"Look here," cried the young woman, "if you don't let me pass to untie him I'll run outside and scream for the police."
"I should not advise you, Miss MacNab," said Dr Hood gravely, "to be in any hurry to fetch the police. Father Brown, I seriously ask you to compose your flock, for their sakes, not for mine. Well, we have seen something of the figure and quality of Mr Glass; what are the chief facts known of Mr Todhunter? They are substantially three: that he is economical, that he is more or less wealthy, and that he has a secret. Now, surely it is obvious that there are the three chief marks of the kind of man who is blackmailed. And surely it is equally obvious that the faded finery, the profligate habits, and the shrill irritation of Mr Glass are the unmistakable marks of the kind of man who blackmails him. We have the two typical figures of a tragedy of hush money: on the one hand, the respectable man with a mystery; on the other, the West-end vulture with a scent for a mystery. These two men have met here today and have quarrelled, using blows and a bare weapon."
"Are you going to take those ropes off?" asked the girl stubbornly.
Dr Hood replaced the silk hat carefully on the side table, and went across to the captive. He studied him intently, even moving him a little and half-turning him round by the shoulders, but he only answered:
"No; I think these ropes will do very well till your friends the police bring the handcuffs."
Father Brown, who had been looking dully at the carpet, lifted his round face and said: "What do you mean?"
The man of science had picked up the peculiar dagger-sword from the carpet and was examining it intently as he answered:
"Because you find Mr Todhunter tied up," he said, "you all jump to the conclusion that Mr Glass had tied him up; and then, I suppose, escaped. There are four objections to this: First, why should a gentleman so dressy as our friend Glass leave his hat behind him, if he left of his own free will? Second," he continued, moving towards the window, "this is the only exit, and it is locked on the inside. Third, this blade here has a tiny touch of blood at the point, but there is no wound on Mr Todhunter. Mr Glass took that wound away with him, dead or alive. Add to all this primary probability. It is much more likely that the blackmailed person would try to kill his incubus, rather than that the blackmailer would try to kill the goose that lays his golden egg. There, I think, we have a pretty complete story."
"But the ropes?" inquired the priest, whose eyes had remained open with a rather vacant admiration.
"Ah, the ropes," said the expert with a singular intonation. "Miss MacNab very much wanted to know why I did not set Mr Todhunter free from his ropes. Well, I will tell her. I did not do it because Mr Todhunter can set himself free from them at any minute he chooses."
"What?" cried the audience on quite different notes of astonishment.
"I have looked at all the knots on Mr Todhunter," reiterated Hood quietly. "I happen to know something about knots; they are quite a branch of criminal science. Every one of those knots he has made himself and could loosen himself; not one of them would have been made by an enemy really trying to pinion him. The whole of this affair of the ropes is a clever fake, to make us think him the victim of the struggle instead of the wretched Glass, whose corpse may be hidden in the garden or stuffed up the chimney."
There was a rather depressed silence; the room was darkening, the sea-blighted boughs of the garden trees looked leaner and blacker than ever, yet they seemed to have come nearer to the window. One could almost fancy they were sea-monsters like krakens or cuttlefish, writhing polypi who had crawled up from the sea to see the end of this tragedy, even as he, the villain and victim of it, the terrible man in the tall hat, had once crawled up from the sea. For the whole air was dense with the morbidity of blackmail, which is the most morbid of human things, because it is a crime concealing a crime; a black plaster on a blacker wound.
The face of the little Catholic priest, which was commonly complacent and even comic, had suddenly become knotted with a curious frown. It was not the blank curiosity of his first innocence. It was rather that creative curiosity which comes when a man has the beginnings of an idea. "Say it again, please," he said in a simple, bothered manner; "do you mean that Todhunter can tie himself up all alone and untie himself all alone?"
"That is what I mean," said the doctor.
" Jerusalem !" ejaculated Brown suddenly, "I wonder if it could possibly be that!"
He scuttled across the room rather like a rabbit, and peered with quite a new impulsiveness into the partially-covered face of the captive. Then he turned his own rather fatuous face to the company. "Yes, that's it!" he cried in a certain excitement. "Can't you see it in the man's face? Why, look at his eyes!"
Both the Professor and the girl followed the direction of his glance. And though the broad black scarf completely masked the lower half of Todhunter's visage, they did grow conscious of something struggling and intense about the upper part of it.
"His eyes do look queer," cried the young woman, strongly moved. "You brutes; I believe it's hurting him!"
"Not that, I think," said Dr Hood; "the eyes have certainly a singular expression. But I should interpret those transverse wrinkles as expressing rather such slight psychological abnormality—"
"Oh, bosh!" cried Father Brown: "can't you see he's laughing?"
"Laughing!" repeated the doctor, with a start; "but what on earth can he be laughing at?"
"Well," replied the Reverend Brown apologetically, "not to put too fine a point on it, I think he is laughing at you. And indeed, I'm a little inclined to laugh at myself, now I know about it."
"Now you know about what?" asked Hood, in some exasperation.
"Now I know," replied the priest, "the profession of Mr Todhunter."
