“Everybody but the general,” said the tall man.
“Everybody,” said the priest.
Flambeau knit his black brows. “I don’t grasp it all yet,” he said.
“There is another picture, Flambeau,” said Brown in his more mystical undertone. “I can’t prove it; but I can do more — I can see it. There is a camp breaking up on the bare, torrid hills at morning, and Brazilian uniforms massed in blocks and columns to march. There is the red shirt and long black beard of Olivier, which blows as he stands, his broad-brimmed hat in his hand. He is saying farewell to the great enemy he is setting free — the simple, snow-headed English veteran, who thanks him in the name of his men. The English remnant stand behind at attention; beside them are stores and vehicles for the retreat. The drums roll; the Brazilians are moving; the English are still like statues. So they abide till the last hum and flash of the enemy have faded from the tropic horizon. Then they alter their postures all at once, like dead men coming to life; they turn their fifty faces upon the general — faces not to be forgotten.”
Flambeau gave a great jump. “Ah,” he cried, “you don’t mean — ”
“Yes,” said Father Brown in a deep, moving voice. “It was an English hand that put the rope round St. Clare’s neck; I believe the hand that put the ring on his daughter’s finger. They were English hands that dragged him up to the tree of shame; the hands of men that had adored him and followed him to victory. And they were English souls (God pardon and endure us all!) who stared at him swinging in that foreign sun on the green gallows of palm, and prayed in their hatred that he might drop off it into hell.”
As the two topped the ridge there burst on them the strong scarlet light of a red-curtained English inn. It stood sideways in the road, as if standing aside in the amplitude of hospitality. Its three doors stood open with invitation; and even where they stood they could hear the hum and laughter of humanity happy for a night.
“I need not tell you more,” said Father Brown. “They tried him in the wilderness and destroyed him; and then, for the honour of England and of his daughter, they took an oath to seal up for ever the story of the traitor’s purse and the assassin’s sword blade. Perhaps — Heaven help them — they tried to forget it. Let us try to forget it, anyhow; here is our inn.”
“With all my heart,” said Flambeau, and was just striding into the bright, noisy bar when he stepped back and almost fell on the road.
“Look there, in the devil’s name!” he cried, and pointed rigidly at the square wooden sign that overhung the road. It showed dimly the crude shape of a sabre hilt and a shortened blade; and was inscribed in false archaic lettering, “The Sign of the Broken Sword.”
“Were you not prepared?” asked Father Brown gently. “He is the god of this country; half the inns and parks and streets are named after him and his story.”
“I thought we had done with the leper,” cried Flambeau, and spat on the road.
“You will never have done with him in England,” said the priest, looking down, “while brass is strong and stone abides. His marble statues will erect the souls of proud, innocent boys for centuries, his village tomb will smell of loyalty as of lilies. Millions who never knew him shall love him like a father — this man whom the last few that knew him dealt with like dung. He shall be a saint; and the truth shall never be told of him, because I have made up my mind at last. There is so much good and evil in breaking secrets, that I put my conduct to a test. All these newspapers will perish; the anti-Brazil boom is already over; Olivier is already honoured everywhere. But I told myself that if anywhere, by name, in metal or marble that will endure like the pyramids, Colonel Clancy, or Captain Keith, or President Olivier, or any innocent man was wrongly blamed, then I would speak. If it were only that St. Clare was wrongly praised, I would be silent. And I will.”
They plunged into the red-curtained tavern, which was not only cosy, but even luxurious inside. On a table stood a silver model of the tomb of St. Clare, the silver head bowed, the silver sword broken. On the walls were coloured photographs of the same scene, and of the system of wagonettes that took tourists to see it. They sat down on the comfortable padded benches.
“Come, it’s cold,” cried Father Brown; “let’s have some wine or beer.”
“Or brandy,” said Flambeau.
