Chapter 10: Edith Swan-Neck

"Arsene Lupin, what's your real opinion of Inspector Ganimard?"

"A very high one, my dear fellow."

"A very high one? Then why do you never miss a chance of turning him into ridicule?"

"It's a bad habit; and I'm sorry for it. But what can I say? It's the way of the world. Here's a decent detective-chap, here's a whole pack of decent men, who stand for law and order, who protect us against the apaches, who risk their lives for honest people like you and me; and we have nothing to give them in return but flouts and gibes. It's preposterous!"

"Bravo, Lupin! you're talking like a respectable ratepayer!"

"What else am I? I may have peculiar views about other people's property; but I assure you that it's very different when my own's at stake. By Jove, it doesn't do to lay hands on what belongs to me! Then I'm out for blood! Aha! It's _my_ pocket, _my_ money, _my_ watch ... hands off! I have the soul of a conservative, my dear fellow, the instincts of a retired tradesman and a due respect for every sort of tradition and authority. And that is why Ganimard inspires me with no little gratitude and esteem."

"But not much admiration?"

"Plenty of admiration too. Over and above the dauntless courage which comes natural to all those gentry at the Criminal Investigation Department, Ganimard possesses very sterling qualities: decision, insight and judgment. I have watched him at work. He's somebody, when all's said. Do you know the Edith Swan-neck story, as it was called?"

"I know as much as everybody knows."

"That means that you don't know it at all. Well, that job was, I daresay, the one which I thought out most cleverly, with the utmost care and the utmost precaution, the one which I shrouded in the greatest darkness and mystery, the one which it took the biggest generalship to carry through. It was a regular game of chess, played according to strict scientific and mathematical rules. And yet Ganimard ended by unravelling the knot. Thanks to him, they know the truth to-day on the Quai des Orfevres. And it is a truth quite out of the common, I assure you."

"May I hope to hear it?"

"Certainly ... one of these days ... when I have time ... But the Brunelli is dancing at the Opera to-night; and, if she were not to see me in my stall... !"

I do not meet Lupin often. He confesses with difficulty, when it suits him. It was only gradually, by snatches, by odds and ends of confidences, that I was able to obtain the different incidents and to piece the story together in all its details.

The main features are well known and I will merely mention the facts.

Three years ago, when the train from Brest arrived at Rennes, the door of one of the luggage vans was found smashed in. This van had been booked by Colonel Sparmiento, a rich Brazilian, who was travelling with his wife in the same train. It contained a complete set of tapestry-hangings. The case in which one of these was packed had been broken open and the tapestry had disappeared.

Colonel Sparmiento started proceedings against the railway-company, claiming heavy damages, not only for the stolen tapestry, but also for the loss in value which the whole collection suffered in consequence of the theft.

The police instituted inquiries. The company offered a large reward. A fortnight later, a letter which had come undone in the post was opened by the authorities and revealed the fact that the theft had been carried out under the direction of Arsene Lupin and that a package was to leave next day for the United States. That same evening, the tapestry was discovered in a trunk deposited in the cloak-room at the Gare Saint-Lazare.

The scheme, therefore, had miscarried. Lupin felt the disappointment so much that he vented his ill-humour in a communication to Colonel Sparmiento, ending with the following words, which were clear enough for anybody:

"It was very considerate of me to take only one. Next time, I shall take the twelve. _Verbum sap._

"A. L."

Colonel Sparmiento had been living for some months in a house standing at the end of a small garden at the corner of the Rue de la Faisanderie and the Rue Dufresnoy. He was a rather thick-set, broad-shouldered man, with black hair and a swarthy skin, always well and quietly dressed. He was married to an extremely pretty but delicate Englishwoman, who was much upset by the business of the tapestries. From the first she implored her husband to sell them for what they would fetch. The Colonel had much too forcible and dogged a nature to yield to what he had every right to describe as a woman's fancies. He sold nothing, but he redoubled his precautions and adopted every measure that was likely to make an attempt at burglary impossible.

To begin with, so that he might confine his watch to the garden-front, he walled up all the windows on the ground-floor and the first floor overlooking the Rue Dufresnoy. Next, he enlisted the services of a firm which made a speciality of protecting private houses against robberies. Every window of the gallery in which the tapestries were hung was fitted with invisible burglar alarms, the position of which was known, to none but himself. These, at the least touch, switched on all the electric lights and set a whole system of bells and gongs ringing.

