The Wisdom of Father Brown

by Gilbert Keith Chesterton

  "I must show this stupid man where to go," said Aurora in a whisper to Seymour , and ran out to the threshold to speed the parting guest.

  Seymour seemed to be listening, elegant and unconscious as was his posture, and he seemed relieved when he heard the lady call out some last instructions to the Captain, and then turn sharply and run laughing down the passage towards the other end, the end on the terrace above the Thames . Yet a second or two after Seymour 's brow darkened again. A man in his position has so many rivals, and he remembered that at the other end of the passage was the corresponding entrance to Bruno's private room. He did not lose his dignity; he said some civil words to Father Brown about the revival of Byzantine architecture in the Westminster Cathedral, and then, quite naturally, strolled out himself into the upper end of the passage. Father Brown and Parkinson were left alone, and they were neither of them men with a taste for superfluous conversation. The dresser went round the room, pulling out looking-glasses and pushing them in again, his dingy dark coat and trousers looking all the more dismal since he was still holding the festive fairy spear of King Oberon. Every time he pulled out the frame of a new glass, a new black figure of Father Brown appeared; the absurd glass chamber was full of Father Browns, upside down in the air like angels, turning somersaults like acrobats, turning their backs to everybody like very rude persons.

  Father Brown seemed quite unconscious of this cloud of witnesses, but followed Parkinson with an idly attentive eye till he took himself and his absurd spear into the farther room of Bruno. Then he abandoned himself to such abstract meditations as always amused him—calculating the angles of the mirrors, the angles of each refraction, the angle at which each must fit into the wall…when he heard a strong but strangled cry.

  He sprang to his feet and stood rigidly listening. At the same instant Sir Wilson Seymour burst back into the room, white as ivory. "Who's that man in the passage?" he cried. "Where's that dagger of mine?"

  Before Father Brown could turn in his heavy boots Seymour was plunging about the room looking for the weapon. And before he could possibly find that weapon or any other, a brisk running of feet broke upon the pavement outside, and the square face of Cutler was thrust into the same doorway. He was still grotesquely grasping a bunch of lilies-of-the-valley. "What's this?" he cried. "What's that creature down the passage? Is this some of your tricks?"

  "My tricks!" hissed his pale rival, and made a stride towards him.

  In the instant of time in which all this happened Father Brown stepped out into the top of the passage, looked down it, and at once walked briskly towards what he saw.

  At this the other two men dropped their quarrel and darted after him, Cutler calling out: "What are you doing? Who are you?"

  "My name is Brown," said the priest sadly, as he bent over something and straightened himself again. "Miss Rome sent for me, and I came as quickly as I could. I have come too late."

  The three men looked down, and in one of them at least the life died in that late light of afternoon. It ran along the passage like a path of gold, and in the midst of it Aurora Rome lay lustrous in her robes of green and gold, with her dead face turned upwards. Her dress was torn away as in a struggle, leaving the right shoulder bare, but the wound from which the blood was welling was on the other side. The brass dagger lay flat and gleaming a yard or so away.

  There was a blank stillness for a measurable time, so that they could hear far off a flower-girl's laugh outside Charing Cross, and someone whistling furiously for a taxicab in one of the streets off the Strand . Then the Captain, with a movement so sudden that it might have been passion or play-acting, took Sir Wilson Seymour by the throat.

  Seymour looked at him steadily without either fight or fear. "You need not kill me," he said in a voice quite cold; "I shall do that on my own account."

  The Captain's hand hesitated and dropped; and the other added with the same icy candour: "If I find I haven't the nerve to do it with that dagger I can do it in a month with drink."

  "Drink isn't good enough for me," replied Cutler, "but I'll have blood for this before I die. Not yours—but I think I know whose."

  And before the others could appreciate his intention he snatched up the dagger, sprang at the other door at the lower end of the passage, burst it open, bolt and all, and confronted Bruno in his dressing-room. As he did so, old Parkinson tottered in his wavering way out of the door and caught sight of the corpse lying in the passage. He moved shakily towards it; looked at it weakly with a working face; then moved shakily back into the dressing-room again, and sat down suddenly on one of the richly cushioned chairs. Father Brown instantly ran across to him, taking no notice of Cutler and the colossal actor, though the room already rang with their blows and they began to struggle for the dagger. Seymour, who retained some practical sense, was whistling for the police at the end of the passage.

  When the police arrived it was to tear the two men from an almost ape-like grapple; and, after a few formal inquiries, to arrest Isidore Bruno upon a charge of murder, brought against him by his furious opponent. The idea that the great national hero of the hour had arrested a wrongdoer with his own hand doubtless had its weight with the police, who are not without elements of the journalist. They treated Cutler with a certain solemn attention, and pointed out that he had got a slight slash on the hand. Even as Cutler bore him back across tilted chair and table, Bruno had twisted the dagger out of his grasp and disabled him just below the wrist. The injury was really slight, but till he was removed from the room the half-savage prisoner stared at the running blood with a steady smile.

  "Looks a cannibal sort of chap, don't he?" said the constable confidentially to Cutler.

  Cutler made no answer, but said sharply a moment after: "We must attend to the…the death…" and his voice escaped from articulation.

  "The two deaths," came in the voice of the priest from the farther side of the room. "This poor fellow was gone when I got across to him." And he stood looking down at old Parkinson, who sat in a black huddle on the gorgeous chair. He also had paid his tribute, not without eloquence, to the woman who had died.

  The silence was first broken by Cutler, who seemed not untouched by a rough tenderness. "I wish I was him," he said huskily. "I remember he used to watch her wherever she walked more than—anybody. She was his air, and he's dried up. He's just dead."

  "We are all dead," said Seymour in a strange voice, looking down the road.

  They took leave of Father Brown at the corner of the road, with some random apologies for any rudeness they might have shown. Both their faces were tragic, but also cryptic.

  The mind of the little priest was always a rabbit-warren of wild thoughts that jumped too quickly for him to catch them. Like the white tail of a rabbit he had the vanishing thought that he was certain of their grief, but not so certain of their innocence.

  "We had better all be going," said Seymour heavily; "we have done all we can to help."

  "Will you understand my motives," asked Father Brown quietly, "if I say you have done all you can to hurt?"

  They both started as if guiltily, and Cutler said sharply: "To hurt whom?"

  "To hurt yourselves," answered the priest. "I would not add to your troubles if it weren't common justice to warn you. You've done nearly everything you could do to hang yourselves, if this actor should be acquitted. They'll be sure to subpoena me; I shall be bound to say that after the cry was heard each of you rushed into the room in a wild state and began quarrelling about a dagger. As far as my words on oath can go, you might either of you have done it. You hurt yourselves with that; and then Captain Cutler must have hurt himself with the dagger."

  "Hurt myself!" exclaimed the Captain, with contempt. "A silly little scratch."

  "Which drew blood," replied the priest, nodding. "We know there's blood on the brass now. And so we shall never know whether there was blood on it before."

  There was a silence; and then Seymour said, with an emphasis quite alien to his daily
accent: "But I saw a man in the passage."

  "I know you did," answered the cleric Brown with a face of wood, "so did Captain Cutler. That's what seems so improbable."

  Before either could make sufficient sense of it even to answer, Father Brown had politely excused himself and gone stumping up the road with his stumpy old umbrella.

  As modern newspapers are conducted, the most honest and most important news is the police news. If it be true that in the twentieth century more space is given to murder than to politics, it is for the excellent reason that murder is a more serious subject. But even this would hardly explain the enormous omnipresence and widely distributed detail of "The Bruno Case," or "The Passage Mystery," in the Press of London and the provinces. So vast was the excitement that for some weeks the Press really told the truth; and the reports of examination and cross-examination, if interminable, even if intolerable are at least reliable. The true reason, of course, was the coincidence of persons. The victim was a popular actress; the accused was a popular actor; and the accused had been caught red-handed, as it were, by the most popular soldier of the patriotic season. In those extraordinary circumstances the Press was paralysed into probity and accuracy; and the rest of this somewhat singular business can practically be recorded from reports of Bruno's trial.