He shuffled about the room, looking at one object after another with what seemed to be a vacant stare, and then invariably bursting into an equally vacant laugh, a highly irritating process for those who had to watch it. He laughed very much over the hat, still more uproariously over the broken glass, but the blood on the sword point sent him into mortal convulsions of amusement. Then he turned to the fuming specialist.
"Dr Hood," he cried enthusiastically, "you are a great poet! You have called an uncreated being out of the void. How much more godlike that is than if you had only ferreted out the mere facts! Indeed, the mere facts are rather commonplace and comic by comparison."
"I have no notion what you are talking about," said Dr Hood rather haughtily; "my facts are all inevitable, though necessarily incomplete. A place may be permitted to intuition, perhaps (or poetry if you prefer the term), but only because the corresponding details cannot as yet be ascertained. In the absence of Mr Glass—"
"That's it, that's it," said the little priest, nodding quite eagerly, "that's the first idea to get fixed; the absence of Mr Glass. He is so extremely absent. I suppose," he added reflectively, "that there was never anybody so absent as Mr Glass."
"Do you mean he is absent from the town?" demanded the doctor.
"I mean he is absent from everywhere," answered Father Brown; "he is absent from the Nature of Things, so to speak."
"Do you seriously mean," said the specialist with a smile, "that there is no such person?"
The priest made a sign of assent. "It does seem a pity," he said.
Orion Hood broke into a contemptuous laugh. "Well," he said, "before we go on to the hundred and one other evidences, let us take the first proof we found; the first fact we fell over when we fell into this room. If there is no Mr Glass, whose hat is this?"
"It is Mr Todhunter's," replied Father Brown.
"But it doesn't fit him," cried Hood impatiently. "He couldn't possibly wear it!"
Father Brown shook his head with ineffable mildness. "I never said he could wear it," he answered. "I said it was his hat. Or, if you insist on a shade of difference, a hat that is his."
"And what is the shade of difference?" asked the criminologist with a slight sneer.
"My good sir,"
cried the mild little man, with his first movement akin to impatience, "if you will walk down the street to the nearest hatter's shop, you will see that there is, in common speech, a difference between a man's hat and the hats that are his."
"But a hatter," protested Hood, "can get money out of his stock of new hats. What could Todhunter get out of this one old hat?"
"Rabbits," replied Father Brown promptly.
"What?" cried Dr Hood.
"Rabbits, ribbons, sweetmeats, goldfish, rolls of coloured paper," said the reverend gentleman with rapidity. "Didn't you see it all when you found out the faked ropes? It's just the same with the sword. Mr Todhunter hasn't got a scratch on him, as you say; but he's got a scratch in him, if you follow me."
"Do you mean inside Mr Todhunter's clothes?" inquired Mrs MacNab sternly.
"I do not mean inside Mr Todhunter's clothes," said Father Brown. "I mean inside Mr Todhunter."
"Well, what in the name of Bedlam do you mean?"
"Mr Todhunter," explained Father Brown placidly, "is learning to be a professional conjurer, as well as juggler, ventriloquist, and expert in the rope trick. The conjuring explains the hat. It is without traces of hair, not because it is worn by the prematurely bald Mr Glass, but because it has never been worn by anybody. The juggling explains the three glasses, which Todhunter was teaching himself to throw up and catch in rotation. But, being only at the stage of practice, he smashed one glass against the ceiling. And the juggling also explains the sword, which it was Mr Todhunter's professional pride and duty to swallow. But, again, being at the stage of practice, he very slightly grazed the inside of his throat with the weapon. Hence he has a wound inside him, which I am sure (from the expression on his face) is not a serious one. He was also practising the trick of a release from ropes, like the Davenport Brothers, and he was just about to free himself when we all burst into the room. The cards, of course, are for card tricks, and they are scattered on the floor because he had just been practising one of those dodges of sending them flying through the air. He merely kept his trade secret, because he had to keep his tricks secret, like any other conjurer. But the mere fact of an idler in a top hat having once looked in at his back window, and been driven away by him with great indignation, was enough to set us all on a wrong track of romance, and make us imagine his whole life overshadowed by the silk-hatted spectre of Mr Glass."
"But what about the two voices?" asked Maggie, staring.
"Have you never heard a ventriloquist?" asked Father Brown. "Don't you know they speak first in their natural voice, and then answer themselves in just that shrill, squeaky, unnatural voice that you heard?"
There was a long silence, and Dr Hood regarded the little man who had spoken with a dark and attentive smile. "You are certainly a very ingenious person," he said; "it could not have been done better in a book. But there is just one part of Mr Glass you have not succeeded in explaining away, and that is his name. Miss MacNab distinctly heard him so addressed by Mr Todhunter."
The Rev. Mr Brown broke into a rather childish giggle. "Well, that," he said, "that's the silliest part of the whole silly story. When our juggling friend here threw up the three glasses in turn, he counted them aloud as he caught them, and also commented aloud when he failed to catch them. What he really said was: 'One, two and three—missed a glass one, two—missed a glass.' And so on."