In addition to this, the insurance companies to which he applied refused to grant policies to any considerable amount unless he consented to let three men, supplied by the companies and paid by himself, occupy the ground-floor of his house every night. They selected for the purpose three ex-detectives, tried and trustworthy men, all of whom hated Lupin like poison. As for the servants, the colonel had known them for years and was ready to vouch for them.

After taking these steps and organizing the defence of the house as though it were a fortress, the colonel gave a great house-warming, a sort of private view, to which he invited the members of both his clubs, as well as a certain number of ladies, journalists, art-patrons and critics.

They felt, as they passed through the garden-gate, much as if they were walking into a prison. The three private detectives, posted at the foot of the stairs, asked for each visitor's invitation card and eyed him up and down suspiciously, making him feel as though they were going to search his pockets or take his finger-prints.

The colonel, who received his guests on the first floor, made laughing apologies and seemed delighted at the opportunity of explaining the arrangements which he had invented to secure the safety of his hangings. His wife stood by him, looking charmingly young and pretty, fair-haired, pale and sinuous, with a sad and gentle expression, the expression of resignation often worn by those who are threatened by fate.

When all the guests had come, the garden-gates and the hall-doors were closed. Then everybody filed into the middle gallery, which was reached through two steel doors, while its windows, with their huge shutters, were protected by iron bars. This was where the twelve tapestries were kept.

They were matchless works of art and, taking their inspiration from the famous Bayeux Tapestry, attributed to Queen Matilda, they represented the story of the Norman Conquest. They had been ordered in the fourteenth century by the descendant of a man-at-arms in William the Conqueror's train; were executed by Jehan Gosset, a famous Arras weaver; and were discovered, five hundred years later, in an old Breton manor-house. On hearing of this, the colonel had struck a bargain for fifty thousand francs. They were worth ten times the money.

But the finest of the twelve hangings composing the set, the most uncommon because the subject had not been treated by Queen Matilda, was the one which Arsene Lupin had stolen and which had been so fortunately recovered. It portrayed Edith Swan-neck on the battlefield of Hastings, seeking among the dead for the body of her sweetheart Harold, last of the Saxon kings.

The guests were lost in enthusiasm over this tapestry, over the unsophisticated beauty of the design, over the faded colours, over the life-like grouping of the figures and the pitiful sadness of the scene. Poor Edith Swan-neck stood drooping like an overweighted lily. Her white gown revealed the lines of her languid figure. Her long, tapering hands were outstretched in a gesture of terror and entreaty. And nothing could be more mournful than her profile, over which flickered the most dejected and despairing of smiles.

"A harrowing smile," remarked one of the critics, to whom the others listened with deference. "A very charming smile, besides; and it reminds me, Colonel, of the smile of Mme. Sparmiento."

And seeing that the observation seemed to meet with approval, he enlarged upon his idea:

"There are other points of resemblance that struck me at once, such as the very graceful curve of the neck and the delicacy of the hands ... and also something about the figure, about the general attitude..."

"What you say is so true," said the colonel, "that I confess that it was this likeness that decided me to buy the hangings. And there was another reason, which was that, by a really curious chance, my wife's name happens to be Edith. I have called her Edith Swan-neck ever since." And the colonel added, with a laugh, "I hope that the coincidence will stop at this and that my dear Edith will never have to go in search of her true-love's body, like her prototype."

He laughed as he uttered these words, but his laugh met with no echo; and we find the same impression of awkward silence in all the accounts of the evening that appeared during the next few days. The people standing near him did not know what to say. One of them tried to jest:

"Your name isn't Harold, Colonel?"

"No, thank you," he declared, with continued merriment. "No, that's not my name; nor am I in the least like the Saxon king."

All have since agreed in stating that, at that moment, as the colonel finished speaking, the first alarm rang from the windows--the right or the middle window: opinions differ on this point--rang short and shrill on a single note. The peal of the alarm-bell was followed by an exclamation of terror uttered by Mme. Sparmiento, who caught hold of her husband's arm. He cried:

"What's the matter? What does this mean?"

The guests stood motionless, with their eyes staring at the windows. The colonel repeated:

"What does it mean? I don't understand. No one but myself knows where that bell is fixed..."

And, at that moment--here again the evidence is unanimous--at that moment came sudden, absolute darkness, followed immediately by the maddening din of all the bells and all the gongs, from top to bottom of the house, in every room and at every window.

