Patrice leant more heavily on his companion’s arm:
“You, who know so many good people, haven’t you the fellow I want concealed about your person? A genius of sorts? A demigod?”
Ya-Bon grunted again, merrily this time, and withdrew his arm. He always carried a little electric lamp. Switching on the light, he put the handle between his teeth. Then he took a bit of chalk out of his jacket-pocket.
A grimy, weather-beaten plaster wall ran along the street. Ya-Bon took his stand in front of the wall and, turning the light upon it, began to write with an unskilful hand, as though each letter cost him a measureless effort and as though the sum total of those letters were the only one that he had ever succeeded in composing and remembering. In this way he wrote two words which Patrice read out:
Arsène Lupin.
“Arsène Lupin,” said Patrice, under his breath. And, looking at Ya-Bon in amazement, “Are you in your right mind? What do you mean by Arsène Lupin? Are you suggesting Arsène Lupin to me?”
Ya-Bon nodded his head.
“Arsène Lupin? Do you know him?”
“Yes,” Ya-Bon signified.
Patrice then remembered that the Senegalese used to spend his days at the hospital getting his good-natured comrades to read all the adventures of Arsène Lupin aloud to him; and he grinned:
“Yes, you know him as one knows somebody whose history one has read.”
“No,” protested Ya-Bon.
“Do you know him personally?”
“Yes.”
“Get out, you silly fool! Arsène Lupin is dead. He threw himself into the sea from a rock; and you pretend that you know him?”
813. By Maurice Leblanc. Translated by Alexander Teixeira de Mattos.
“Yes.”
“Do you mean to say that you have met him since he died?”
“Yes.”
“By Jove! And Master Ya-Bon’s influence with Arsène Lupin is enough to make him come to life again and put himself out at a sign from Master Ya-Bon?”
“Yes.”
“I say! I had a high opinion of you as it was, but now there is nothing for me but to make you my bow. A friend of the late Arsène Lupin! We’re going it! . . . And how long will it take you to place his ghost at our disposal? Six months? Three months? One month? A fortnight?”
Ya-Bon made a gesture.
“About a fortnight,” Captain Belval translated. “Very well, evoke your friend’s spirit; I shall be delighted to make his acquaintance. Only, upon my word, you must have a very poor idea of me to imagine that I need a collaborator! What next! Do you take me for a helpless dunderhead?”
CHAPTER IX. PATRICE AND CORALIE
EVERYTHING HAPPENED AS M. Masseron had foretold. The press did not speak. The public did not become excited. The various deaths were casually paragraphed. The funeral of Essarès Bey, the wealthy banker, passed unnoticed.
But, on the day following the funeral, after Captain Belval, with the support of the police, had made an application to the military authorities, a new order of things was established in the house in the Rue Raynouard. It was recognized as Home No. 2 attached to the hospital in the Champs-Élysées; Mme. Essarès was appointed matron; and it became the residence of Captain Belval and his seven wounded men exclusively.
Coralie, therefore, was the only woman remaining. The cook and housemaid were sent away. The seven cripples did all the work of the house. One acted as hall-porter, another as cook, a third as butler. Ya-Bon, promoted to parlor-maid, made it his business to wait on Little Mother Coralie. At night he slept in the passage outside her door. By day he mounted guard outside her window.
“Let no one near that door or that window!” Patrice said to him. “Let no one in! You’ll catch it if so much as a mosquito succeeds in entering her room.”
Nevertheless, Patrice was not easy in his mind. The enemy had given him too many proofs of reckless daring to let him imagine that he could take any steps to ensure her perfect protection. Danger always creeps in where it is least expected; and it was all the more difficult to ward off in that no one knew whence it threatened. Now that Essarès Bey was dead, who was continuing his work? Who had inherited the task of revenge upon Coralie announced in his last letter?
M. Masseron had at once begun his work of investigation, but the dramatic side of the case seemed to leave him indifferent. Since he had not found the body of the man whose dying cries reached Patrice Belval’s ears, since he had discovered no clue to the mysterious assailant who had fired at Patrice and Coralie later in the day, since he was not able to trace where the assailant had obtained his ladder, he dropped these questions and confined his efforts entirely to the search of the eighteen hundred bags of gold. These were all that concerned him.
“We have every reason to believe that they are here,” he said, “between the four sides of the quadrilateral formed by the garden and the house. Obviously, a bag of gold weighing a hundredweight does not take up as much room, by a long way, as a sack of coal of the same weight. But, for all that, eighteen hundred bags represent a cubic content; and a content like that is not easily concealed.”
In two days he had assured himself that the treasure was hidden neither in the house nor under the house. On the evenings when Essarès Bey’s car brought the gold out of the coffers of the Franco-Oriental Bank to the Rue Raynouard, Essarès, the chauffeur and the man known as Grégoire used to pass a thick wire through the grating of which the accomplices spoke. This wire was found. Along the wire ran hooks, which were also found; and on these the bags were slung and afterwards stacked in a large cellar situated exactly under the library. It is needless to say that M. Masseron and his detectives devoted all their ingenuity and all the painstaking patience of which they were capable to the task of searching every corner of this cellar. Their efforts only established beyond doubt that it contained no secret, save that of a staircase which ran down from the library and which was closed at the top by a trap-door concealed by the carpet.
