Immerse in Classic Audiobooks, then Master English
Thousands of timeless Project Gutenberg masterpieces — 100% free and completely ad-free! Experience LibriVox audio with word-by-word synchronized text, bilingual lookup, and an SRS vocabulary trainer.
An hour after the trial Crewe entered the chambers of Mr. Walters, K. C.
"I congratulate you on the way you handled him in the witness-box," said Crewe, who was warmly welcomed by the barrister.
"You did splendidly to get it all out of him--and so dramatically too."
"I think it is you who deserves all the congratulations," replied Walters.
"If it had not been for you there would not have been such a sensational development at the trial and in all probability Kemp's evidence would have got Holymead off."
"Yes, I'm glad to think that Holymead would have got off even if I hadn't seen through Kemp," replied Crewe thoughtfully.
"I made a bad mistake in being so confident that he was the guilty man."
"The completeness of the circumstantial evidence against him was extraordinary," said Walters, to whom the legal aspects of the case appealed.
"Personally I am inclined to blame Holymead himself for the predicament in which he was placed.
If he had gone to the police after the murder was discovered, told them the story of his visit to Sir Horace that night, and invited investigation into the truth of it, all would have been well."
"No," said Crewe in a voice which indicated a determination not to have himself absolved at the expense of another.
"The fact that he did not do what he ought to have done does not mitigate my sin of having had the wrong man arrested.
The mistake I made was in not going to see him before the warrant was taken out.
If I had had a quiet talk with him I think I would have been able to discover a flaw in my case against him.
What made me confident it was flawless was the fact that both his wife and her French cousin believed him to be guilty.
Mademoiselle Chiron followed Holymead from the country on the 18th of August with the intention of averting a tragedy.
She arrived at Riversbrook too late for that, but in time to see Sir Horace expire, and naturally she thought that Holymead had shot him.
When Mrs. Holymead realised that I also suspected her husband and had accumulated some evidence against him, she sent Mademoiselle Chiron to me with a concocted story of how the murder had been committed by a more or less mythical husband belonging to Mademoiselle's past.
Ostensibly the reason for the visit of this extremely clever French girl was to induce me to deal with Rolfe, who had begun to suspect Mrs. Holymead of some complicity in the crime; but the real reason was to convince me that I was on the wrong track in suspecting Holymead.
Of course she said nothing to me on that point.
She produced evidence which convinced me that she was in the room when Sir Horace died, and, as I was quite sure that she believed Holymead to be guilty, I felt that there could be no doubt whatever of his guilt."
"It is one of the most extraordinary cases on record--one of the most extraordinary trials," said Walters.
"You blame yourself for having had Holymead arrested but you have more than redeemed yourself by the final discovery when Kemp was in the witness-box that he was the guilty man.
That was an inspiration."
"Hardly that," said Crewe with a smile.
"I knew when he swore that he had seen Sir Horace leaning out of the library window that he was lying.
After the murder was discovered I inspected the house and grounds carefully, and one of the first things of which I took a mental note was the fact that the foliage of the chestnut-tree completely hid the only window of the library."
"Ah, but there is a difference between knowing Kemp was committing perjury and knowing that he was the guilty man."
"There is at least a distinct connection between the two facts," said Crewe, who after his mistake in regard to Holymead was reluctant to accept any praise.
"Kemp's description of the way in which Sir Horace was dressed showed that he had seen him.
The inference that Kemp had been inside the house was irresistible.
Sir Horace had arrived home at 7 o'clock and it was not likely that Kemp would hang about Riversbrook--the scene of a prospective burglary--until after dark, which at that time of the year would be about 8. 30. He must have seen Sir Horace after dark, and in order to be able to say how the judge was dressed he must have seen him at close quarters.
The rest was a matter of simple deduction.
Kemp inside the house listening to the angry interview between Holymead and Fewbanks--Kemp with his hatred of the judge who had killed his daughter in the dock and with his desire to do Holymead a good turn--I had previously had proof of that from my boy Joe, whom you have seen.
Besides Kemp fitted into my reconstruction of the tragedy on the vital question of time.
How long did Sir Horace live after being shot?
The medical opinions I was able to obtain on the point varied, but after sifting them I came to the conclusion that though he might have lived for half an hour, it was more probable that he had died within ten minutes of being hit."
"How is that vital?"
asked Walters, who was keenly interested in understanding how Crewe had arrived at his conviction of Kemp's guilt.
"Holymead's appointment with Sir Horace at Riversbrook was for 9. 30 p. m.
The letter found in Sir Horace's pocket-book fixed that time.
It was exactly 11 p. m.
when he got into a taxi at Hyde Park Corner after his visit to Riversbrook.
On that point the driver of the taxi was absolutely certain.
I was so anxious for him to make it 11. 30 that I went to see him twice about it.
Assuming that Holymead arrived at Riversbrook at 9. 30, I
allowed half an hour for his angry interview with Sir Horace, half an hour for the walk from Riversbrook to Hampstead Tube station, and half an hour for the journey from Hampstead to Hyde Park Corner, which would have involved a change at Leicester Square.
As I could not induce the driver of the taxi to make Holymead's appearance at Hyde Park Corner 11. 30 instead of 11, I had to admit that Holymead must have left Riversbrook at 10. But it was 10. 30 according to Mademoiselle Chiron when she found Sir Horace dying on the floor of the library.