The Three Tools of Death
Both by calling and conviction Father Brown knew better than most of us, that every man is dignified when he is dead. But even he felt a pang of incongruity when he was knocked up at daybreak and told that Sir Aaron Armstrong had been murdered. There was something absurd and unseemly about secret violence in connection with so entirely entertaining and popular a figure. For Sir Aaron Armstrong was entertaining to the point of being comic; and popular in such a manner as to be almost legendary. It was like hearing that Sunny Jim had hanged himself; or that Mr. Pickwick had died in Hanwell. For though Sir Aaron was a philanthropist, and thus dealt with the darker side of our society, he prided himself on dealing with it in the brightest possible style. His political and social speeches were cataracts of anecdotes and “loud laughter”; his bodily health was of a bursting sort; his ethics were all optimism; and he dealt with the Drink problem (his favourite topic) with that immortal or even monotonous gaiety which is so often a mark of the prosperous total abstainer.
The established story of his conversion was familiar on the more puritanic platforms and pulpits, how he had been, when only a boy, drawn away from Scotch theology to Scotch whisky, and how he had risen out of both and become (as he modestly put it) what he was. Yet his wide white beard, cherubic face, and sparkling spectacles, at the numberless dinners and congresses where they appeared, made it hard to believe, somehow, that he had ever been anything so morbid as either a dram-drinker or a Calvinist. He was, one felt, the most seriously merry of all the sons of men.
He had lived on the rural skirt of Hampstead in a handsome house, high but not broad, a modern and prosaic tower. The narrowest of its narrow sides overhung the steep green bank of a railway, and was shaken by passing trains. Sir Aaron Armstrong, as he boisterously explained, had no nerves. But if the train had often given a shock to the house, that morning the tables were turned, and it was the house that gave a shock to the train.
The engine slowed down and stopped just beyond that point where an angle of the house impinged upon the sharp slope of turf. The arrest of most mechanical things must be slow; but the living cause of this had been very rapid. A man clad completely in black, even (it was remembered) to the dreadful detail of black gloves, appeared on the ridge above the engine, and waved his black hands like some sable windmill. This in itself would hardly have stopped even a lingering train. But there came out of him a cry which was talked of afterwards as something utterly unnatural and new. It was one of those shouts that are horridly distinct even when we cannot hear what is shouted. The word in this case was “Murder!”
But the engine-driver swears he would have pulled up just the same if he had heard only the dreadful and definite accent and not the word.
The train once arrested, the most superficial stare could take in many features of the tragedy. The man in black on the green bank was Sir Aaron Armstrong’s man-servant Magnus. The baronet in his optimism had often laughed at the black gloves of this dismal attendant; but no one was likely to laugh at him just now.
So soon as an inquirer or two had stepped off the line and across the smoky hedge, they saw, rolled down almost to the bottom of the bank, the body of an old man in a yellow dressing-gown with a very vivid scarlet lining. A scrap of rope seemed caught about his leg, entangled presumably in a struggle. There was a smear or so of blood, though very little; but the body was bent or broken into a posture impossible to any living thing. It was Sir Aaron Armstrong. A few more bewildered moments brought out a big fair-bearded man, whom some travellers could salute as the dead man’s secretary, Patrick Royce, once well known in Bohemian society and even famous in the Bohemian arts. In a ma
nner more vague, but even more convincing, he echoed the agony of the servant. By the time the third figure of that household, Alice Armstrong, daughter of the dead man, had come already tottering and waving into the garden, the engine-driver had put a stop to his stoppage. The whistle had blown and the train had panted on to get help from the next station.
Father Brown had been thus rapidly summoned at the request of Patrick Royce, the big ex-Bohemian secretary. Royce was an Irishman by birth; and that casual kind of Catholic that never remembers his religion until he is really in a hole. But Royce’s request might have been less promptly complied with if one of the official detectives had not been a friend and admirer of the unofficial Flambeau; and it was impossible to be a friend of Flambeau without hearing numberless stories about Father Brown. Hence, while the young detective (whose name was Merton) led the little priest across the fields to the railway, their talk was more confidential than could be expected between two total strangers.
