Chapter 20: Florence's Secret

It was time for the second act of the tragedy. Don Luis Perenna's death was to be followed by that of Florence. Like some monstrous butcher, the cripple passed from one to the other with no more compassion than if he were dealing with the oxen in a slaughter-house.

Still weak in his limbs, he dragged himself to where the girl lay, took a cigarette from a gun-metal case, and, with a final touch of cruelty, said:

"When this cigarette is quite burnt out, Florence, it will be your turn. Keep your eyes on it. It represents the last minutes of your life reduced to ashes. Keep your eyes on it, Florence, and think.

"I want you to understand this: all the owners of the estate, and old Langernault in particular, have always considered that the heap of rocks and stones overhanging your head was bound to fall to pieces sooner or later. And I myself, for years, with untiring patience, believing in a favourable opportunity, have amused myself by making it crumble away still more, by undermining it with the rain water, in short, by working at it in such a way that, upon my word, I can't make out how the thing keeps standing at all. Or, rather, I do understand.

"The few strokes with the pickaxe which I gave it just now were merely intended for a warning. But I have only to give one more stroke in the right place, and knock out a little brick wedged in between two lumps of stone, for the whole thing to tumble to the ground like a house of cards.

"A little brick, Florence," he chuckled, "a tiny little brick which chance placed there, between two blocks of stone, and has kept in position until now. Out comes the brick, down come the blocks, and there's your catastrophe!"

He took breath and continued:

"After that? After that, Florence, this: either the smash will take place in such a way that your body will not even be in sight, if any one should dream of coming here to look for you, or else it will be partly visible, in which case I shall at once cut and destroy the cords with which you are tied.

"What will the law think then? Simply that Florence Levasseur, a fugitive from justice, hid herself in a grotto which fell upon her and crushed her. That's all. A few prayers for the rash creature's soul, and not another word.

"As for me—as for me, when my work is done and my sweetheart dead—I shall pack my traps, carefully remove all the traces of my coming, smooth every inch of the trampled grass, jump into my motor car, sham death for a little while, and then put in a sensational claim for the hundred millions."

He gave a little chuckle, took two or three puffs at his cigarette, and added, calmly:

"I shall claim the hundred millions and I shall get them. That's the prettiest part of it. I shall claim them because I'm entitled to them; and I explained to you just now before Master Lupin came interfering, how, from the moment that you were dead, I had the most undeniable legal right to them. And I shall get them, because it is physically impossible to bring up the least sort of proof against me."

He moved closer.

"There's not a charge that can hurt me. Suspicions, yes, moral presumptions, clues, anything you like, but not a scrap of material evidence. Nobody knows me. One person has seen me as a tall man, another as a short man. My very name is unknown. All my murders have been committed anonymously. All my murders are more like suicides, or can be explained as suicides.

"I tell you the law is powerless. With Lupin dead, and Florence Levasseur dead, there's no one to bear witness against me. Even if they arrested me, they would have to discharge me in the end for lack of evidence. I shall be branded, execrated, hated, and cursed; my name will stink in people's nostrils, as if I were the greatest of malefactors. But I shall possess the hundred millions; and with that, pretty one, I shall possess the friendship of all decent men!

"I tell you again, with Lupin and you gone, it's all over. There's nothing left, nothing but some papers and a few little things which I have been weak enough to keep until now, in this pocket-book here, and which would be enough and more than enough to cost me my head, if I did not intend to burn them in a few minutes and send the ashes to the bottom of the well.

"So you see, Florence, all my measures are taken. You need not hope for compassion from me, nor for help from anywhere else, since no one knows where I have brought you, and Arsène Lupin is no longer alive. Under these conditions, Florence, make your choice. The ending is in your own hands: either you die, absolutely and irrevocably, or you accept my love."

There was a moment of silence, then:

"Answer me yes or no. A movement of your head will decide your fate. If it's no, you die. If it's yes, I shall release you. We will go from here and, later, when your innocence is proved—and I'll see to that—you shall become my wife. Is the answer yes, Florence?"

He put the question to her with real anxiety and with a restrained passion that set his voice trembling. His knees dragged over the flagstones. He begged and threatened, hungering to be entreated and, at the same time, almost eager for a refusal, so great was his natural murderous impulse.

"Is it yes, Florence? A nod, the least little nod, and I shall believe you implicitly, for you never lie and your promise is sacred. Is it yes, Florence? Oh, Florence, answer me! It is madness to hesitate. Your life depends on a fresh outburst of my anger. Answer me! Here, look, my cigarette is out. I'm throwing it away, Florence. A sign of your head: is the answer yes or no?"

