An Officer and a Spy

I delve a little further into the file. Two days later, Dubois writes to the German attaché again: I can procure for you a cartridge from the Lebel rifle that will enable you to analyse the secret of the smokeless powder. Schwartzkoppen does not seem to have done anything about it. Why should he? The letter looks cranky and I guess he could go into almost any bar in any garrison town in France and pick up a Lebel cartridge for the price of a beer.

It is the name of the signatory that interests me. Dubois? I am sure I have just read that name. I go back to the pile of letters from Panizzardi to Schwartzkoppen. My beautiful little girl. . My little green dog. . Dear Top Bugger. . Your devoted bugger 2nd class. . And here it is: in a note of 1893, the Italian writes to Schwartzkoppen: I have seen M. Dubois.

Attached to the letter is a cross-reference to a file. It takes me several minutes to work out Gribelin’s system and track it down. In a folder I find a brief report addressed to Colonel Sandherr by Major Henry dated April 1894 regarding the possible identity of the agent referred to as ‘D’ who has provided the Germans and Italians with ‘twelve master plans of Nice’. Henry’s conclusion is that he is one Jacques Dubois, a printer who works for a factory that handles Ministry of War contracts: it is he who has probably also provided the Germans with large-scale drawings of the fortifications at Toul, Reims, Langres, Neufchâteau, and the rest. When he sets the printing machine for a run, it is a simple matter for him to print off extra copies for his own use. I interviewed him yesterday, relates Henry, and found him to be a miserable fellow, a criminal fantasist with limited intelligence and no access to classified material. The plans he has handed over are publicly available. Recommendation: no further action necessary.

So there it is. ‘D’ is not Dreyfus; he is Dubois.

You order me to shoot a man and I’ll shoot him. .

I have made a careful note of where every document and folder originated and now I start the laborious process of putting each one back in its proper place. It takes me perhaps ten minutes to return it all exactly to where it was, to lock up the filing cabinets and wipe down the table surfaces. By the time I finish it is just after ten. I replace Gribelin’s keys in his desk drawer, kneel, and set about the tricky business of locking it again. I am conscious of the minutes passing as I try to manipulate the two thin metal tools. My hands are clumsy with tiredness and slippery with sweat. For some reason it seems much harder to close a lock than open one, but at last I manage it. I turn off the lights.

My only remaining task is to relock the door to the archive. I am still on my knees in the corridor fiddling with the tumblers when I think I hear the front door slam downstairs. I pause, straining to hear. I can’t pick out any suspicious noises. I must be imagining things. I resume my frustrating efforts. But then comes the definite creak of a footstep on the first-floor landing and someone begins to mount the stairs to the archive. I am so close to shifting the final tumbler I am reluctant to abandon the attempt. Only when I hear a much louder creak do I realise I am out of time. I dart across the passage, try the nearest door — locked — and then the next one — open — and slip inside.

I listen to the slow, deliberate tread of someone approaching along the corridor. Through the gap between the door and the jamb I see Gribelin come into view. My God, is there anything in this wretched man’s life apart from work? He stops outside the entrance to the archive and takes out his key. He inserts it in the lock and tries to turn it. I can’t see his face, but I see his shoulders stiffen. What is this? He tries the handle and opens the door cautiously. He doesn’t go in but stands on the threshold, listening. Then he throws the door wide open, turns on the light and moves inside. I can hear him checking his desk drawers. A moment later he returns to the corridor and glances up and down it. He ought to be an absurd little figure — a small dark-suited troll. But somehow he isn’t. There is a malevolence about him as he stands there, alert and suspicious — he is a danger to me, this man.