“As far as I can see,” said Mr. Merton candidly, “there is no sense to be made of it at all. There is nobody one can suspect. Magnus is a solemn old fool; far too much of a fool to be an assassin. Royce has been the baronet’s best friend for years; and his daughter undoubtedly adored him. Besides, it’s all too absurd. Who would kill such a cheery old chap as Armstrong? Who could dip his hands in the gore of an after-dinner speaker? It would be like killing Father Christmas.”
“Yes, it was a cheery house,” assented Father Brown. “It was a cheery house while he was alive. Do you think it will be cheery now he is dead?”
Merton started a little and regarded his companion with an enlivened eye. “Now he is dead?” he repeated.
“Yes,” continued the priest stolidly, “he was cheerful. But did he communicate his cheerfulness? Frankly, was anyone else in the house cheerful but he?”
A window in Merton’s mind let in that strange light of surprise in which we see for the first time things we have known all along. He had often been to the Armstrongs’, on little police jobs of the philanthropist; and, now he came to think of it, it was in itself a depressing house. The rooms were very high and very cold; the decoration mean and provincial; the draughty corridors were lit by electricity that was bleaker than moonlight. And though the old man’s scarlet face and silver beard had blazed like a bonfire in each room or passage in turn, it did not leave any warmth behind it. Doubtless this spectral discomfort in the place was partly due to the very vitality and exuberance of its owner; he needed no stoves or lamps, he would say, but carried his own warmth with him. But when Merton recalled the other inmates, he was compelled to confess that they also were as shadows of their lord. The moody man-servant, with his monstrous black gloves, was almost a nightmare; Royce, the secretary, was solid enough, a big bull of a man, in tweeds, with a short beard; but the straw-coloured beard was startlingly salted with grey like the tweeds, and the broad forehead was barred with premature wrinkles. He was good-natured enough also, but it was a sad sort of good-nature, almost a heart-broken sort — he had the general air of being some sort of failure in life. As for Armstrong’s daughter, it was almost incredible that she was his daughter; she was so pallid in colour and sensitive in outline. She was graceful, but there was a quiver in the very shape of her that was like the lines of an aspen. Merton had sometimes wondered if she had learnt to quail at the crash of the passing trains.
“You see,” said Father Brown, blinking modestly, “I’m not sure that the Armstrong cheerfulness is so very cheerful — for other people. You say that nobody could kill such a happy old man, but I’m not sure; ne nos inducas in tentationem. If ever I murdered somebody,” he added quite simply, “I dare say it might be an Optimist.”
“Why?” cried Merton amused. “Do you think people dislike cheerfulness?”
“People like frequent laughter,” answered Father Brown, “but I don’t think they like a permanent smile. Cheerfulness without humour is a very trying thing.”
They walked some way in silence along the windy grassy bank by the rail, and just as they came under the far-flung shadow of the tall Armstrong house, Father Brown said suddenly, like a man throwing away a troublesome thought rather than offering it seriously: “Of course, drink is neither good nor bad in itself. But I can’t help sometimes feeling that men like Armstrong want an occasional glass of wine to sadden them.”
Merton’s official superior, a grizzled and capable detective named Gilder, was standing on the green bank waiting for the coroner, talking to Patrick Royce, whose big shoulders and bristly beard and hair towered above him. This was the more noticeable because Royce walked always with a sort of powerful stoop, and seemed to be going about his small clerical and domestic duties in a heavy and humbled style, like a buffalo drawing a go-cart.
He raised his head with unusual pleasure at the sight of the priest, and took him a few paces apart. Meanwhile Merton was addressing the older detective respectfully indeed, but not without a certain boyish impatience.
“Well, Mr. Gilder, have you got much farther with the mystery?”
“There is no mystery,” replied Gilder, as he looked under dreamy eyelids at the rooks.
“Well, there is for me, at any rate,” said Merton, smiling.
“It is simple enough, my boy,” observed the senior investigator, stroking his grey, pointed beard. “Three minutes after you’d gone for Mr. Royce’s parson the whole thing came out. You know that pasty-faced servant in the black gloves who stopped the train?”
“I should know him anywhere. Somehow he rather gave me the creeps.”
“Well,” drawled Gilder, “when the train had gone on again, that man had gone too. Rather a cool criminal, don’t you think, to escape by the very train that went off for the police?”
“You’re pretty sure, I suppose,” remarked the young man, “that he really did kill his master?”
“Yes, my son, I’m pretty sure,” replied Gilder drily, “for the trifling reason that he has gone off with twenty thousand pounds in papers that were in his master’s desk. No, the only thing worth calling a difficulty is how he killed him. The skull seems broken as with some big weapon, but there’s no weapon at all lying about, and the murderer would have found it awkward to carry it away, unless the weapon was too small to be noticed.”
“Perhaps the weapon was too big to be noticed,” said the priest, with an odd little giggle.
Gilder looked round at this wild remark, and rather sternly asked Brown what he meant.
“Silly way of putting it, I know,” said Father Brown apologetically. “Sounds like a fairy tale. But poor Armstrong was killed with a giant’s club, a great green club, too big to be seen, and which we call the earth. He was broken against this green bank we are standing on.”
“How do you mean?” asked the detective quickly.
Father Brown turned his moon face up to the narrow facade of the house and blinked hopelessly up. Following his eyes, they saw that right at the top of this otherwise blind back quarter of the building, an attic window stood open.
“Don’t you see,” he explained, pointing a little awkwardly like a child, “he was thrown down from there?”
Gilder frowningly scrutinised the window, and then said: “Well, it is certainly possible. But I don’t see why you are so sure about it.”
Brown opened his grey eyes wide. “Why,” he said, “there’s a bit of rope round the dead man’s leg. Don’t you see that other bit of rope up there caught at the corner of the window?”
At that height the thing looked like the faintest particle of dust or hair, but the shrewd old investigator was satisfied. “You’re quite right, sir,” he said to Father Brown; “that is certainly one to you.”
Almost as he spoke a special train with one carriage took the curve of the line on their left, and, stopping, disgorged another group of policemen, in whose midst was the hangdog visage of Magnus, the absconded servant.
“By Jove! they’ve got him,” cried Gilder, and stepped forward with qu
ite a new alertness.
“Have you got the money!” he cried to the first policeman.
The man looked him in the face with a rather curious expression and said: “No.” Then he added: “At least, not here.”
“Which is the inspector, please?” asked the man called Magnus.
When he spoke everyone instantly understood how this voice had stopped a train. He was a dull-looking man with flat black hair, a colourless face, and a faint suggestion of the East in the level slits in his eyes and mouth. His blood and name, indeed, had remained dubious, ever since Sir Aaron had “rescued” him from a waitership in a London restaurant, and (as some said) from more infamous things. But his voice was as vivid as his face was dead. Whether through exactitude in a foreign language, or in deference to his master (who had been somewhat deaf), Magnus’s tones had a peculiarly ringing and piercing quality, and the whole group quite jumped when he spoke.
“I always knew this would happen,” he said aloud with brazen blandness. “My poor old master made game of me for wearing black; but I always said I should be ready for his funeral.”
And he made a momentary movement with his two dark-gloved hands.
“Sergeant,” said Inspector Gilder, eyeing the black hands with wrath, “aren’t you putting the bracelets on this fellow; he looks pretty dangerous.”
“Well, sir,” said the sergeant, with the same odd look of wonder, “I don’t know that we can.”
“What do you mean?” asked the other sharply. “Haven’t you arrested him?”
A faint scorn widened the slit-like mouth, and the whistle of an approaching train seemed oddly to echo the mockery.
“We arrested him,” replied the sergeant gravely, “just as he was coming out of the police station at Highgate, where he had deposited all his master’s money in the care of Inspector Robinson.”
Gilder looked at the man-servant in utter amazement. “Why on earth did you do that?” he asked of Magnus.
The Complete Father Brown Mysteries Collection Page 23