In addition to the grating on the Rue Raynouard, there was another which overlooked the garden, on the level of the first terrace. These two openings were barricaded on the inside by very heavy shutters, so that it was an easy matter to stack thousands and thousands of rouleaus of gold in the cellar before sending them away.
“But how were they sent away?” M. Masseron wondered. “That’s the mystery. And why this intermediate stage in the basement, in the Rue Raynouard? Another mystery. And now we have Fakhi, Bournef and Co. declaring that, this time, it was not sent away, that the gold is here and that it can be found for the searching. We have searched the house. There is still the garden. Let us look there.”
It was a beautiful old garden and had once formed part of the wide-stretching estate where people were in the habit, at the end of the eighteenth century, of going to drink the Passy waters. With a two-hundred-yard frontage, it ran from the Rue Raynouard to the quay of the river-side and led, by four successive terraces, to an expanse of lawn as old as the rest of the garden, fringed with thickets of evergreens and shaded by groups of tall trees.
But the beauty of the garden lay chiefly in its four terraces and in the view which they afforded of the river, the low ground on the left bank and the distant hills. They were united by twenty sets of steps; and twenty paths climbed from the one to the other, paths cut between the buttressing walls and sometimes hidden in the floods of ivy that dashed from top to bottom.
Here and there a statue stood out, a broken column, or the fragments of a capital. The stone balcony that edged the upper terrace was still adorned with all its old terra-cotta vases. On this terrace also were the ruins of two little round temples where, in the old days, the springs bubbled to the surface. In front of the library windows was a circular basin, with in the center the figure of a child shooting a slender thread of water through the funnel of a shell. It was the overflow from this basin, forming a little stream, that trickled over the rocks against which Patrice had stumbled on the first evening
.
“Ten acres to explore before we’ve done,” said M. Masseron to himself.
He employed upon this work, in addition to Belval’s cripples, a dozen of his own detectives. It was not a difficult business and was bound to lead to some definite result. As M. Masseron never ceased saying, eighteen hundred bags cannot remain invisible. An excavation leaves traces. You want a hole to go in and out by. But neither the grass of the lawns nor the sand of the paths showed any signs of earth recently disturbed. The ivy? The buttressing-walls? The terraces? Everything was inspected, but in vain. Here and there, in cutting up the ground, old conduit pipes were found, running towards the Seine, and remains of aqueducts that had once served to carry off the Passy waters. But there was no such thing as a cave, an underground chamber, a brick arch or anything that looked like a hiding-place.
Patrice and Coralie watched the progress of the search. And yet, though they fully realized its importance and though, on the other hand, they were still feeling the strain of the recent dramatic hours, in reality they were engrossed only in the inexplicable problem of their fate; and their conversation nearly always turned upon the mystery of the past.
Coralie’s mother was the daughter of a French consul at Salonica, where she married a very rich man of a certain age, called Count Odolavitch, the head of an ancient Servian family. He died a year after Coralie was born. The widow and child were at that time in France, at this same house in the Rue Raynouard, which Count Odolavitch had purchased through a young Egyptian called Essarès, his secretary and factotum.
Coralie here spent three years of her childhood. Then she suddenly lost her mother and was left alone in the world. Essarès took her to Salonica, to a surviving sister of her grandfather the consul, a woman many years younger than her brother. This lady took charge of Coralie. Unfortunately, she fell under Essarès’ influence, signed papers and made her little grand-niece sign papers, until the child’s whole fortune, administered by the Egyptian, gradually disappeared.
At last, when she was about seventeen, Coralie became the victim of an adventure which left the most hideous memory in her mind and which had a fatal effect on her life. She was kidnaped one morning by a band of Turks on the plains of Salonica and spent a fortnight in the palace of the governor of the province, exposed to his desires. Essarès released her. But the release was brought about in so fantastic a fashion that Coralie must have often wondered afterwards whether the Turk and the Egyptian were not in collusion.
At any rate, sick in body and depressed in spirits, fearing a fresh assault upon her liberty and yielding to her aunt’s wishes, a month later she married this Essarès, who had already been paying her his addresses and who now definitely assumed in her eyes the figure of a deliverer. It was a hopeless union, the horror of which became manifest to her on the very day on which it was cemented. Coralie was the wife of a man whom she hated and whose love only grew with the hatred and contempt which she showed for it.
Before the end of the year they came and took up their residence at the house in the Rue Raynouard. Essarès, who had long ago established and was at that time managing the Salonica branch of the Franco-Oriental Bank, bought up almost all the shares of the bank itself, acquired the building in the Rue Lafayette for the head office, became one of the financial magnates of Paris and received the title of bey in Egypt.
This was the story which Coralie told Patrice one day in the beautiful garden at Passy; and, in this unhappy past which they explored together and compared with Patrice Belval’s own, neither he nor Coralie was able to discover a single point that was common to both. The two of them had lived in different parts of the world. Not one name evoked the same recollection in their minds. There was not a detail that enabled them to understand why each should possess a piece of the same amethyst bead nor why their joint images should be contained in the same medallion-pendant or stuck in the pages of the same album.
“Failing everything else,” said Patrice, “we can explain that the pendant found in the hand of Essarès Bey was snatched by him from the unknown friend who was watching over us and whom he murdered. But what about the album, which he wore in a pocket sewn inside his vest?”
Neither attempted to answer the question. Then Patrice asked:
“Tell me about Siméon.”
“Siméon has always lived here.”
“Even in your mother’s time?”
“No, it was one or two years after my mother’s death and after I went to Salonica that Essarès put him to look after this property and keep it in good condition.”
“Was he Essarès’ secretary?”
“I never knew what his exact functions were. But he was not Essarès’ secretary, nor his confidant either. They never talked together intimately. He came to see us two or three times at Salonica. I remember one of his visits. I was quite a child and I heard him speaking to Essarès in a very angry tone, apparently threatening him.”
“With what?”
“I don’t know. I know nothing at all about Siméon. He kept himself very much to himself and was nearly always in the garden, smoking his pipe, dreaming, tending the trees and flowers, sometimes with the assistance of two or three gardeners whom he would send for.”
“How did he behave to you?”
“Here again I can’t give any definite impression. We never talked; and his occupations very seldom brought him into contact with me. Nevertheless I sometimes thought that his eyes used to seek me, through their yellow spectacles, with a certain persistency and perhaps even a certain interest. Moreover, lately, he liked going with me to the hospital; and he would then, either there or on the way, show himself more attentive, more eager to please . . . so much so that I have been wondering this last day or two . . .”
She hesitated for a moment, undecided whether to speak, and then continued:
“Yes, it’s a very vague notion . . . but, all the same . . . Look here, there’s one thing I forgot to tell you. Do you know why I joined the hospital in the Champs-Élysées, the hospital where you were lying wounded and ill? It was because Siméon took me there. He knew that I wanted to become a nurse and he suggested this hospital. . . . And then, if you think, later on, the photograph in the pendant, the one showing you in uniform and me as a nurse, can only have been taken at the hospital. Well, of the people here, in this house, no one except Siméon ever went there. . . . You will also remember that he used to come to Salonica, where he saw me as a child and afterwards as a girl, and that there also he may have taken the snapshots in the album. So that, if we allow that he had some correspondent who on his side followed your footsteps in life, it would not be impossible to believe that the unknown friend whom you assume to have intervened between us, the one who sent you the key of the garden . . .”
“Was old Siméon?” Patrice interrupted. “The theory won’t hold water.”
“Why not?”
“Because this friend is dead. The man who, as you say, sought to intervene between us, who sent me the key of the garden, who called me to the telephone to tell me the truth, that man was murdered. There is not the least doubt about it. I heard the cries of a man who is being killed, dying cries, the cries which a man utters when at the moment of death.”
“You can never be sure.”
“I am, absolutely. There is no shadow of doubt in my mind. The man whom I call our unknown friend died before finishing his work; he died murdered, whereas Siméon is alive. Besides,” continued Patrice, “this man had a different voice from Siméon, a voice which I had never heard before and which I shall never hear again.”
Coralie was convinced and did not insist.
They were seated on one of the benches in the garden, enjoying the bright April sunshine. The buds of the chestnut-trees shone at the tips of the branches. The heavy scent of the wall-flowers rose from the borders; and their brown and yellow blossoms, like a cluster of bees and wasps pressed close together, swayed to the light breeze.
Suddenly Patrice felt a thrill. Corali
e had placed her hand on his, with engaging friendliness; and, when he turned to look at her, he saw that she was in tears.
“What’s the matter, Little Mother Coralie?”
Coralie’s head bent down and her cheek touched the officer’s shoulder. He dared not move. She was treating him as a protecting elder brother; and he shrank from showing any warmth of affection that might annoy her.
“What is it, dear?” he repeated. “What’s the matter?”
“Oh, it is so strange!” she murmured. “Look, Patrice, look at those flowers.”
They were on the third terrace, commanding a view of the fourth; and this, the lowest of the terraces, was adorned not with borders of wall-flowers but with beds in which were mingled all manner of spring flowers; tulips, silvery alyssums, hyacinths, with a great round plot of pansies in the middle.
“Look over there,” she said, pointing to this plot with her outstretched arm. “Do you see? . . . Letters. . . .”
Patrice looked and gradually perceived that the clumps of pansies were so arranged as to form on the ground some letters that stood out among the other flowers. It did not appear at the first glance. It took a certain time to see; but, once seen, the letters grouped themselves of their own accord, forming three words set down in a single line:
Patrice and Coralie
“Ah,” he said, in a low voice, “I understand what you mean!”
Delphi Collected Works of Maurice Leblanc (Illustrated) (Delphi Series Nine Book 17) Page 198