He bent over her and shook her by the shoulders, as if to force her to make the sign which he asked for. But suddenly seized with a sort of frenzy, he rose to his feet and exclaimed:

"She's crying! She's crying! She dares to weep! But, wretched girl, do you think that I don't know what you're crying for? I know your secret, pretty one, and I know that your tears do not come from any fear of dying. You? Why, you fear nothing! No, it's something else! Shall I tell you your secret? Oh, I can't, I can't—though the words scorch my lips. Oh, cursed woman, you've brought it on yourself! You yourself want to die, Florence, as you're crying—you yourself want to die..."

While he was speaking he hastened to get to work and prepare the horrible tragedy. The leather pocket-book which he had mentioned as containing the papers was lying on the ground; he put it in his pocket. Then, still trembling, he pulled off his jacket and threw it on the nearest bush. Next, he took up the pickaxe and climbed the lower stones, stamping with rage and shouting:

"It's you who have asked to die, Florence! Nothing can prevent it now. I can't even see your head, if you make a sign. It's too late! You asked for it and you've got it! Ah, you're crying! You dare to cry! What madness!"

He was standing almost above the grotto, on the right. His anger made him draw himself to his full height. He looked horrible, hideous, atrocious. His eyes filled with blood as he inserted the bar of the pickaxe between the two blocks of granite, at the spot where the brick was wedged in. Then, standing on one side, in a place of safety, he struck the brick, struck it again. At the third stroke the brick flew out.

What happened was so sudden, the pyramid of stones and rubbish came crashing with such violence into the hollow of the grotto and in front of the grotto, that the cripple himself, in spite of his precautions, was dragged down by the avalanche and thrown upon the grass. It was not a serious fall, however, and he picked himself up at once, stammering:

"Florence! Florence!"

Though he had so carefully prepared the catastrophe, and brought it about with such determination, its results seemed suddenly to stagger him. He hunted for the girl with terrified eyes. He stooped down and crawled round the chaos shrouded in clouds of dust. He looked through the interstices. He saw nothing.

Florence was buried under the ruins, dead, invisible, as be had anticipated.

"Dead!" he said, with staring eyes and a look of stupor on his face. "Dead! Florence is dead!"

Once again he lapsed into a state of absolute prostration, which gradually slackened his legs, brought him to the ground and paralyzed him. His two efforts, following so close upon each other and ending in disasters of which he had been the immediate witness, seemed to have robbed him of all his remaining energy.

With no hatred in him, since Arsène Lupin no longer lived, with no love, since Florence was no more, he looked like a man who has lost his last motive for existence.

Twice his lips uttered the name of Florence. Was he regretting his friend? Having reached the last of that appalling series of crimes, was he imagining the several stages, each marked with a corpse? Was something like a conscience making itself felt deep down in that brute? Or was it not rather the sort of physical torpor that numbs the sated beast of prey, glutted with flesh, drunk with blood, a torpor that is almost voluptuousness?

Nevertheless, he once more repeated Florence's name, and tears rolled down his cheeks.

He lay long in this condition, gloomy and motionless; and when, after again taking a few sips of his medicine, he went back to his work, he did so mechanically, with none of that gayety which had made him hop on his legs and set about his murder as though he were going to a pleasure party.

He began by returning to the bush from which Lupin had seen him emerge. Behind this bush, between two trees, was a shelter containing tools and arms, spades, rakes, guns, and rolls of wire and rope.

Making several journeys, he carried them to the well, intending to throw them down it before he went away. He next examined every particle of the little mound up which he had climbed, in order to make sure that he was not leaving the least trace of his passage.

He made a similar examination of those parts of the lawn on which he had stepped, except the path leading to the well, the inspection of which he kept for the last. He brushed up the trodden grass and carefully smoothed the trampled earth.

He was obviously anxious and seemed to be thinking of other things, while at the same time mechanically doing those things which a murderer knows by force of habit that it is wise to do.

One little incident seemed to wake him up. A wounded swallow fell to the ground close by where he stood. He stooped, caught it, and crushed it in his hands, kneading it like a scrap of crumpled paper. And his eyes shone with a savage delight as he gazed at the blood that trickled from the poor bird and reddened his hands.

But, when he flung the shapeless little body into a furze bush, he saw on the spikes in the bush a hair, a long, fair hair; and all his depression returned at the memory of Florence.

He knelt in front of the ruined grotto. Then, breaking two sticks of wood, he placed the pieces in the form of a cross under one of the stones.

