film ended. There were two parts, divided by an entr'acte. The notice on the programme stated that "a year had elapsed and that the Happy Princess was living in a pretty Norman cottage, all hung with creepers, together with her husband, a poor musician."

The princess was still happy, as was evident on the screen, still as attractive as ever and still besieged by the greatest variety of suitors. Nobles and commoners, peasants and financiers, men of all kinds fell swooning at her feet; and prominent among them was a sort of boorish solitary, a shaggy, half-wild woodcutter, whom she met whenever she went out for a walk. Armed with his axe, a formidable, crafty being, he prowled around the cottage; and the spectators felt with a sense of dismay that a peril was hanging over the Happy Princess' head.

"Look at that!" whispered Rénine. "Do you realise who the man of the woods is?"

"No."

"Simply the butler. The same actor is doubling the two parts."

In fact, notwithstanding the new figure which he cut, the butler's movements and postures were apparent under the heavy gait and rounded shoulders of the woodcutter, even as under the unkempt beard and long, thick hair the once clean-shaven face was visible with the cruel expression and the bushy line of the eyebrows.

The princess, in the background, was seen to emerge from the thatched cottage. The man hid himself behind a clump of trees. From time to time, the screen displayed, on an enormously enlarged scale, his fiercely rolling eyes or his murderous hands with their huge thumbs.

"The man frightens me," said Hortense. "He is really terrifying."

"Because he's acting on his own account," said Rénine. "You must understand that, in the space of three or four months that appears to separate the dates at which the two films were made, his passion has made progress; and to him it is not the princess who is coming but Rose Andrée."

The man crouched low. The victim approached, gaily and unsuspectingly. She passed, heard a sound, stopped and looked about her with a smiling air which became attentive, then uneasy, and then more and more anxious. The woodcutter had pushed aside the branches and was coming through the copse.

They were now standing face to face. He opened his arms as though to seize her. She tried to scream, to call out for help; but the arms closed around her before she could offer the slightest resistance. Then he threw her over his shoulder and began to run.

"Are you satisfied?" whispered Rénine. "Do you think that this fourth-rate actor would have had all that strength and energy if it had been any other woman than Rose Andrée?"

Meanwhile the woodcutter was crossing the skirt of a forest and plunging through great trees and masses of rocks. After setting the princess down, he cleared the entrance to a cave which the daylight entered by a slanting crevice.

A succession of views displayed the husband's despair, the search and the discovery of some small branches which had been broken by the princess and which showed the path that had been taken. Then came the final scene, with the terrible struggle between the man and the woman when the woman, vanquished and exhausted, is flung to the ground, the sudden arrival of the husband and the shot that puts an end to the brute's life....

"Well," said Rénine, when they had left the picture-palace–and he spoke with a certain gravity–"I maintain that the daughter of your old piano-teacher has been in danger ever since the day when that last scene was filmed. I maintain that this scene represents not so much an assault by the man of the woods on the Happy Princess as a violent and frantic attack by an actor on the woman he desires. Certainly it all happened within the bounds prescribed by the part and nobody saw anything in it–nobody except perhaps Rose Andrée herself–but I, for my part, have detected flashes of passion which leave not a doubt in my mind. I have seen glances that betrayed the wish and even the intention to commit murder. I have seen clenched hands, ready to strangle, in short, a score of details which prove to me that, at that time, the man's instinct was urging him to kill the woman who could never be his."

"And it all amounts to what?"

"We must protect Rose Andrée if she is still in danger and if it is not too late."

"And to do this?"

"We must get hold of further information."

"From whom?"

"From the World's Cinema Company, which made the film. I will go to them to-morrow morning. Will you wait for me in your flat about lunch-time?"

At heart, Hortense was still sceptical. All these manifestations of passion, of which she denied neither the ardour nor the ferocity, seemed to her to be the rational behaviour of a good actor. She had seen nothing of the terrible tragedy which Rénine contended that he had divined; and she wondered whether he was not erring through an excess of imagination.

"Well," she asked, next day, not without a touch of irony, "how far have you got? Have you made a good bag? Anything mysterious? Anything thrilling?"

"Pretty good."

"Oh, really? And your so-called lover...."

"Is one Dalbrèque, originally a scene-painter, who played the butler in the first part of the film and the man of the woods in the second and was so much appreciated that they engaged him for a new film. Consequently, he has been acting lately. He was acting near Paris. But, on the morning of Friday the 18th of September, he broke into the garage of the World's Cinema Company and made off with a magnificent car and forty thousand francs in money. Information was lodged with the police; and on the Sunday the car was found a little way outside Dreux. And up to now the enquiry has revealed two things, which will appear in the papers to-morrow: first, Dalbrèque is alleged to have committed a murder which created a great stir last year, the murder of Bourguet, the jeweller; secondly, on the day after his two robberies, Dalbrèque was driving through Le Havre in a motor-car with two men who helped him to carry off, in broad daylight and in a crowded street, a lady whose identity has not yet been discovered."

"Rose Andrée?" asked Hortense, uneasily.

