by G. K. Datlow
She suddenly smiled. “Yes, I believe I understand. I suppose you are talking like a lunatic, but I understand. But who murdered him?”
“I do not know,” he answered calmly, “but Father Brown knows. And as Father Brown says, murder is at least done by the will, free as that wind from the sea.”
“Father Brown is a wonderful person,” she said after a pause; “he was the only person who ever brightened my existence in any way at all until—”
“Until what?” asked Payne, and made a movement almost impetuous, leaning towards her and thrusting away the bronze monster so that it seemed to rock on its pedestal.
“Well, until you did,” she said and smiled again.
So was the sleeping palace awakened, and it is no part of this story to describe the stages of its awakening, though much of it had come to pass before the dark of that evening had fallen upon the shore. As Harry Payne strode homewards once more, across those dark sands that he had crossed in so many moods, he was at the highest turn of happiness that is given in this mortal life,—and the whole red sea within him was at the top of its tide. He would have had no difficulty in picturing all that place again in flower, and the bronze triton bright as a golden god and the fountain flowing with water or with wine. But all this brightness and blossoming had been unfolded for him by the one word “murder,” and it was still a word that he did not understand. He had taken it on trust, and he was not unwise; for he was one of those who have a sense of the sound of truth.
It was more than a month later that Payne returned to his London house to keep an appointment with Father Brown, taking the required photograph with him. His personal romance had prospered as well as was fitting under the shadow of such a tragedy, and the shadow itself therefore lay rather more lightly on him; but it was hard to view it as anything but the shadow of a family fatality. In many ways he had been much occupied; and it was not until the Darnaway household had resumed its somewhat stern routine, and the portrait had long been restored to its place in the library, that he had managed to photograph it with a magnesium flare. Before sending it to the antiquary, as originally arranged, he brought it to the priest who had so pressingly demanded it.
“I can’t understand your attitude about all this. Father Brown,” he said.” You act as if you had already solved the problem in some way of your own.”
The priest shook his head mournfully. “Not a bit of it,” he answered. “I must be very stupid, but I’m quite stuck; stuck about the most practical point of all. It’s a queer business; so simple up to a point and then—Let me have a look at that photograph, will you?”
He held it close to his screwed, short-sighted eyes for a moment, and then said: “Have you got a magnifying glass?”
Payne produced one, and the priest looked through it intently for some time and then said: “Look at the title of that book at the edge of the bookshelf beside the frame; it’s ‘The History of Pope Joan’. Now, I wonder…yes, by George; and the one above is something or other of Iceland. Lord! what a queer way to find it out! What a dolt and donkey I was not to notice it when I was there!”
“But what have you found out?” asked Payne impatiently.
“The last link,” said Father Brown, “and I’m not stuck any longer. Yes; I think I know how that unhappy story went from first to last now.”
“But why?” insisted the other.
“Why, because,” said the priest with a smile, “the Darnaway library contained books about Pope Joan and Iceland, not to mention another I see with the title beginning ‘The Religion of Frederick’, which is not so very hard to fill up.” Then, seeing the other’s annoyance, his smile faded and he said more earnestly: “As a matter of fact, this last point, though it is the last link, is not the main business. There were much more curious things in the case than that. One of them is rather a curiosity of evidence. Let me begin by saying something that may surprise you. Darnaway did not die at seven o’clock that evening. He had been already dead for a whole day.”
“Surprise is rather a mild word,” said Payne grimly, “since you and I both saw him walking about afterwards.”
“No, we did not,” replied Father Brown quietly. “I think we both saw him, or thought we saw him, fussing about with the focusing of his camera. Wasn’t his head under that black cloak when you passed through the room? It was when I did. And that’s why I felt there was something queer about the room and the figure. It wasn’t that the leg was crooked, but rather that it wasn’t crooked. It was dressed in the same sort of dark clothes; but if you see what you believe to be one man standing in the way that another man stands, you will think he’s in a strange and strained attitude.”
“Do you really mean,” cried Payne with something like a shudder, “that it was some unknown man?”
“It was the murderer,” said Father Brown. “He had already killed Darnaway at daybreak and hid the corpse and himself in the dark room—an excellent hiding-place, because nobody normally goes into it or can see much if he does. But he let it fall out on the floor at seven o’clock, of course, that the whole thing might be explained by the curse.”
“But I don’t understand” observed Payne. “Why didn’t he kill him at seven o’clock then, instead of loading himself with a corpse for fourteen hours?”
“Let me ask you another question,” said the priest. “Why was there no photograph taken? Because the murderer made sure of killing him when he first got up, and before he could take it. It was essential to the murderer to prevent that photograph reaching the expert on the Darnaway antiquities.”
There was a sudden silence for a moment, and then the priest went on in a lower tone: “Don’t you see how simple it is? Why, you yourself saw one side of the possibility; but it’s simpler even than you thought. You said a man might be faked to resemble an old picture. Surely it’s simpler that a picture should be faked to resemble a man. In plain words, it’s true in a rather special way that there was no Doom of the Darnaways. There was no old picture; there was no old rhyme; there was no legend of a man who caused his wife’s death. But there was a very wicked and a very clever man who was willing to cause another man’s death in order to rob him of his promised wife.”
