The whole house was built upon the plan of a T, but a T with a very long cross piece and a very short tail piece. The long cross piece was the frontage that ran along in face of the street, with the front door in the middle; it was two stories high, and contained nearly all the important rooms. The short tail piece, which ran out at the back immediately opposite the front door, was one story high, and consisted only of two long rooms, the one leading into the other. The first of these two rooms was the study in which the celebrated Mr. Quinton wrote his wild Oriental poems and romances. The farther room was a glass conservatory full of tropical blossoms of quite unique and almost monstrous beauty, and on such afternoons as these glowing with gorgeous sunlight. Thus when the hall door was open, many a passer-by literally stopped to stare and gasp; for he looked down a perspective of rich apartments to something really like a transformation scene in a fairy play: purple clouds and golden suns and crimson stars that were at once scorchingly vivid and yet transparent and far away.
Leonard Quinton, the poet, had himself most carefully arranged this effect; and it is doubtful whether he so perfectly expressed his personality in any of his poems. For he was a man who drank and bathed in colours, who indulged his lust for colour somewhat to the neglect of form—even of good form. This it was that had turned his genius so wholly to eastern art and imagery; to those bewildering carpets or blinding embroideries in which all the colours seem fallen into a fortunate chaos, having nothing to typify or to teach. He had attempted, not perhaps with complete artistic success, but with acknowledged imagination and invention, to compose epics and love stories reflecting the riot of violent and even cruel colour; tales of tropical heavens of burning gold or blood-red copper; of eastern heroes who rode with twelve-turbaned mitres upon elephants painted purple or peacock green; of gigantic jewels that a hundred negroes could not carry, but which burned with ancient and strange-hued fires.
In short (to put the matter from the more common point of view), he dealt much in eastern heavens, rather worse than most western hells; in eastern monarchs, whom we might possibly call maniacs; and in eastern jewels which a Bond Street jeweller (if the hundred staggering negroes brought them into his shop) might possibly not regard as genuine. Quinton was a genius, if a morbid one; and even his morbidity appeared more in his life than in his work. In temperament he was weak and waspish, and his health had suffered heavily from oriental experiments with opium. His wife —a handsome, hard-working, and, indeed, over-worked woman objected to the opium, but objected much more to a live Indian hermit in white and yellow robes, whom her husband insisted on entertaining for months together, a Virgil to guide his spirit through the heavens and the hells of the east.
It was out of this artistic household that Father Brown and his friend stepped on to the door-step; and to judge from their faces, they stepped out of it with much relief. Flambeau had known Quinton in wild student days in Paris, and they had renewed the acquaintance for a week-end; but apart from Flambeau's more responsible developments of late, he did not get on well with the poet now. Choking oneself with opium and writing little erotic verses on vellum was not his notion of how a gentleman should go to the devil. As the two paused on the door-step, before taking a turn in the garden, the front garden gate was thrown open with violence, and a young man with a billycock hat on the back of his head tumbled up the steps in his eagerness. He was a dissipated-looking youth with a gorgeous red necktie all awry, as if he had slept in it, and he kept fidgeting and lashing about with one of those little jointed canes.
"I say," he said breathlessly, "I want to see old Quinton. I must see him. Has he gone?"
"Mr. Quinton is in, I believe," said Father Brown, cleaning his pipe, "but I do not know if you can see him. The doctor is with him at present."
The young man, who seemed not to be perfectly sober, stumbled into the hall; and at the same moment the doctor came out of Quinton's study, shutting the door and beginning to put on his gloves.
"See Mr. Quinton?" said the doctor coolly. "No, I'm afraid you can't. In fact, you mustn't on any account. Nobody must see him; I've just given him his sleeping draught."