"I have just been to Rose Andrée's: the World's Cinema Company gave me her address. Rose Andrée spent this summer travelling and then stayed for a fortnight in the Seine-inférieure, where she has a small place of her own, the actual cottage in The Happy Princess. On receiving an invitation from America to do a film there, she came back to Paris, registered her luggage at the Gare Saint-Lazare and left on Friday the 18th of September, intending to sleep at Le Havre and take Saturday's boat."

"Friday the 18th," muttered Hortense, "the same day on which that man...."

"And it was on the Saturday that a woman was carried off by him at Le Havre. I looked in at the Compagnie Transatlantique and a brief investigation showed that Rose Andrée had booked a cabin but that the cabin remained unoccupied. The passenger did not turn up."

"This is frightful. She has been carried off. You were right."

"I fear so."

"What have you decided to do?"

"Adolphe, my chauffeur, is outside with the car. Let us go to Le Havre. Up to the present, Rose Andrée's disappearance does not seem to have become known. Before it does and before the police identify the woman carried off by Dalbrèque with the woman who did not turn up to claim her cabin, we will get on Rose Andrée's track."

There was not much said on the journey. At four o'clock Hortense and Rénine reached Rouen. But here Rénine changed his road.

"Adolphe, take the left bank of the Seine."

He unfolded a motoring-map on his knees and, tracing the route with his finger, showed Hortense that, if you draw a line from Le Havre, or rather from Quillebeuf, where the road crosses the Seine, to Dreux, where the stolen car was found, this line passes through Routot, a market-town lying west of the forest of Brotonne:

"Now it was in the forest of Brotonne," he continued, "according to what I heard, that the second part of The Happy Princess was filmed. And the question that arises is this: having got hold of Rose Andrée, would it not occur to Dalbrèque, when passing near the forest on the Saturday night, to hide his prey there, while his two accomplices went on to Dreux and from there returned to Paris? The cave was quite near. Was he not bound to go to it? How should he do otherwise? Wasn't it while running to this cave, a few months ago, that he held in his arms, against his breast, within reach of his lips, the woman whom he loved and whom he has now conquered? By every rule of fate and logic, the adventure is being repeated all over again … but this time in reality. Rose Andrée is a captive. There is no hope of rescue. The forest is vast and lonely. That night, or on one of the following nights, Rose Andrée must surrender … or die."

Hortense gave a shudder:

"We shall be too late. Besides, you don't suppose that he's keeping her a prisoner?"

"Certainly not. The place I have in mind is at a cross-roads and is not a safe retreat. But we may discover some clue or other."

The shades of night were falling from the tall trees when they entered the ancient forest of Brotonne, full of Roman remains and mediaeval relics. Rénine knew the forest well and remembered that near a famous oak, known as the Wine-cask, there was a cave which must be the cave of the Happy Princess. He found it easily, switched on his electric torch, rummaged in the dark corners and brought Hortense back to the entrance:

"There's nothing inside," he said, "but here is the evidence which I was looking for. Dalbrèque was obsessed by the recollection of the film, but so was Rose Andrée. The Happy Princess had broken off the tips of the branches on the way through the forest. Rose Andrée has managed to break off some to the right of this opening, in the hope that she would be discovered as on the first occasion."

"Yes," said Hortense, "it's a proof that she has been here; but the proof is three weeks old. Since that time...."

"Since that time, she is either dead and buried under a heap of leaves or else alive in some hole even lonelier than this."

"If so, where is he?"

Rénine pricked up his ears. Repeated blows of the axe were sounding from some distance, no doubt coming from a part of the forest that was being cleared.

"He?" said Rénine, "I wonder whether he may not have continued to behave under the influence of the film and whether the man of the woods in The Happy Princess has not quite naturally resumed his calling. For how is the man to live, to obtain his food, without attracting attention? He will have found a job."

"We can't make sure of that."

"We might, by questioning the woodcutters whom we can hear."

The car took them by a forest-road to another cross-roads where they entered on foot a track which was deeply rutted by waggon-wheels. The sound of axes ceased. After walking for a quarter of an hour, they met a dozen men who, having finished work for the day, were returning to the villages near by.

"Will this path take us to Routot?" ask Rénine, in order to open a conversation with them.

"No, you're turning your backs on it," said one of the men, gruffly.

And he went on, accompanied by his mates.

Hortense and Rénine stood rooted to the spot. They had recognized the butler. His cheeks and chin were shaved, but his upper lip was covered by a black moustache, evidently dyed. The eyebrows no longer met and were reduced to normal dimensions.

Thus, in less than twenty hours, acting on the vague hints supplied by the bearing of a film-actor, Serge Rénine had touched the very heart of the tragedy by means of purely psychological arguments.

"Rose Andrée is alive," he said. "Otherwise Dalbrèque would have left the country. The poor thing must be imprisoned and bound up; and he takes her some food at night."

"We will save her, won't we?"

"Certainly, by keeping a watch on him and, if necessary, but in the last resort, compelling him by force to give up his secret."

They followed the woodcutter at a distance and, on the pretext that the car needed overhauling, engaged rooms in the principal inn at Routot.