  The trial was presided over by Mr Justice Monkhouse, one of those who are jeered at as humorous judges, but who are generally much more serious than the serious judges, for their levity comes from a living impatience of professional solemnity; while the serious judge is really filled with frivolity, because he is filled with vanity. All the chief actors being of a worldly importance, the barristers were well balanced; the prosecutor for the Crown was Sir Walter Cowdray, a heavy, but weighty advocate of the sort that knows how to seem English and trustworthy, and how to be rhetorical with reluctance. The prisoner was defended by Mr Patrick Butler, K.C., who was mistaken for a mere flaneur by those who misunderstood the Irish character—and those who had not been examined by him. The medical evidence involved no contradictions, the doctor, whom Seymour had summoned on the spot, agreeing with the eminent surgeon who had later examined the body. Aurora Rome had been stabbed with some sharp instrument such as a knife or dagger; some instrument, at least, of which the blade was short. The wound was just over the heart, and she had died instantly. When the doctor first saw her she could hardly have been dead for twenty minutes. Therefore when Father Brown found her she could hardly have been dead for three.

  Some official detective evidence followed, chiefly concerned with the presence or absence of any proof of a struggle; the only suggestion of this was the tearing of the dress at the shoulder, and this did not seem to fit in particularly well with the direction and finality of the blow. When these details had been supplied, though not explained, the first of the important witnesses was called.

  Sir Wilson Seymour gave evidence as he did everything else that he did at all—not only well, but perfectly. Though himself much more of a public man than the judge, he conveyed exactly the fine shade of self-effacement before the King's justice; and though everyone looked at him as they would at the Prime Minister or the Archbishop of Canterbury, they could have said nothing of his part in it but that it was that of a private gentleman, with an accent on the noun. He was also refreshingly lucid, as he was on the committees. He had been calling on Miss Rome at the theatre; he had met Captain Cutler there; they had been joined for a short time by the accused, who had then returned to his own dressing-room; they had then been joined by a Roman Catholic priest, who asked for the deceased lady and said his name was Brown. Miss Rome had then gone just outside the theatre to the entrance of the passage, in order to point out to Captain Cutler a flower-shop at which he was to buy her some more flowers; and the witness had remained in the room, exchanging a few words with the priest. He had then distinctly heard the deceased, having sent the Captain on his errand, turn round laughing and run down the passage towards its other end, where was the prisoner's dressing-room. In idle curiosity as to the rapid movement of his friends, he had strolled out to the head of the passage himself and looked down it towards the prisoner's door. Did he see anything in the passage? Yes; he saw something in the passage.

  Sir Walter Cowdray allowed an impressive interval, during which the witness looked down, and for all his usual composure seemed to have more than his usual pallor. Then the barrister said in a lower voice, which seemed at once sympathetic and creepy: "Did you see it distinctly?"

  Sir Wilson Seymour, however moved, had his excellent brains in full working-order. "Very distinctly as regards its outline, but quite indistinctly, indeed not at all, as regards the details inside the outline. The passage is of such length that anyone in the middle of it appears quite black against the light at the other end." The witness lowered his steady eyes once more and added: "I had noticed the fact before, when Captain Cutler first entered it." There was another silence, and the judge leaned forward and made a note.

  "Well," said Sir Walter patiently, "what was the outline like? Was it, for instance, like the figure of the murdered woman?"

  "Not in the least," answered Seymour quietly.

  "What did it look like to you?"

  "It looked to me," replied the witness, "like a tall man."

  Everyone in court kept his eyes riveted on his pen, or his umbrella-handle, or his book, or his boots or whatever he happened to be looking at. They seemed to be holding their eyes away from the prisoner by main force; but they felt his figure in the dock, and they felt it as gigantic. Tall as Bruno was to the eye, he seemed to swell taller and taller when an eyes had been torn away from him.