"No, but look here, old chap," said the youth in the red tie, trying affectionately to capture the doctor by the lapels of his coat. "Look here. I'm simply sewn up, I tell you. I—"
"It's no good, Mr. Atkinson," said the doctor, forcing him to fall back; "when you can alter the effects of a drug I'll alter my decision," and, settling on his hat, he stepped out into the sunlight with the other two. He was a bull-necked, good-tempered little man with a small moustache, inexpressibly ordinary, yet giving an impression of capacity.
The young man in the billycock, who did not seem to be gifted with any tact in dealing with people beyond the general idea of clutching hold of their coats, stood outside the door, as dazed as if he had been thrown out bodily, and silently watched the other three walk away together through the garden.
"That was a sound, spanking lie I told just now," remarked the medical man, laughing. "In point of fact, poor Quinton doesn't have his sleeping draught for nearly half an hour. But I'm not going to have him bothered with that little beast, who only wants to borrow money that he wouldn't pay back if he could. He's a dirty little scamp, though he is Mrs. Quinton's brother, and she's as fine a woman as ever walked."
"Yes," said Father Brown. "She's a good woman."
"So I propose to hang about the garden till the creature has cleared off," went on the doctor, "and then I'll go in to Quinton with the medicine. Atkinson can't get in, because I locked the door."
"In that case, Dr. Harris," said Flambeau, "we might as well walk round at the back by the end of the conservatory. There's no entrance to it that way, but it's worth seeing, even from the outside."
"Yes, and I might get a squint at my patient," laughed the doctor, "for he prefers to lie on an ottoman right at the end of the conservatory amid all those blood-red poinsettias; it would give me the creeps. But what are you doing?"
Father Brown had stopped for a moment, and picked up out of the long grass, where it had almost been wholly hidden, a queer, crooked Oriental knife, inlaid exquisitely in coloured stones and metals.
"What is this?" asked Father Brown, regarding it with some disfavour.
"Oh, Quinton's, I suppose," said Dr. Harris carelessly; "he has all sorts of Chinese knickknacks about the place. Or perhaps it belongs to that mild Hindoo of his whom he keeps on a string."
"What Hindoo?" asked Father Brown, still staring at the dagger in his hand.
"Oh, some Indian conjuror," said the doctor lightly; "a fraud, of course."
"You don't believe in magic?" asked Father Brown, without looking up.
"O crickey! magic!" said the doctor.
"It's very beautiful," said the priest in a low, dreaming voice; "the colours are very beautiful. But it's the wrong shape."
"What for?" asked Flambeau, staring.
"For anything. It's the wrong shape in the abstract. Don't you ever feel that about Eastern art? The colours are intoxicatingly lovely; but the shapes are mean and bad— deliberately mean and bad. I have seen wicked things in a Turkey carpet."
"Mon Dieu!" cried Flambeau, laughing.
"They are letters and symbols in a language I don't know; but I know they stand for evil words," went on the priest, his voice growing lower and lower. "The lines go wrong on purpose—like serpents doubling to escape."
"What the devil are you talking about?" said the doctor with a loud laugh.
Flambeau spoke quietly to him in answer. "The Father sometimes gets this mystic's cloud on him," he said; "but I give you fair warning that I have never known him to have it except when there was some evil quite near."
"Oh, rats!" said the scientist.
"Why, look at it," cried Father Brown, holding out the crooked knife at arm's length, as if it were some glittering snake.
"Don't you see it is the wrong shape? Don't you see that it has no hearty and plain purpose? It does not po
int like a spear. It does not sweep like a scythe. It does not look like a weapon. It looks like an instrument of torture."
"Well, as you don't seem to like it," said the jolly Harris,
"it had better be taken back to its owner. Haven't we come to the end of this confounded conservatory yet? This house is the wrong shape, if you like."
"You don't understand," said Father Brown, shaking his head.
"The shape of this house is quaint—it is even laughable. But there is nothing wrong about it."