For a few seconds, a stupid disorder, an insane terror, reigned. The women screamed. The men banged with their fists on the closed doors. They hustled and fought. People fell to the floor and were trampled under foot. It was like a panic-stricken crowd, scared by threatening flames or by a bursting shell. And, above the uproar, rose the colonel's voice, shouting:

"Silence! ... Don't move! ... It's all right! ... The switch is over there, in the corner ... Wait a bit ... Here!"

He had pushed his way through his guests and reached a corner of the gallery; and, all at once, the electric light blazed up again, while the pandemonium of bells stopped.

Then, in the sudden light, a strange sight met the eyes. Two ladies had fainted. Mme. Sparmiento, hanging to her husband's arm, with her knees dragging on the floor, and livid in the face, appeared half dead. The men, pale, with their neckties awry, looked as if they had all been in the wars.

"The tapestries are there!" cried some one.

There was a great surprise, as though the disappearance of those hangings ought to have been the natural result and the only plausible explanation of the incident. But nothing had been moved. A few valuable pictures, hanging on the walls, were there still. And, though the same din had reverberated all over the house, though all the rooms had been thrown into darkness, the detectives had seen no one entering or trying to enter.

"Besides," said the colonel, "it's only the windows of the gallery that have alarms. Nobody but myself understands how they work; and I had not set them yet."

People laughed loudly at the way in which they had been frightened, but they laughed without conviction and in a more or less shamefaced fashion, for each of them was keenly alive to the absurdity of his conduct. And they had but one thought--to get out of that house where, say what you would, the atmosphere was one of agonizing anxiety.

Two journalists stayed behind, however; and the colonel joined them, after attending to Edith and handing her over to her maids. The three of them, together with the detectives, made a search that did not lead to the discovery of anything of the least interest. Then the colonel sent for some champagne; and the result was that it was not until a late hour--to be exact, a quarter to three in the morning--that the journalists took their leave, the colonel retired to his quarters, and the detectives withdrew to the room which had been set aside for them on the ground-floor.

They took the watch by turns, a watch consisting, in the first place, in keeping awake and, next, in looking round the garden and visiting the gallery at intervals.

These orders were scrupulously carried out, except between five and seven in the morning, when sleep gained the mastery and the men ceased to go their rounds. But it was broad daylight out of doors. Besides, if there had been the least sound of bells, would they not have woke up?

Nevertheless, when one of them, at twenty minutes past seven, opened the door of the gallery and flung back the shutters, he saw that the twelve tapestries were gone.

This man and the others were blamed afterward for not giving the alarm at once and for starting their own investigations before informing the colonel and telephoning to the local commissary. Yet this very excusable delay can hardly be said to have hampered the action of the police. In any case, the colonel was not told until half-past eight. He was dressed and ready to go out. The news did not seem to upset him beyond measure, or, at least, he managed to control his emotion. But the effort must have been too much for him, for he suddenly dropped into a chair and, for some moments, gave way to a regular fit of despair and anguish, most painful to behold in a man of his resolute appearance.

Recovering and mastering himself, he went to the gallery, stared at the bare walls and then sat down at a table and hastily scribbled a letter, which he put into an envelope and sealed.

"There," he said. "I'm in a hurry ... I have an important engagement ... Here is a letter for the commissary of police." And, seeing the detectives' eyes upon him, he added, "I am giving the commissary my views ... telling him of a suspicion that occurs to me ... He must follow it up ... I will do what I can..."

He left the house at a run, with excited gestures which the detectives were subsequently to remember.

A few minutes later, the commissary of police arrived. He was handed the letter, which contained the following words:

"I am at the end of my tether. The theft of those tapestries completes the crash which I have been trying to conceal for the past year. I bought them as a speculation and was hoping to get a million francs for them, thanks to the fuss that was made about them. As it was, an American offered me six hundred thousand. It meant my salvation. This means utter destruction.

"I hope that my dear wife will forgive the sorrow which I am bringing upon her. Her name will be on my lips at the last moment."

Mme. Sparmiento was informed. She remained aghast with horror, while inquiries were instituted and attempts made to trace the colonel's movements.

Late in the afternoon, a telephone-message came from Ville d'Avray. A gang of railway-men had found a man's body lying at the entrance to a tunnel after a train had passed. The body was hideously mutilated; the face had lost all resemblance to anything human. There were no papers in the pockets. But the description answered to that of the colonel.

