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The next morning, a confused and hungover Dupin regrets agreeing to help Edmund. He is ready to abandon Edmund but notices the note on the floor that reads: “MEDDLE AT YOUR PERIL!” (38). Edmund wakes and convinces Dupin to continue to help him. Dupin interrogates Edmund for details and learns that Edmund’s mother left London a year ago for America, trusting her sister to look after the children. After receiving a message from a stranger informing her that her sister was in Providence, Aunty came to America with the children to search for her. A few days ago, Aunty went to meet a man who said he could help her, but she seemed nervous about the meeting and never returned. Edmund also tells Dupin that he and Sis are twins run in the family.
Edmund explains that there are two keys to the room; Aunty took one with her and left the other with Edmund and Sis. They test locking the door from the outside, and after seeing how close the neighboring building is, Dupin deduces that the only way Sis could have left the room was through the window and into the opposite building. Edmund and Dupin hurry to the neighboring building to search the adjacent room.
The only thing they find in the room is a plank, which Dupin demonstrates could have been used as a bridge between the two buildings’ windows. Edmund searches the room at Dupin’s command and finds a white button from Sis’ shoes. He believes that Sis, inspired by Hansel and Gretel, left a trail of “breadcrumbs” for him to find. Dupin is certain Sis was coerced to leave their room. He interrogates the old proprietor who explains that two weeks ago, a tenant was adamant about renting that specific room. The proprietor saw the tenant frequently come and go with another man. She has not seen them in a week, and the tenant owes her a week’s worth of rent.
At a cafe, Dupin tells Edmund that he suspects the man renting the other room was observing the children, waiting for a moment when one would be left alone. He deduces that these men must have lured Aunty away, forcing a child to leave for food. He believes the old man Edmund helped was a part of a ploy to keep him away from the room to give the other man enough time to kidnap Sis. He also thinks that the random message delivered to Aunty in London must have meant that Edmund’s mother was acting under duress, therefore connecting everyone involved in the disappearance of the women (49).
The waiter informs Dupin that someone robbed the Providence Bank of all its gold last night. Frustrated with Edmund’s constant questions, Dupin demands that Edmund find a clothing store and inquire about the price of a coat for himself. Throck, who entered the cafe a while ago, approaches Dupin as Edmund leaves.
Throck sits with Dupin, who deduces that, like himself, Throck used to be in the army. They commiserate and blame “the officers” for getting discharged. Dupin asks Throck if the note under the door was a threat from him, and Throck emphasizes that he is a man who “sees it through” when working on a case (55). After Throck hurries out of the cafe, Dupin keeps drinking and reflects on the similarities he shares with Edmund: “[B]oth were abandoned boys. Similar first names. Both with lost fathers” (55). They were also each taken in by an aunt and have someone dear to them called “Sis.” Dupin realizes the only differences in their stories is that Edmund is missing a “hateful” stepfather and Sis is still alive. Dupin wonders if he could “be writing this boy’s life,” concluding that if their lives are truly parallel, then Edmund’s story “must end with the death of his Sis”—a thought that terrifies and fascinates Dupin (55).
Meanwhile, Edmund arrives at the clothing store where a “portly” customer tries on a coat while the tailors chat about the gold robbery. The portly man spots Edmund and is visibly startled. Mistaking Edmund for a beggar, the tailor kicks him out of the store. Edmund observes the customer rush out of the store looking around frantically. Humiliated, Edmund returns to the cafe. Dupin is drunk again and has difficulty remembering what he asked Edmund to do over the course of the past day. He sends Edmund off to deliver another letter to 88 Benefit Street. He specifies that Edmund is to deliver it directly to Helen Whitman and only in privacy. He assures Edmund: “I… I am the man who was… is Dupin. I shall bring this… story to a satisfactory end’” (59). Although he promises Edmund that he will remain in the cafe until the boy returns, Dupin promptly leaves for the courthouse once Edmund departs.
Chapters 4 through 6 include further clues and instances of foreshadowing, the importance of which are only revealed later. Chapter 4 begins with Dupin reading Throck’s threatening note which, in conjunction with his suspicious behavior and his friend Fortnoy’s white hair, makes him suspect the pair as criminals. These characters, however, are a red herring—a false clue or piece of misleading information intended to divert suspicion from the true culprits. Poe correctly deduces that Sis was kidnapped through the window, which her Hansel and Gretel-inspired “breadcrumb” button confirms. Poe notices ads in the newspaper, including Arnold’s and Peterson’s. At the time that he reads them, they are meaningless, but these listings are how the two antagonists connected and decided to work together. These listings are critical in helping Dupin solve the mystery, a subtle parallel Avi draws between his story and Poe’s own “The Murders in the Rue Morgue,” in which Dupin solves the mystery by placing a newspaper ad.
Edmund informs Dupin that he and Sis are twins, which “runs in the family” (41). Although he does not elaborate on this, he later discloses that his mother and Aunty Pru are also twins, which is critical to his mother’s survival. Edmund’s likeness to his sister is what bewilders the “whiskered” man, who the reader will learn is Rachett/Arnold). Later, Poe deduces that in the moment Rachett saw Edmund in the store, he realized he might have killed Aunty Pru instead of his wife.
Even though Poe’s reasoning and deduction skills match those of Auguste Dupin, his character evolves to be even more unreliable and untrustworthy. As Edmund struggles to keep up with Dupin’s constant mood swings, he becomes a child victim of a grown man’s inconsistent frustrations, demands, and lies. As Dupin is the only adult who agrees to help Edmund, Edmund feels he has no choice but to submit to the man. Earlier, in Chapter 2, Dupin reminds Edmund that “there is a difference between what happens and what we would like to have happened” (22). However, Dupin proceeds to ignore his own advice: when he realizes how similar Edmund’s life is to his own, he fixates on Sis’ death and decides that this is a desirable outcome. This irrational decision, and the narcissistic idea that he has the power to “write” Edmund’s real life and control his future, combine the typical gothic elements of insanity and obsession, which coalesce in the trope of “the tortured artist.” Other themes include social class and reputation, evoked in Edmund’s experience at the clothing store; the shop employee judges the boy’s appearance and mistakes him for a beggar, a perception that deeply humiliates Edmund.
By Avi