There was a second of stillness in the room, and then everyone with one accord burst out laughing. As they did so the figure in the corner complacently uncoiled all the ropes and let them fall with a flourish. Then, advancing into the middle of the room with a bow, he produced from his pocket a big bill printed in blue and red, which announced that ZALADIN, the World's Greatest Conjurer, Contortionist, Ventriloquist and Human Kangaroo would be ready with an entirely new series of Tricks at the Empire Pavilion, Scarborough, on Monday next at eight o'clock precisely.
TWO. — The Paradise of Thieves
THE great Muscari, most original of the young Tuscan poets, walked swiftly into his favourite restaurant, which overlooked the Mediterranean, was covered by an awning and fenced by little lemon and orange trees. Waiters in white aprons were already laying out on white tables the insignia of an early and elegant lunch; and this seemed to increase a satisfaction that already touched the top of swagger. Muscari had an eagle nose like Dante; his hair and neckerchief were dark and flowing; he carried a black cloak, and might almost have carried a black mask, so much did he bear with him a sort of Venetian melodrama. He acted as if a troubadour had still a definite social office, like a bishop. He went as near as his century permitted to walking the world literally like Don Juan, with rapier and guitar.
For he never travelled without a case of swords, with which he had fought many brilliant duels, or without a corresponding case for his mandolin, with which he had actually serenaded Miss Ethel Harrogate, the highly conventional daughter of a Yorkshire banker on a holiday. Yet he was neither a charlatan nor a child; but a hot, logical Latin who liked a certain thing and was it. His poetry was as straightforward as anyone else's prose. He desired fame or wine or the beauty of women with a torrid directness inconceivable among the cloudy ideals or cloudy compromises of the north; to vaguer races his intensity smelt of danger or even crime. Like fire or the sea, he was too simple to be trusted.
The banker and his beautiful English daughter were staying at the hotel attached to Muscari's restaurant; that was why it was his favourite restaurant. A glance flashed around the room told him at once, however, that the English party had not descended. The restaurant was glittering, but still comparatively empty. Two priests were talking at a table in a corner, but Muscari (an ardent Catholic) took no more notice of them than of a couple of crows. But from a yet farther seat, partly concealed behind a dwarf tree golden with oranges, there rose and advanced towards the poet a person whose costume was the most aggressively opposite to his own.
This figure was clad in tweeds of a piebald check, with a pink tie, a sharp collar and protuberant yellow boots. He contrived, in the true tradition of 'Arry at Margate , to look at once startling and commonplace. But as the Cockney apparition drew nearer, Muscari was astounded to observe that the head was distinctly different from the body. It was an Italian head: fuzzy, swarthy and very vivacious, that rose abruptly out of the standing collar like cardboard and the comic pink tie. In fact it was a head he knew. He recognized it, above all the dire erection of English holiday array, as the face of an old but forgotten friend name Ezza. This youth had been a prodigy at college, and European fame was promised him when he was barely fifteen; but when he appeared in the world he failed, first publicly as a dramatist and a demagogue, and then privately for years on end as an actor, a traveller, a commission agent or a journalist. Muscari had known him last behind the footlights; he was but too well attuned to the excitements of that profession, and it was believed that some moral calamity had swallowed him up.
"Ezza!" cried the poet, rising and shaking hands in a pleasant astonishment. "Well, I've seen you in many costumes in the green room; but I never expected to see you dressed up as an Englishman."
"This," answered Ezza gravely, "is not the costume of an Englishman, but of the Italian of the future."
"In that case," remarked Muscari, "I confess I prefer the Italian of the past."
"That is your old mistake, Muscari," said the man in tweeds, shaking his head; "and the mistake of Italy . In the sixteenth century we Tuscans made the morning: we had the newest steel, the newest carving, the newest chemistry. Why should we not now have the newest factories, the newest motors, the newest finance—the newest clothes?"
"Because they are not worth having," answered Muscari. "You cannot make Italians really progressive; they are too intelligent. Men who see the short cut to good living will never go by the new elaborate roads."
"Well, to me Marconi, or D'Annunzio, is the star of Italy " said the other. "That is why I have become a Futurist—and a courier."
"A courier!" cried
Muscari, laughing. "Is that the last of your list of trades? And whom are you conducting?"
"Oh, a man of the name of Harrogate , and his family, I believe."
"Not the banker in this hotel?" inquired the poet, with some eagerness.
"That's the man," answered the courier.
"Does it pay well?" asked the troubadour innocently.
"It will pay me," said Ezza, with a very enigmatic smile. "But I am a rather curious sort of courier." Then, as if changing the subject, he said abruptly: "He has a daughter—and a son."
"The daughter is divine," affirmed Muscari, "the father and son are, I suppose, human. But granted his harmless qualities doesn't that banker strike you as a splendid instance of my argument? Harrogate has millions in his safes, and I have—the hole in my pocket. But you daren't say—you can't say—that he's cleverer than I, or bolder than I, or even more energetic. He's not clever, he's got eyes like blue buttons; he's not energetic, he moves from chair to chair like a paralytic. He's a conscientious, kindly old blockhead; but he's got money simply because he collects money, as a boy collects stamps. You're too strong-minded for business, Ezza. You won't get on. To be clever enough to get all that money, one must be stupid enough to want it."
The Wisdom of Father Brown Page 2