The priest suddenly gave Payne a sad smile, as if in reassurance. “For the moment I believe you thought I meant you,” he said, “but you were not the only person who haunted that house for sentimental reasons. You know the man, or rather you think you do. But there were depths in the man called Martin Wood, artist and antiquary, which none of his mere artistic acquaintances were likely to guess. Remember that he was called in to criticize and catalogue the pictures; in an aristocratic dustbin of that sort that practically means simply to tell the Darnaways what art treasures they had got. They would not be surprised at things turning up they had never noticed before. It had to be done well, and it was; perhaps he was right when he said that if it wasn’t Holbein it was somebody of the same genius.”
“I feel rather stunned,” said Payne; “and there are twenty things I don’t see yet. How did he know what Darnaway looked like? How did he actually kill him? The doctors seem rather puzzled at present.”
“I saw a photograph the lady had which the Australian sent on before him,” said the priest, “and there are several ways in which he could have learned things when the new heir was once recognized. We may not know these details; but they are not difficulties. You remember he used to help in the dark room; it seems to me an ideal place, say, to prick a man with a poisoned pin, with the poison’s all handy. No; I say these were not difficulties. The difficulty that stumped me was how Wood could be in two places at once. How could he take the corpse from the dark-room and prop it against the camera so that it would fall in a few seconds, without coming downstairs, when he was in the library looking out a book? And I was such a fool that I never looked at the books in the library; and it was only in this photograph, by very undeserved good luck, that I saw the simple fact of a book about Pope Joan.”
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��You’ve kept your best riddle for the end,” said Payne grimly. “What on earth can Pope Joan have to do with it?”
“Don’t forget the book about the Something of Iceland,” advised the priest, “or the religion of somebody called Frederick. It only remains to ask what sort of man was the late Lord Darnaway.”
“Oh, does it?” observed Payne heavily.
“He was a cultivated, humorous sort of eccentric, I believe,” went on Father Brown. “Being cultivated, he knew there was no such person as Pope Joan. Being humorous, he was very likely to have thought of the title of ‘The Snakes of Iceland’ or something else that didn’t exist. I venture to reconstruct the third title as ‘The Religion of Frederick the Great’—which also doesn’t exist. Now, doesn’t it strike you that those would be just the titles to put on the backs of books that didn’t exist; or in other words on a bookcase that wasn’t a book-case?”
“Ah!” cried Payne; “I see what you mean now. There was some hidden staircase—”
“Up to the room Wood himself selected as a dark room,” said the priest nodding. “I’m sorry. It couldn’t be helped. It’s dreadfully banal and stupid, as stupid as I have been on this pretty banal case. But we were mixed up in a real musty old romance of decayed gentility and a fallen family mansion; and it was too much to hope that we could escape having a secret passage. It was a priest’s hole; and I deserve to be put in it.”
The Ghost of Gideon Wise
Father Brown always regarded the case as the queerest example of the theory of an alibi: the theory by which it is maintained, in defiance of the mythological Irish bird, that it is impossible for anybody to be in two places at once. To begin with, James Byrne, being an Irish journalist, was perhaps the nearest approximation to the Irish bird. He came as near as anybody could to being in two places at once: for he was in two places at the opposite extremes of the social and political world within the space of twenty minutes. The first was in the Babylonian halls of the big hotel, which was the meeting place of the three commercial magnates concerned with arranging for a coal lock-out and denouncing it as a coal-strike, the second was in a curious tavern, having the facade of a grocery store, where met the more subterranean triumvirate of those who would have been very glad to turn the lock-out into a strike—and the strike into a revolution. The reporter passed to and fro between the three millionaires and the three Bolshevist leaders with the immunity of the modern herald or the new ambassador.
He found the three mining magnates hidden in a jungle of flowering plants and a forest of fluted and florid columns of gilded plaster; gilded birdcages hung high under the painted domes amid the highest leaves of the palms; and in them were birds of motley colours and varied cries. No bird in the wilderness ever sang more unheeded, and no flower ever wasted its sweetness on the desert air more completely than the blossoms of those tall plants wasted theirs upon the brisk and breathless business men, mostly American, who talked and ran to and fro in that place. And there, amid a riot of rococo ornament that nobody ever looked at, and a chatter of expensive foreign birds that nobody ever heard, and a mass of gorgeous upholstery and a labyrinth of luxurious architecture, the three men sat and talked of how success was founded on thought and thrift and a vigilance of economy and self-control.
One of them indeed did not talk so much as the others; but he watched with very bright and motionless eyes, which seemed to be pinched together by his pince-nez, and the permanent smile under his small black moustache was rather like a permanent sneer. This was the famous Jacob P. Stein, and he did not speak till he had something to say. But his companion, old Gallup the Pennsylvanian, a huge fat fellow with reverend grey hair but a face like a pugilist, talked a great deal. He was in a jovial mood and was half rallying, half bullying the third millionaire, Gideon Wise—a hard, dried, angular old bird of the type that his countrymen compare to hickory, with a stiff grey chin-beard and the manners and clothes of any old farmer from the central plains. There was an old argument between Wise and Gallup about combination and competition. For old Wise still retained, with the manners of the old backwoodsman, something of his opinions of the old individualist; he belonged, as we should say in England, to the Manchester School; and Gallup was always trying to persuade him to cut out competition and pool the resources of the world.
