well! Thereâs no secret about it. He would have liked to have had a son, make someone of him . . . He chose badly with me, poor lad, because since my operation I canât have children.â
âDo you know Jean Ramuel?â
âNo. I know heâs the bookkeeper and that heâs not very well, thatâs all. Prosper doesnât tell me much about the Majestic . . . Not like me; I tell him everything that happens here . . .â
Having reassured her, he tried to make a bit of headway again.
âYou see, what struck me was . . . I oughtnât to tell you this . . . itâs officially a secret . . . But I feel sure it wonât go any further . . . Well, the automatic which was found in this Mrs. Clarkâs handbag had been bought the day before at a gunsmithâs in the Faubourg Saint-Honoré . . . Donât you think that thatâs very odd? Thereâs this rich, married woman, a mother of a family, who arrives from New York and stays in a luxury hotel in the Champs-Ãlysées, and who suddenly feels the need to buy a gun . . . And note that it wasnât a pretty little ladyâs pistol, but a proper weapon . . .â
He avoided her eye, looked at the gleaming toecaps of his shoes, as if amazed at his own smartness.
âNow we know that this same woman slipped down a back staircase a few hours later, to get to the hotel basement . . . One is bound to think that she had a rendezvous . . . And to conclude that it was in view of this rendezvous that she had bought her gun. Suppose for a moment that this woman, who is now so respectable, had a stormy past in days gone by and that someone who knew her at that time had tried to blackmail her . . . Do you know if Ramuel ever lived on the Riviera? . . . Or a certain professional dancing-partner called Zebio? . . .â
âI donât know him.â
He could tell, without looking at her, that she was on the point of bursting into tears.
âAnd thereâs one other personâthe night porterâwho could have killed her, because he went down to the basement at about six in the morning . . . It was Prosper Donge who heard him going up the back stairs . . . Not to mention any of the room waiters . . . Itâs a great pity that you didnât know Mimi in Cannes . . . You could have given me details of all the people she knew then . . . Oh well! I would have liked not to have had to go to Cannes . . . Iâm bound to be able to find some of the people who knew her, down there . . .â
He got up, tapped out his pipe, felt in his pocket for some change for the saucer.
âYou donât need to do that!â she protested.
âGoodnight . . . I wonder what time thereâs a train . . .â
As soon as he got upstairs, he paid his bill and rushed across the street to the bar opposite, a café frequented by employees from all the nightclubs in the district.
âThe telephone, please . . .â
He got on to the exchange.
âJudicial Police, here. Someone from the Pélican will probably ask you for a Cannes number. Donât connect them too quickly . . . Wait till I get to you . . .â
He leapt into a taxi. Rushed to the telephone exchange and made himself known to the night supervisor.
âGive me some headphones . . . Have they asked for Cannes?â
âYes, a minute ago . . . I found out whose number it was . . . Itâs the Brasserie des Artistes, which stays open all night . . . Shall I put them through?â
Maigret put on the headphones and waited. Some of the telephone girls, also wearing headphones, stared at him curiously.
âIâm putting you through to Cannes 18-43, Mademoiselle . . .â
âThank you . . . Hello! The Brasserie des Artistes? . . . Whoâs speaking? . . . Is that you, Jean? . . . Itâs Charlotte here . . . Yes! . . . Charlotte from the Belle Ãtoile . . . Wait . . . Iâll shut the door . . . I think thereâs someone .