Chapter I: Front Matter

THE FLORENTINE
DAGGER

_A Novel for Amateur Detectives_

BY
BEN HECHT

BONI AND LIVERIGHT
Publishers New York

_Copyright, 1923, by_
Boni and Liveright, Inc.

PRINTED IN THE UNITED STATES OF AMERICA

TO JOSEPHINE DITRICHSTEIN,
who graciously promised to read my next book, providing, of course, it
was a mystery story

WALLACE SMITH’S ILLUSTRATIONS

The five illustrations contained in the following pages, and the jacket design, are the work of the new phenomenal black and white artist, Wallace Smith. In making the drawings Mr. Smith chose to illustrate the spirit of the text rather than its letter. The result is this series of Renaissance pictures whose dark opulence curiously interprets the moods of the story’s hero, Prince Julien de Medici—of Broadway.

CONTENTS

CHAPTER PAGE
I. Velvet Souls 17
Containing a nervous cavalier with frightened eyes. Introducing a
mysterious and puritanical satyr. And discussing the tired ghosts
that haunted the heart of Julien De Medici.

II. The Veiled Aphrodite 30
In which a lady of barbaric eyes smiles, sighs, and weeps. In
which Eros obliges with a saxophone solo. A morning of golden
shadows and an off-stage pizzicato.

III. Murder 38
In which Julien De Medici collides with a tantalizing corpse. In
which a dagger, a candlestick, a crucifix, and a false beard
mumble incoherently.

IV. The Empty Web 51
In which a detective weaves a theory. In which Julien De Medici
stares at a clew. In which Pandora raises a warning finger to her
lips. A table set for two, an initialed purse, an ancient theater
program—but the story waits.

V. Questions and Answers 72
In which the world wags its callous tongue. In which dénouements
thumb their noses at each other. In which Julien De Medici
succumbs to a delicious madness. A Jesuitical policeman and an
ambitious coroner flirt coyly with an Enigma.

VI. Labyrinths of Blood 93
In which a detective attaches a pair of asses’ ears to his head.
In which Julien De Medici removes for a moment a mask. In which a
glimpse, incredible and disturbing, is caught of the soul of
Florence Ballau. Who blew out the candle of the salamanders?

VII. The Haunted Room 110
In which an apoplectic scientist explodes. In which invisible
footsteps sound in a dark corridor. In which Julien De Medici
opens a letter. The woman of the hidden eyes. Floria, the lady of
the dagger, appears. In which underworlds collide. The staircase
to Hell and a strange passion. A voice that spoke over the
telephone.

VIII. Denouement No. 1 132
In which Nemesis babbles cheerfully. In which the Dead Flower
adopts new petals. Postmarks and time-tables and a false beard
that sneers mischievously. Also a scrawl of vengeance, enigmatic
ashes and a half signature.

IX. The Hidden Voice 151
In which a scientist half opens a reluctant door. The strange
sleep of Florence Ballau. The broken murmur. “It was ... it
was....” In which a detective scratches his ear and sighs. In
which Julien De Medici puts on his armor.

X. The Dagger of Mist 161
In which a pathologist reasons himself into a railroad trip.
Francesca of the spiral eyes. The ancient science of demonology.
The visiting shadow. The dagger that glistened against the moon.

XI. Elusive Climaxes 173
In which Julien De Medici finds himself grewsomely decorated. In
which he passes triumphantly on his own innocence. The exonerating
wound. Candlestick and cross again and the laugh of a new
Francesca. A new doubt. A telegram both absurd and bewildering.
Cinematographic clews.

XII. The Woman with the Cackling Laugh 186
Treasures for sale. Bidders and buyers and candlesticks. In which
an old woman makes an exciting purchase. In which Julien De Medici
pursues an aged Alice in Wonderland. The beginning of a story.

XIII. The Two Florias 209
In which Julien De Medici meets a train and grapples with a
skyrocket. The triumphant phantoms again. In which Dr. Lytton
relates an incredible story concerning dawn in Rollo, Maine. “Come
at once—she is dying.”

XIV. Act II 230
The burning-eyed visitor. An old favorite. Amateur theatricals.
“Light the candles!” In which Julien De Medici reveals himself as
an effective playwright.

XV. Hearts and Flowers 238
In which Florence takes up the drama. A taxicab, as in the
beginning. In which what is left of the reader’s suspense and
curiosity is carefully removed.

THE FLORENTINE DAGGER