Attached to the inn was a small café from which they were separated by the entrance to the yard and above which were two rooms, reached by a wooden outer staircase, at one side. Dalbrèque occupied one of these rooms and Rénine took the other for his chauffeur.

Next morning he learnt from Adolphe that Dalbrèque, on the previous evening, after all the lights were out, had carried down a bicycle from his room and mounted it and had not returned until shortly before sunrise.

The bicycle tracks led Rénine to the uninhabited Château des Landes, five miles from the village. They disappeared in a rocky path which ran beside the park down to the Seine, opposite the Jumièges peninsula.

Next night, he took up his position there. At eleven o'clock, Dalbrèque climbed a bank, scrambled over a wire fence, hid his bicycle under the branches and moved away. It seemed impossible to follow him in the pitchy darkness, on a mossy soil that muffled the sound of footsteps. Rénine did not make the attempt; but, at daybreak, he came with his chauffeur and hunted through the park all the morning. Though the park, which covered the side of a hill and was bounded below by the river, was not very large, he found no clue which gave him any reason to suppose that Rose Andrée was imprisoned there.

He therefore went back to the village, with the firm intention of taking action that evening and employing force:

"This state of things cannot go on," he said to Hortense. "I must rescue Rose Andrée at all costs and save her from that ruffian's clutches. He must be made to speak. He must. Otherwise there's a danger that we may be too late."

That day was Sunday; and Dalbrèque did not go to work. He did not leave his room except for lunch and went upstairs again immediately afterwards. But at three o'clock Rénine and Hortense, who were keeping a watch on him from the inn, saw him come down the wooden staircase, with his bicycle on his shoulder. Leaning it against the bottom step, he inflated the tires and fastened to the handle-bar a rather bulky object wrapped in a newspaper.

"By Jove!" muttered Rénine.

"What's the matter?"

In front of the café was a small terrace bordered on the right and left by spindle-trees planted in boxes, which were connected by a paling. Behind the shrubs, sitting on a bank but stooping forward so that they could see Dalbrèque through the branches, were four men.

"Police!" said Rénine. "What bad luck! If those fellows take a hand, they will spoil everything."

"Why? On the contrary, I should have thought...."

"Yes, they will. They will put Dalbrèque out of the way … and then? Will that give us Rose Andrée?"

Dalbrèque had finished his preparations. Just as he was mounting his bicycle, the detectives rose in a body, ready to make a dash for him. But Dalbrèque, though quite unconscious of their presence, changed his mind and went back to his room as though he had forgotten something.

"Now's the time!" said Rénine. "I'm going to risk it. But it's a difficult situation and I've no great hopes."

He went out into the yard and, at a moment when the detectives were not looking, ran up the staircase, as was only natural if he wished to give an order to his chauffeur. But he had no sooner reached the rustic balcony at the back of the house, which gave admission to the two bedrooms than he stopped. Dalbrèque's door was open. Rénine walked in.

Dalbrèque stepped back, at once assuming the defensive:

"What do you want? Who said you could...."

"Silence!" whispered Rénine, with an imperious gesture. "It's all up with you!"

"What are you talking about?" growled the man, angrily.

"Lean out of your window. There are four men below on the watch for you to leave, four detectives."

Dalbrèque leant over the terrace and muttered an oath:

"On the watch for me?" he said, turning round. "What do I care?"

"They have a warrant."

He folded his arms:

"Shut up with your piffle! A warrant! What's that to me?"

"Listen," said Rénine, "and let us waste no time. It's urgent. Your name's Dalbrèque, or, at least, that's the name under which you acted in The Happy Princess and under which the police are looking for you as being the murderer of Bourguet the jeweller, the man who stole a motor-car and forty thousand francs from the World's Cinema Company and the man who abducted a woman at Le Havre. All this is known and proved … and here's the upshot. Four men downstairs. Myself here, my chauffeur in the next room. You're done for. Do you want me to save you?"

Dalbrèque gave his adversary a long look:

"Who are you?"

"A friend of Rose Andrée's," said Rénine.

The other started and, to some extent dropping his mask, retorted:

"What are your conditions?"

"Rose Andrée, whom you have abducted and tormented, is dying in some hole or corner. Where is she?"

A strange thing occurred and impressed Rénine. Dalbrèque's face, usually so common, was lit up by a smile that made it almost attractive. But this was only a flashing vision: the man immediately resumed his hard and impassive expression.

"And suppose I refuse to speak?" he said.

"So much the worse for you. It means your arrest."

"I dare say; but it means the death of Rose Andrée. Who will release her?"

"You. You will speak now, or in an hour, or two hours hence at least. You will never have the heart to keep silent and let her die."

Dalbrèque shrugged his shoulders. Then, raising his hand, he said:

"I swear on my life that, if they arrest me, not a word will leave my lips."

"What then?"

"Then save me. We will meet this evening at the entrance to the Parc des Landes and say what we have to say."

"Why not at once?"

"I have spoken."

"Will you be there?"

"I shall be there."

Rénine reflected. There was something in all this that he failed to grasp. In any case, the frightful danger that threatened Rose Andrée dominated the whole situation; and Rénine was not the man to despise this threat and to persist out of vanity in a perilous course. Rose Andrée's life came before everything.