Therefore if Holymead did the shooting, the victim's death agonies must have lasted half an hour or more.
Medically that was not impossible, but somewhat improbable.
But a meeting between Kemp and Sir Horace after Holymead had gone filled in the blank in time.
That came home to me yesterday when Kemp was in the witness-box committing perjury in his determination to get Holymead off.
I take it that the interview between Kemp and his victim lasted about 20 minutes.
Therefore Sir Horace was shot about 10. 20; certainly before 10. 30, for Mademoiselle heard no shots while nearing the house."
"You have worked it out very ingeniously," said Walters.
"You must find the work of crime detection very fascinating.
I am afraid that if I had been in your place--that is if I had known as much about the tragedy as you do--when Kemp was in the witness-box yesterday, I would not have seen anything more in his evidence than the fact that he was committing perjury in order to help Holymead."
"I think you would," said Crewe.
"These discoveries come to one naturally as the result of training one's mind in a particular direction."
"They come to you, but they wouldn't come to me," said Walters with a smile.
"But do you think Kemp's story of how Sir Horace was shot is literally true?
Do you think Sir Horace got in the first shot and then tried to fire again?
If that is so, I don't see how they can hope to convict Kemp of murder--a jury would not go beyond a verdict of manslaughter in such a case."
"You handled Kemp so well that he was too excited to tell anything but the truth," said Crewe.
"Sir Horace fired first and missed--the bullet which Chippenfield removed from the wall of the library shows that--and he pulled the trigger again but the cartridge which had been in the revolver for a considerable time, probably for years, missed fire.
Here is a silent witness to the truth of that part of Kemp's story."
Crewe produced from a waistcoat pocket one of the four cartridges he had removed from the revolver Mademoiselle Chiron had handed to him and he placed it on the table.
On the cap of the cartridge was a mark where the hammer had struck without exploding the powder.
*** END OF THE PROJECT GUTENBERG EBOOK THE HAMPSTEAD MYSTERY *** Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U. S.
copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!
) can copy and distribute it in the United States without permission and without paying copyright royalties.
Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark.
Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark.
If you do not charge anything for copies of this eBook, complying with the trademark license is very easy.
You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U. S.
copyright law.
Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG™ LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.
gutenberg.
org/license.
Section 1.
General Terms of Use and Redistributing Project Gutenberg electronic works 1. A.
By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement.
If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1. E.
8. 1. B.
“Project Gutenberg” is a registered trademark.
It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement.
See paragraph 1. C below.
There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works.
See paragraph 1. E below.
1. C.
The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works.
Nearly all the individual works in the collection are in the public domain in the United States.
If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed.
Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work.
You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.
1. D.
The copyright laws of the place where you are located also govern what you can do with this work.
Copyright laws in most countries are in a constant state of change.
If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work.
The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1. E.
Unless you have removed all references to Project Gutenberg: 1. E.
1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever.
You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.
gutenberg.
org.
If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
1. E.
2. If an individual Project Gutenberg electronic work is derived from texts not protected by U. S.
copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1. E.
1 through 1. E.
7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1. E.
8 or 1. E.
9. 1. E.
3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1. E.
1 through 1. E.
7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.
1. E.
4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.
1. E.
5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1. E.
1 with active links or immediate access to the full terms of the Project Gutenberg License.
1. E.
6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form.
However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.
gutenberg.
org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form.
Any alternate format must include the full Project Gutenberg License as specified in paragraph 1. E.
1. 1. E.
7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1. E.
8 or 1. E.
9. 1. E.
8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes.
The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation.
Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns.
Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.
” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License.
You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1. F.
3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.
1. E.
9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark.
Contact the Foundation as set forth in Section 3 below.
1. F.
1. F.
1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U. S.
copyright law in creating the Project Gutenberg™ collection.
Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1. F.
2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1. F.
3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees.
YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.
F.
3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1. F.
3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from.
If you received the work on a physical medium, you must return the medium with your written explanation.
The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund.
If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1. F.
4. Except for the limited right of replacement or refund set forth in paragraph 1. F.
3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1. F.
5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law.
The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1. F.
6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.
Section 2.
Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come.
In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.
gutenberg.
org.
Section 3.
Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service.
The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.
S.
federal laws and your state’s laws.
The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.
gutenberg.
org/contact Section 4.
Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment.
Many small donations ( to ,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States.
Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements.
We do not solicit donations in locations where we have not received written confirmation of compliance.
To SEND DONATIONS or determine the status of compliance for any particular state visit www.
gutenberg.
org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States.
U.
S.
laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses.
Donations are accepted in a number of other ways including checks, online payments and credit card donations.
To donate, please visit: www.
gutenberg.
org/donate.
Section 5.
General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone.
For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.
Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U. S.
unless a copyright notice is included.
Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.
gutenberg.
org.
This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.
們使瀏覽 (Local Storage) 來住您主題好、體大小、以後播目進度字本
We use browser Local Storage to remember your theme preferences, font sizes, and last played track progress, as well as vocabulary lists.
請用QR Code,即無縫接軌目入聽進度
自動分析當前章節英文文本,依據考試與難度標籤篩選重點生字,可一鍵批次匯入生字本。
請確認或修改檔案儲存名稱: