The Greatest Adventures of Arsène Lupin (Boxed-Set). Морис Леблан

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СКАЧАТЬ now arrived with candles. Raymonde flung herself down before the other body and recognized Jean Daval, the count's private secretary. A little stream of blood trickled from his neck. His face already wore the pallor of death.

      Then she rose, returned to the drawing room, took a gun that hung in a trophy of arms on the wall and went out on the balcony. Not more than fifty or sixty seconds had elapsed since the man had set his foot on the top rung of the ladder. He could not, therefore, be very far away, the more so as he had taken the precaution to remove the ladder, in order to prevent the inmates of the house from using it. And soon she saw him skirting the remains of the old cloister. She put the gun to her shoulder, calmly took aim and fired. The man fell.

      "That's done it! That's done it!" said one of the servants. "We've got this one. I'll run down."

      "No, Victor, he's getting up.... You had better go down by the staircase and make straight for the little door in the wall. That's the only way he can escape."

      Victor hurried off, but, before he reached the park, the man fell down again. Raymonde called the other servant:

      "Albert, do you see him down there? Near the main cloister?—"

      "Yes, he's crawling in the grass. He's done for—"

      "Watch him from here."

      "There's no way of escape for him. On the right of the ruins is the open lawn—"

      "And, Victor, do you guard the door, on the left," she said, taking up her gun.

      "But, surely, you are not going down, miss?"

      "Yes, yes," she said, with a resolute accent and abrupt movements; "let me be—I have a cartridge left—If he stirs—"

      She went out. A moment later, Albert saw her going toward the ruins. He called to her from the window:

      "He's dragged himself behind the cloister. I can't see him. Be careful, miss—"

      Raymonde went round the old cloisters, to cut off the man's retreat, and Albert soon lost sight of her. After a few minutes, as he did not see her return, he became uneasy and, keeping his eye on the ruins, instead of going down by the stairs he made an effort to reach the ladder. When he had succeeded, he scrambled down and ran straight to the cloisters near which he had seen the man last. Thirty paces farther, he found Raymonde, who was searching with Victor.

      "Well?" he asked.

      "There's no laying one's hands on him," replied Victor.

      "The little door?"

      "I've been there; here's the key."

      "Still—he must—"

      "Oh, we've got him safe enough, the scoundrel—He'll be ours in ten minutes."

      The farmer and his son, awakened by the shot, now came from the farm buildings, which were at some distance on the right, but within the circuit of the walls. They had met no one.

      "Of course not," said Albert. "The ruffian can't have left the ruins—We'll dig him out of some hole or other."

      They organized a methodical search, beating every bush, pulling aside the heavy masses of ivy rolled round the shafts of the columns. They made sure that the chapel was properly locked and that none of the panes were broken. They went round the cloisters and examined every nook and corner. The search was fruitless.

      There was but one discovery: at the place where the man had fallen under Raymonde's gun, they picked up a chauffeur's cap, in very soft buff leather; besides that, nothing.

      The gendarmerie of Ouville-la-Riviere were informed at six o'clock in the morning and at once proceeded to the spot, after sending an express to the authorities at Dieppe with a note describing the circumstances of the crime, the imminent capture of the chief criminal and "the discovery of his headgear and of the dagger with which the crime had been committed."

      At ten o'clock, two hired conveyances came down the gentle slope that led to the house. One of them, an old-fashioned calash, contained the deputy public prosecutor and the examining magistrate, accompanied by his clerk. In the other, a humble fly, were seated two reporters, representing the Journal de Rouen and a great Paris paper.

      The old chateau came into view—once the abbey residence of the priors of Ambrumesy, mutilated under the Revolution, both restored by the Comte de Gesvres, who had now owned it for some twenty years. It consists of a main building, surmounted by a pinnacled clock-tower, and two wings, each of which is surrounded by a flight of steps with a stone balustrade. Looking across the walls of the park and beyond the upland supported by the high Norman cliffs, you catch a glimpse of the blue line of the Channel between the villages of Sainte-Marguerite and Varengeville.

      Here the Comte de Gesvres lived with his daughter Suzanne, a delicate, fair-haired, pretty creature, and his niece Raymonde de Saint-Veran, whom he had taken to live with him two years before, when the simultaneous death of her father and mother left Raymonde an orphan. Life at the chateau was peaceful and regular. A few neighbors paid an occasional visit. In the summer, the count took the two girls almost every day to Dieppe. He was a tall man, with a handsome, serious face and hair that was turning gray. He was very rich, managed his fortune himself and looked after his extensive estates with the assistance of his secretary, Jean Daval.

      Immediately upon his arrival, the examining magistrate took down the first observations of Sergeant Quevillon of the gendarmes. The capture of the criminal, imminent though it might be, had not yet been effected, but every outlet of the park was held. Escape was impossible.

      The little company next crossed the chapter-hall and the refectory, both of which are on the ground floor, and went up to the first story. They at once remarked the perfect order that prevailed in the drawing room. Not a piece of furniture, not an ornament but appeared to occupy its usual place; nor was there any gap among the ornaments or furniture. On the right and left walls hung magnificent Flemish tapestries with figures. On the panels of the wall facing the windows were four fine canvases, in contemporary frames, representing mythological scenes. These were the famous pictures by Rubens which had been left to the Comte de Gesvres, together with the Flemish tapestries, by his maternal uncle, the Marques de Bobadilla, a Spanish grandee.

      M. Filleul remarked:

      "If the motive of the crime was theft, this drawing room, at any rate, was not the object of it."

      "You can't tell!" said the deputy, who spoke little, but who, when he did, invariably opposed the magistrate's views.

      "Why, my dear sir, the first thought of a burglar would be to carry off those pictures and tapestries, which are universally renowned."

      "Perhaps there was no time."

      "We shall see."

      At that moment, the Comte de Gesvres entered, accompanied by the doctor. The count, who did not seem to feel the effects of the attack to which he had been subjected, welcomed the two officials. Then he opened the door of the boudoir.

      This room, which no one had been allowed to enter since the discovery of the crime, differed from the drawing room inasmuch as it presented a scene of the greatest disorder. Two chairs were overturned, one of the tables smashed to pieces and several objects—a traveling-clock, a portfolio, a box of stationery—lay on the floor. And there was blood on some of the scattered pieces of note-paper.

      The СКАЧАТЬ