As they spoke they came round the curve of glass that ended the conservatory, an uninterrupted curve, for there was neither door nor window by which to enter at that end. The glass, however, was clear, and the sun still bright, though beginning to set; and they could see not only the flamboyant blossoms inside, but the frail figure of the poet in a brown velvet coat lying languidly on the sofa, having, apparently, fallen half asleep over a book. He was a pale, slight man, with loose, chestnut hair and a fringe of beard that was the paradox of his face, for the beard made him look less manly. These traits were well known to all three of them; but even had it not been so, it may be doubted whether they would have looked at Quinton just then. Their eyes were riveted on another object.
Exactly in their path, immediately outside the round end of the glass building, was standing a tall man, whose drapery fell to his feet in faultless white, and whose bare, brown skull, face, and neck gleamed in the setting sun like splendid bronze. He was looking through the glass at the sleeper, and he was more motionless than a mountain.
"Who is that?" cried Father Brown, stepping back with a hissing intake of his breath.
"Oh, it is only that Hindoo humbug," growled Harris; "but I don't know what the deuce he's doing here."
"It looks like hypnotism," said Flambeau, biting his black moustache.
"Why are you unmedical fellows always talking bosh about hypnotism?" cried the doctor. "It looks a deal more like burglary."
"Well, we will speak to it, at any rate," said Flambeau, who was always for action. One long stride took him to the place where the Indian stood. Bowing from his great height, which overtopped even the Oriental's, he said with placid impudence:
"Good evening, sir. Do you want anything?"
Quite slowly, like a great ship turning into a harbour, the great yellow face turned, and looked at last over its white shoulder. They were startled to see that its yellow eyelids were quite sealed, as in sleep. "Thank you," said the face in excellent English. "I want nothing." Then, half opening the lids, so as to show a slit of opalescent eyeball, he repeated, "I want nothing." Then he opened his eyes wide with a startling stare, said, "I want nothing," and went rustling away into the rapidly darkening garden.
"The Christian is more modest," muttered Father Brown; "he wants something."
"What on earth was he doing?" asked Flambeau, knitting his black brows and lowering his voice.
"I should like to talk to you later," said Father Brown.
The sunlight was still a reality, but it was the red light of evening, and the bulk of the garden trees and bushes grew blacker and blacker against it. They turned round the end of the conservatory, and walked in silence down the other side to get round to the front door. As they went they seemed to wake something, as one startles a bird, in the deeper corner between the study and the main building; and again they saw the white-robed fakir slide out of the shadow, and slip round towards the front door. To their surprise, however, he had not been alone. They found themselves abruptly pulled up and forced to banish their bewilderment by the appearance of Mrs. Quinton, with her heavy golden hair and square pale face, advancing on them out of the twilight. She looked a little stern, but was entirely courteous.
"Good evening, Dr. Harris," was all she said.
"Good evening, Mrs. Quinton," said the little doctor heartily.
"I am just going to give your husband his sleeping draught."
"Yes," she said in a clear voice. "I think it is quite time."
And she smiled at them, and went sweeping into the house.
"That woman's over-driven," said Father Brown; "that's the kind of woman that does her duty for twenty years, and then does something dreadful."
The little doctor looked at him for the first time with an eye of interest. "Did you ever study medicine?" he asked.
"You have to know something of the mind as well as the body," answered the priest; "we have to know something of the body as well as the mind."
"Well," said the doctor, "I think I'll go and give Quinton his stuff."
They had turned the corner of the front facade, and were approaching the front doorway. As they turned into it they saw the man in the white robe for the third time. He came so straight towards the front door that it seemed quite incredible that he had not just come out of the study opposite to it. Yet they knew that the study door was locked.
Father Brown and Flambeau, however, kept this weird contradiction to themselves, and Dr. Harris was not a man to waste his thoughts on the impossible. He permitted the omnipresent Asiatic to make his exit, and then stepped briskly into the hall. There he found a figure which he had already forgotten. The inane Atkinson was still hanging about, humming and poking things with his knobby cane. The doctor's face had a spasm of disgust and decision, and he whispered rapidly to his companion: "I must lock the door again, or this rat will get in.