As he was bending over, a little looking-glass slipped from his waistcoat pocket and, striking a pebble, broke. This sign of ill luck made a great impression on him, He cast a suspicious look around him and, shivering with nervousness, as though he felt threatened by the invisible powers, he muttered:

"I'm afraid—I'm afraid. Let's go away..."

His watch now marked half-past four. He took his jacket from the shrub on which he had hung it, slipped his arms into the sleeves, and put his hand in the right-hand outside pocket, where he had placed the pocket-book containing his papers:

"Hullo!" he said, in great surprise. "I was sure I had..."

He felt in the left outside pocket, then in the handkerchief-pocket, then, with feverish excitement, in both the inside pockets. The pocket-book was not there. And, to his extreme amazement, all the other things which he was absolutely certain that he had left in the pockets of his jacket were gone: his cigarette-case, his box of matches, his notebook.

He was flabbergasted. His features became distorted. He spluttered incomprehensible words, while the most terrible thought took hold of his mind so forcibly as to become a reality: there was some one within the precincts of the Old Castle.

There was some one within the precincts of the Old Castle! And this some one was now hiding near the ruins, in the ruins perhaps! And this some one had seen him! And this some one had witnessed the death of Arsène Lupin and the death of Florence Levasseur! And this some one, taking advantage of his heedlessness and knowing from his words that the papers existed, had searched his jacket and rifled the pockets!

His eyes expressed the alarm of a man accustomed to work in the darkness unperceived, and who suddenly becomes aware that another's eyes have surprised him at his hateful task and that he is being watched in every movement for the first time in his life.

Whence did that look come that troubled him as the daylight troubles a bird of the night? Was it an intruder hiding there by accident, or an enemy bent upon his destruction? Was it an accomplice of Arsène Lupin, a friend of Florence, one of the police? And was this adversary satisfied with his stolen booty, or was he preparing to attack him?

The cripple dared not stir. He was there, exposed to assault, on open ground, with nothing to protect him against the blows that might come before he even knew where the adversary was.

At last, however, the imminence of the danger gave him back some of his strength. Still motionless, he inspected his surroundings with an attention so keen that it seemed as if no detail could escape him. He would have sighted the most indistinct shape among the stones of the ruined pile, or in the bushes, or behind the tall laurel screen.

Seeing nobody, he came along, supporting himself on his crutch. He walked without the least sound of his feet or of the crutch, which probably had a rubber shoe at the end of it. His raised right hand held a revolver. His finger was on the trigger. The least effort of his will, or even less than that, a spontaneous injunction of his instinct, was enough to put a bullet into the enemy.

He turned to the left. On this side, between the extreme end of the laurels and the first fallen rocks, there was a little brick path which was more likely the top of a buried wall. The cripple followed this path, by which the enemy might have reached the shrub on which the jacket hung without leaving any traces.

The last branches of the laurels were in his way, and he pushed them aside. There was a tangled mass of bushes. To avoid this, he skirted the foot of the mound, after which he took a few more steps, going round a huge rock. And then, suddenly, he started back and almost lost his balance, while his crutch fell to the ground and his revolver slipped from his hand.

What he had seen, what he saw, was certainly the most terrifying sight that he could possibly have beheld. Opposite him, at ten paces distance, with his hands in his pockets, his feet crossed, and one shoulder resting lightly against the rocky wall, stood not a man: it was not a man, and could not be a man, for this man, as the cripple knew, was dead, had died the death from which there is no recovery. It was therefore a ghost; and this apparition from the tomb raised the cripple's terror to its highest pitch.

He shivered, seized with a fresh attack of fever and weakness. His dilated pupils stared at the extraordinary phenomenon. His whole being, filled with demoniacal superstition and dread, crumpled up under the vision to which each second lent an added horror.

Incapable of flight, incapable of defence, he dropped upon his knees. And he could not take his eyes from that dead man, whom hardly an hour before he had buried in the depths of a well, under a shroud of iron and granite.

Arsène Lupin's ghost!

A man you take aim at, you fire at, you kill. But a ghost! A thing which no longer exists and which nevertheless disposes of all the supernatural powers! What was the use of struggling against the infernal machinations of that which is no more? What was the use of picking up the fallen revolver and levelling it at the intangible spirit of Arsène Lupin?

And he saw an incomprehensible thing occur: the ghost took its hands out of its pockets. One of them held a cigarette-case; and the cripple recognized the same gun-metal case for which he had hunted in vain. There was therefore not a doubt left that the creature who had ransacked the jacket was the very same who now opened the case, picked out a cigarette and struck a match taken from a box which also belonged to the cripple!