Mme. Sparmiento arrived at Ville d'Avray, by motor-car, at seven o'clock in the evening. She was taken to a room at the railway-station. When the sheet that covered it was removed, Edith, Edith Swan-neck, recognized her husband's body.

In these circumstances, Lupin did not receive his usual good notices in the press:

"Let him look to himself," jeered one leader-writer, summing up the general opinion. "It would not take many exploits of this kind for him to forfeit the popularity which has not been grudged him hitherto. We have no use for Lupin, except when his rogueries are perpetrated at the expense of shady company-promoters, foreign adventurers, German barons, banks and financial companies. And, above all, no murders! A burglar we can put up with; but a murderer, no! If he is not directly guilty, he is at least responsible for this death. There is blood upon his hands; the arms on his escutcheon are stained gules..."

The public anger and disgust were increased by the pity which Edith's pale face aroused. The guests of the night before gave their version of what had happened, omitting none of the impressive details; and a legend formed straightway around the fair-haired Englishwoman, a legend that assumed a really tragic character, owing to the popular story of the swan-necked heroine.

And yet the public could not withhold its admiration of the extraordinary skill with which the theft had been effected. The police explained it, after a fashion. The detectives had noticed from the first and subsequently stated that one of the three windows of the gallery was wide open. There could be no doubt that Lupin and his confederates had entered through this window. It seemed a very plausible suggestion. Still, in that case, how were they able, first, to climb the garden railings, in coming and going, without being seen; secondly, to cross the garden and put up a ladder on the flower-border, without leaving the least trace behind; thirdly, to open the shutters and the window, without starting the bells and switching on the lights in the house?

The police accused the three detectives of complicity. The magistrate in charge of the case examined them at length, made minute inquiries into their private lives and stated formally that they were above all suspicion. As for the tapestries, there seemed to be no hope that they would be recovered.

It was at this moment that Chief-inspector Ganimard returned from India, where he had been hunting for Lupin on the strength of a number of most convincing proofs supplied by former confederates of Lupin himself. Feeling that he had once more been tricked by his everlasting adversary, fully believing that Lupin had dispatched him on this wild-goose chase so as to be rid of him during the business of the tapestries, he asked for a fortnight's leave of absence, called on Mme. Sparmiento and promised to avenge her husband.

Edith had reached the point at which not even the thought of vengeance relieves the sufferer's pain. She had dismissed the three detectives on the day of the funeral and engaged just one man and an old cook-housekeeper to take the place of the large staff of servants the sight of whom reminded her too cruelly of the past. Not caring what happened, she kept her room and left Ganimard free to act as he pleased.

He took up his quarters on the ground-floor and at once instituted a series of the most minute investigations. He started the inquiry afresh, questioned the people in the neighbourhood, studied the distribution of the rooms and set each of the burglar-alarms going thirty and forty times over.

At the end of the fortnight, he asked for an extension of leave. The chief of the detective-service, who was at that time M. Dudouis, came to see him and found him perched on the top of a ladder, in the gallery. That day, the chief-inspector admitted that all his searches had proved useless.

Two days later, however, M. Dudouis called again and discovered Ganimard in a very thoughtful frame of mind. A bundle of newspapers lay spread in front of him. At last, in reply to his superior's urgent questions, the chief-inspector muttered:

"I know nothing, chief, absolutely nothing; but there's a confounded notion worrying me ... Only it seems so absurd ... And then it doesn't explain things ... On the contrary, it confuses them rather..."

"Then... ?"

"Then I implore you, chief, to have a little patience ... to let me go my own way. But if I telephone to you, some day or other, suddenly, you must jump into a taxi, without losing a minute. It will mean that I have discovered the secret."

Forty-eight hours passed. Then, one morning, M. Dudouis received a telegram:

"Going to Lille.

"GANIMARD."

"What the dickens can he want to go to Lille for?" wondered the chief-detective.

The day passed without news, followed by another day. But M. Dudouis had every confidence in Ganimard. He knew his man, knew that the old detective was not one of those people who excite themselves for nothing. When Ganimard "got a move on him," it meant that he had sound reasons for doing so.

As a matter of fact, on the evening of that second day, M. Dudouis was called to the telephone.

"Is that you, chief?"

"Is it Ganimard speaking?"

Cautious men both, they began by making sure of each other's identity. As soon as his mind was eased on this point, Ganimard continued, hurriedly: