"I have often thought, gentlemen," said the butler, "that yours must be a most interesting profession. You meet all sorts and conditions of men and women."
"We consort with the noblest malefactors," agreed Furneaux.
"Dear me, sir, you do use the queerest words. Now, I should never dream of describing a criminal as noble."
"Not in the generally accepted sense, perhaps. But you, I take it, have not had the opportunity of attending a really remarkable trial, when, say, some intellectual giant among murderers is fighting for his life. Believe me, no drama of the stage can rival that tragedy.
"The chief actor, remote, solitary, fenced away from the world he is hoping to reënter, sits there in state. Every eye is on him, yet he faces judge, jury, counsel, witnesses and audience with a calm dignity worthy of an emperor. He listens imperturbably to facts which may hang him, to lies which may lend color to the facts, to well-meaning guesses which are wide of the mark. Truthful and false evidence is equally prone to err when guilt or innocence must be determined by circumstances alone.
"But the prisoner knows. He is the one man able to discriminate between truth and falsity, yet he must not reveal the cruel stab of fact or the harmless buffet of fiction by so much as a flicker of an eyelid. He surveys the honest blunderer and the perjured ruffian—I mean the counsel for the defense and the prosecution respectively—with impartial scrutiny. If he is a sublime villain, he will call on Heaven to testify that he is innocent with a solemnity not surpassed by the judge who sentences him to death.... Yes, please, a bit off the knuckle end."
The concluding words were addressed to Winter, and Tomlinson started, for he was wrapped up in the scene Furneaux was depicting.
"That point of view had not occurred to me," he admitted.
"You'll appreciate it fully when you see Mr. Fenley's murderer in the dock," said Furneaux.