  Cowdray was resuming his seat with his solemn face, smoothing his black silk robes, and white silk whiskers. Sir Wilson was leaving the witness-box, after a few final particulars to which there were many other witnesses, when the counsel for the defence sprang up and stopped him.

  "I shall only detain you a moment," said Mr Butler, who was a rustic-looking person with red eyebrows and an expression of partial slumber. "Will you tell his lordship how you knew it was a man?"

  A faint, refined smile seemed to pass over Seymour 's features. "I'm afraid it is the vulgar test of trousers," he said. "When I saw daylight between the long legs I was sure it was a man, after all."

  Butler 's sleepy eyes opened as suddenly as some silent explosion. "After all!" he repeated slowly. "So you did think at first it was a woman?"

  Seymour looked troubled for the first time. "It is hardly a point of fact," he said, "but if his lordship would like me to answer for my impression, of course I shall do so. There was something about the thing that was not exactly a woman and yet was not quite a man; somehow the curves were different. And it had something that looked like long hair."

  "Thank you," said Mr Butler, K.C., and sat down suddenly, as if he had got what he wanted.

  Captain Cutler was a far less plausible and composed witness than Sir Wilson, but his account of the opening incidents was solidly the same. He described the return of Bruno to his dressing-room, the dispatching of himself to buy a bunch of lilies-of-the-valley, his return to the upper end of the passage, the thing he saw in the passage, his suspicion of Seymour , and his struggle with Bruno. But he could give little artistic assistance about the black figure that he and Seymour had seen. Asked about its outline, he said he was no art critic—with a somewhat too obvious sneer at Seymour . Asked if it was a man or a woman, he said it looked more like a beast—with a too obvious snarl at the prisoner. But the man was plainly shaken with sorrow and sincere anger, and Cowdray quickly excused him from confirming facts that were already fairly clear.

  The defending counsel also was again brief in his cross-examination; although (as was his custom) even in being brief, he seemed to take a long time about it. "You used a rather remarkable expression," he said, looking at Cutler sleepily. "What do you mean by saying that it looked more like a beast than a man or a woman?"

  Cutler seemed seriously agitate
d. "Perhaps I oughtn't to have said that," he said; "but when the brute has huge humped shoulders like a chimpanzee, and bristles sticking out of its head like a pig—"

  Mr Butler cut short his curious impatience in the middle. "Never mind whether its hair was like a pig's," he said, "was it like a woman's?"

  "A woman's!" cried the soldier. "Great Scott, no!"

  "The last witness said it was," commented the counsel, with unscrupulous swiftness. "And did the figure have any of those serpentine and semi-feminine curves to which eloquent allusion has been made? No? No feminine curves? The figure, if I understand you, was rather heavy and square than otherwise?"

  "He may have been bending forward," said Cutler, in a hoarse and rather faint voice.

  "Or again, he may not," said Mr Butler, and sat down suddenly for the second time.

  The third, witness called by Sir Walter Cowdray was the little Catholic clergyman, so little, compared with the others, that his head seemed hardly to come above the box, so that it was like cross-examining a child. But unfortunately Sir Walter had somehow got it into his head (mostly by some ramifications of his family's religion) that Father Brown was on the side of the prisoner, because the prisoner was wicked and foreign and even partly black. Therefore he took Father Brown up sharply whenever that proud pontiff tried to explain anything; and told him to answer yes or no, and tell the plain facts without any jesuitry. When Father Brown began, in his simplicity, to say who he thought the man in the passage was, the barrister told him that he did not want his theories.

  "A black shape was seen in the passage. And you say you saw the black shape. Well, what shape was it?"

  Father Brown blinked as under rebuke; but he had long known the literal nature of obedience. "The shape," he said, "was short and thick, but had two sharp, black projections curved upwards on each side of the head or top, rather like horns, and—"