O miracle! A real flame came from the match! O incomparable marvel! Clouds of smoke rose from the cigarette, real smoke, of which the cripple at once knew the particular smell!

He hid his head in his hands. He refused to see more. Whether ghost or optical illusion, an emanation from another world, or an image born of his remorse and proceeding from himself, it should torture his eyes no longer.

But he heard the sound of a step approaching him, growing more and more distinct as it came closer! He felt a strange presence moving near him! An arm was stretched out! A hand fell on his shoulder! That hand clutched his flesh with an irresistible grip! And he heard words spoken by a voice which, beyond mistake, was the human and living voice of Arsène Lupin!

"Why, my dear sir, what a state we're getting ourselves into! Of course, I understand that my sudden return seems an unusual and even an inconvenient proceeding, but still it does not do to be so uncontrollably impressed. Men have seen much more extraordinary things than that, such as Joshua staying the sun, and more sensational disasters, such as the Lisbon earthquake of 1755.

"The wise man reduces events to their proper proportions and judges them, not by their action upon his own destiny, but by the way in which they influence the fortunes of the world. Now confess that your little mishap is purely individual and does not affect the equilibrium of the solar system. You know what Marcus Aurelius says, on page 84, of Charpentier's edition..."

The cripple had plucked up courage to raise his head; and the real state of things now became so obviously apparent that he could no longer get away from the undeniable fact: Arsène Lupin was not dead! Arsène Lupin whom he had hurled into the bowels of the earth and crushed as surely as an insect is crushed with a hammer; Arsène Lupin was not dead!

How to explain so astounding a mystery the cripple did not even stop to wonder. One thing alone mattered: Arsène Lupin was not dead. Arsène Lupin looked and spoke as a living man does. Arsène Lupin was not dead. He breathed, he smiled, he talked, he lived!

And it was so certainly life that the scoundrel saw before him that, obeying a sudden impulse of his nature and of his hatred for life, he flattened himself to his full length, reached his revolver, seized it, and fired.

He fired; but it was too late. Don Luis had caused the weapon to swerve with a kick of his boot. Another kick sent it flying out of the cripple's hand.

The villain ground his teeth with fury and at once began hurriedly to fumble in his pockets.

"Is this what you're looking for, sir?" asked Don Luis, holding up a hypodermic syringe filled with a yellow fluid. "Excuse me, but I was afraid lest you should prick yourself by mistake. That would have been a fatal prick, would it not? And I should never have forgiven myself."

The cripple was disarmed. He hesitated for a moment, surprised that the enemy did not attack him more violently, and sought to profit by the delay. His small, blinking eyes wandered around him, looking for something to throw. But an idea seemed to strike him and to restore his confidence little by little; and, in a new and really unexpected fit of delight, he indulged in one of his loudest chuckles:

"And what about Florence?" he shouted. "Don't forget Florence! For I've got you there! I can miss you with my revolver and you can steal my poison; but I have another means of hitting you, right in the heart. You can't live without Florence, can you? Florence's death means your own sentence, doesn't it? If Florence is dead, you'll put the rope round your own neck, won't you, won't you, won't you?"

"Yes. If Florence were to die, I could not survive her!"

"She is dead!" cried the scoundrel, with a renewed burst of merriment, hopping about on his knees. "She's dead, quite, quite dead! What am I saying? She's more than dead! A dead person retains the appearance of a live one for a time; but this is much better: there's no corpse here, Lupin; just a mess of flesh and bone!

"The whole scaffolding of rocks has come down on top of her! You can picture it, eh? What a sight! Come, quick, it's your turn to kick the bucket. Would you like a length of rope? Ha, ha, ha! It's enough to make one die with laughing. Didn't I say that you'd meet at the gates of hell? Quick, your sweetheart's waiting for you. Do you hesitate? Where's your old French politeness? You can't keep a lady waiting, you know. Hurry up, Lupin! Florence is dead!"

He said this with real enjoyment, as though the mere word of death appeared to him delicious.

Don Luis had not moved a muscle. He simply nodded his head and said:

"What a pity!"

The cripple seemed petrified. All his joyous contortions, all his triumphal pantomime, stopped short. He blurted out:

"Eh? What did you say?"

"I say," declared Don Luis, preserving his calm and courteous demeanour and refraining from echoing the cripple's familiarity, "I say, my dear sir, that you have done very wrong. I never met a finer nature nor one more worthy of esteem than that of Mlle. Levasseur. The incomparable beauty of her face and figure, her youth, her charm, all these deserved a better treatment. It would indeed be a matter for regret if such a masterpiece of womankind had ceased to be."