“You’ll have to come in, old fellow, sooner or later,” Gallup was saying genially as Byrne entered. “It’s the way the world is going, and we can’t go back to the one-man-business now. We’ve all got to stand together.”
“If I might say a word,” said Stein, in his tranquil way, “I would say there is something a little more urgent even than standing together commercially. Anyhow, we must stand together politically; and that’s why I’ve asked Mr Byrne to meet us here today. On the political issue we must combine; for the simple reason that all our most dangerous enemies are already combined.”
“Oh, I quite agree about political combination,” grumbled Gideon Wise.
“See here,” said Stein to the journalist; “I know you have the run of these queer places, Mr Byrne, and I want you to do something for us unofficially. You know where these men meet; there are only two or three of them that count, John Elias and Jake Halket, who does all the spouting, and perhaps that poet fellow Home.”
“Why Home used to be a friend of Gideon,” said the jeering Mr Gallup; “used to be in his Sunday School class or something.”
“He was a Christian, then,” said old Gideon solemnly; “but when a man takes up with atheists you never know. I still meet him now and then. I was quite ready to back him against war and conscription and all that, of course, but when it comes to all the goddam bolshies in creation—”
“Excuse me,” interposed Stein, “the matter is rather urgent, so I hope you will excuse me putting it before Mr Byrne at once. Mr Byrne, I may tell you in confidence that I hold information, or rather evidence that would land at least two of those men in prison for long terms, in connexion with conspiracies during the late war. I don’t want to use that evidence. But I want you to go to them quietly and tell them that I shall use it, and use it tomorrow, unless they alter their attitude.”
“Well,” replied Byrne, “what you propose would certainly be called compounding a felony and might be called blackmail, Don’t you think it is rather dangerous?”
“I think it is rather dangerous for them,” said Stein with a snap; “and I want you to go and tell them so.”
“Oh, very well,” said Byrne standing up, with a half humorous sigh. “It’s all in the day’s work; but if I get into trouble, I warn you I shall try to drag you into it.”
“You will try, boy,” said old Gallup with a hearty laugh.
For so much still lingers of that great dream of Jefferson and, the thing that men have called Democracy that in his country, while the rich rule like tyrants, the poor do not talk like slaves; but there is candour between the oppressor and the oppressed.
The meeting-place of the revolutionists was a queer, bare, whitewashed place, on the walls of which were one or two distorted uncouth sketches in black and white, in the style of something that was supposed to be Proletarian Art, of which not one proletarian in a million could have made head or tail. Perhaps the one point in common to the two council chambers was that both violated the American Constitution by the display of strong drink. Cocktails of various colours had stood before the three millionaires. Halket, the most violent of the Bolshevists, thought it only appropriate to drink vodka. He was a long, hulking fellow with a menacing stoop, and his very profile was aggressive like a dog’s, the nose and lips thrust out together, the latter carrying a ragged red moustache and the whole curling outwards with perpetual scorn. John Elias was a dark watchful man in spectacles, with a black pointed beard; and he had learnt in many European cafes a taste for absinthe. The journalist’s first and last feeling was how very like each other, after all, were John Elias and Jacob P. Stein. They were so like in face and mind and manner, that the millionaire migh
t have disappeared down a trap-door in the Babylon Hotel and come up again in the stronghold of the Bolshevists.
The third man also had a curious taste in drinks, and his drink was symbolic of him. For what stood in front of the poet Home was a glass of milk, and its very mildness seemed in that setting to have something sinister about it, as if its opaque and colourless colour were of some leprous paste more poisonous than the dead sick green of absinthe. Yet in truth the mildness was so far genuine enough; for Henry Home came to the camp of revolution along a very different road and from very different origins from those of Jake, the common tub-thumper, and Elias, the cosmopolitan wire-puller. He had had what is called a careful upbringing, had gone to chapel in his childhood, and carried through life a teetotalism which he could not shake off when he cast away such trifles as Christianity and marriage. He had fair hair and a fine face that might have looked like Shelley, if he had not weakened the chin with a little foreign fringe of beard. Somehow the beard made him look more like a woman; it was as if those few golden hairs were all he could do.
When the journalist entered, the notorious Jake was talking, as he generally was. Home had uttered some casual and conventional phrase about “Heaven forbid” something or other, and this was quite enough to set Jake off with a torrent of profanity.
“Heaven forbid! and that’s about all it bally well does do,” he said. “Heaven never does anything but forbid this, that and the other; forbids us to strike, and forbids us to fight, and forbids us to shoot the damned usurers and blood-suckers where they sit. Why doesn’t Heaven forbid them something for a bit? Why don’t the damned priests and parsons stand up and tell the truth about those brutes for a change? Why doesn’t their precious God—”