But I shall be out again in two minutes."
He rapidly unlocked the door and locked it again behind him, just balking a blundering charge from the young man in the billycock. The young man threw himself impatiently on a hall chair. Flambeau looked at a Persian illumination on the wall;
Father Brown, who seemed in a sort of daze, dully eyed the door.
In about four minutes the door was opened again. Atkinson was quicker this time. He sprang forward, held the door open for an instant, and called out: "Oh, I say, Quinton, I want—"
From the other end of the study came the clear voice of Quinton, in something between a yawn and a yell of weary laughter.
"Oh, I know what you want. Take it, and leave me in peace.
I'm writing a song about peacocks."
Before the door closed half a sovereign came flying through the aperture; and Atkinson, stumbling forward, caught it with singular dexterity.
"So that's settled," said the doctor, and, locking the door savagely, he led the way out into the garden.
"Poor Leonard can get a little peace now," he added to Father Brown; "he's locked in all by himself for an hour or two."
"Yes," answered the priest; "and his voice sounded jolly enough when we left him." Then he looked gravely round the garden, and saw the loose figure of Atkinson standing and jingling the half-sovereign in his pocket, and beyond, in the purple twilight, the figure of the Indian sitting bolt upright upon a bank of grass with his face turned towards the setting sun. Then he said abruptly: "Where is Mrs. Quinton!"
"She has gone up to her room," said the doctor. "That is her shadow on the blind."
Father Brown looked up, and frowningly scrutinised a dark outline at the gas-lit window.
"Yes," he said, "that is her shadow," and he walked a yard or two and threw himself upon a garden seat.
Flambeau sat down beside him; but the doctor was one of those energetic people who live naturally on their legs. He walked away, smoking, into the twilight, and the two friends were left together.
"My father," said Flambeau in French, "what is the matter with you?"
Father Brown was silent and motionless for half a minute, then he said: "Superstition is irreligious, but there is something in the air of this place. I think it's that Indian—at least, partly."
He sank into silence, and watched the distant outline of the Indian, who still sat rigid as if in prayer. At first sight he seemed motionless, but as Father Brown watched him he saw that the man swayed ever so slightly with a rhythmic movement, just as the dark tree-tops swayed ever so slightly in the wind that was creeping
up the dim garden paths and shuffling the fallen leaves a little.
The landscape was growing rapidly dark, as if for a storm, but they could still see all the figures in their various places.
Atkinson was leaning against a tree with a listless face; Quinton's wife was still at her window; the doctor had gone strolling round the end of the conservatory; they could see his cigar like a will-o'-the-wisp; and the fakir still sat rigid and yet rocking, while the trees above him began to rock and almost to roar. Storm was certainly coming.
"When that Indian spoke to us," went on Brown in a conversational undertone, "I had a sort of vision, a vision of him and all his universe. Yet he only said the same thing three times. When first he said `I want nothing,' it meant only that he was impenetrable, that Asia does not give itself away. Then he said again, `I want nothing,' and I knew that he meant that he was sufficient to himself, like a cosmos, that he needed no God, neither admitted any sins. And when he said the third time, `I want nothing,' he said it with blazing eyes. And I knew that he meant literally what he said; that nothing was his desire and his home; that he was weary for nothing as for wine; that annihilation, the mere destruction of everything or anything—"
Two drops of rain fell; and for some reason Flambeau started and looked up, as if they had stung him. And the same instant the doctor down by the end of the conservatory began running towards them, calling out something as he ran.
As he came among them like a bombshell the restless Atkinson happened to be taking a turn nearer to the house front; and the doctor clutched him by the collar in a convulsive grip. "Foul play!" he cried; "what have you been doing to him, you dog?"
Father Brown Omnibus Page 13
