The Man Who Knew Too Much

by Gilbert Keith Chesterton

  "You spoke of bad news," said Fisher. "Well, there is really bad news now. I am afraid this is a bad business."

  "What bad news do you mean?" asked his friend, conscious of something strange and sinister in his voice.

  "The sun has set," answered Fisher.

  He went on with the air of one conscious of having said something fatal. "We must get somebody to go across whom he will really listen to. He may be mad, but there's method in his madness. There nearly always is method in madness. It's what drives men mad, being methodical. And he never goes on sitting there after sunset, with the whole place getting dark. Where's his nephew? I believe he's really fond of his nephew."

  "Look!" cried March, abruptly. "Why, he's been across already. There he is coming back."

  And, looking up the river once more, they saw, dark against the sunset reflections, the figure of James Bullen stepping hastily and rather clumsily from stone to stone. Once he slipped on a stone with a slight splash. When he rejoined the group on the bank his olive face was unnaturally pale.

  The other four men had already gathered on the same spot and almost simultaneously were calling out to him, "What does he say now?"

  "Nothing. He says–nothing."

  Fisher looked at the young man steadily for a moment; then he started from his immobility and, making a motion to March to follow him, himself strode down to the river crossing. In a few moments they were on the little beaten track that ran round the wooded island, to the other side of it where the fisherman sat. Then they stood and looked at him, without a word.

  Sir Isaac Hook was still sitting propped up against the stump of the tree, and that for the best of reasons. A length of his own infallible fishing line was twisted and tightened twice round his throat and then twice round the wooden prop behind him. The leading investigator ran forward and touched the fisherman's hand, and it was as cold as a fish.

  "The sun has set," said Horne Fisher, in the same terrible tones, "and he will never see it rise again."

  Ten minutes afterward the five men, shaken by such a shock, were again together in the garden, looking at one another with white but watchful faces. The lawyer seemed the most alert of the group; he was articulate if somewhat abrupt.

  "We must leave the body as it is and telephone for the police," he said. "I think my own authority will stretch to examining the servants and the poor fellow's papers, to see if there is anything that concerns them. Of course, none of you gentlemen must leave this place."

  Perhaps there was something in his rapid and rigorous legality that suggested the closing of a net or trap. Anyhow, young Bullen suddenly broke down, or perhaps blew up, for his voice was like an explosion in the silent garden.

  "I never touched him," he cried. "I swear I had nothing to do with it!"

  "Who said you had?" demanded Harker, with a hard eye. "Why do you cry out before you're hurt?"

  "Because you all look at me like that," cried the young man, angrily. "Do you think I don't know you're always talking about my damned debts and expectations?"

  Rather to March's surprise, Fisher had drawn away from this first collision, leading the duke with him to another part of the garden. When he was out of earshot of the others he said, with a curious simplicity of manner:

  "Westmoreland, I am going straight to the point."

  "Well?" said the other, staring at him stolidly.

  "You have a motive for killing him," said Fisher.

  The duke continued to stare, but he seemed unable to speak.

  "I hope you had a motive for killing him," continued Fisher, mildly. "You see, it's rather a curious situation. If you have a motive for murdering, you probably didn't murder. But if you hadn't any motive, why, then perhaps, you did."

  "What on earth are you talking about?" demanded the duke, violently.

  "It's quite simple," said Fisher. "When you went across he was either alive or dead. If he was alive, it might be you who killed him, or why should you have held your tongue about his death? But if he was dead, and you had a reason for killing him, you might have held your tongue for fear of being accused." Then after a silence he added, abstractedly: "Cyprus is a beautiful place, I believe. Romantic scenery and romantic people. Very intoxicating for a young man."

  The duke suddenly clenched his hands and said, thickly, "Well, I had a motive."

  "Then you're all right," said Fisher, holding out his hand with an air of huge relief. "I was pretty sure you wouldn't really do it; you had a fright when you saw it done, as was only natural. Like a bad dream come true, wasn't it?"

  While this curious conversation was passing, Harker had gone into the house, disregarding the demonstrations of the sulky nephew, and came back presently with a new air of animation and a sheaf of papers in his hand.

  "I've telephoned for the police," he said, stopping to speak to Fisher, "but I think I've done most of their work for them. I believe I've found out the truth. There's a paper here–" He stopped, for Fisher was looking at him with a singular expression; and it was Fisher who spoke next:

  "Are there any papers that are not there, I wonder? I mean that are not there now?" After a pause he added: "Let us have the cards on the table. When you went through his papers in such a hurry, Harker, weren't you looking for something to–to make sure it shouldn't be found?"

  Harker did not turn a red hair on his hard head, but he looked at the other out of the corners of his eyes.

  "And I suppose," went on Fisher, smoothly, "that is why you, too, told us lies about having found Hook alive. You knew there was something to show that you might have killed him, and you didn't dare tell us he was killed. But, believe me, it's much better to be honest now."

  Harker's haggard face suddenly lit up as if with infernal flames.

  "Honest," he cried, "it's not so damned fine of you fellows to be honest. You're all born with silver spoons in your mouths, and then you swagger about with everlasting virtue because you haven't got other people's spoons in your pockets. But I was born in a Pimlico lodging house and I had to make my spoon, and there'd be plenty to say I only spoiled a horn or an honest man. And if a struggling man staggers a bit over the line in his youth, in the lower parts of the law which are pretty dingy, anyhow, there's always some old vampire to hang on to him all his life for it."

  "Guatemalan Golcondas, wasn't it?" said Fisher, sympathetically.

  Harker suddenly shuddered. Then he said, "I believe you must know everything, like God Almighty."

  "I know too much," said Horne Fisher, "and all the wrong things."

  The other three men were drawing nearer to them, but before they came too near, Harker said, in a voice that had recovered all its firmness:

  "Yes, I did destroy a paper, but I really did find a paper, too; and I believe that it clears us all."

  "Very well," said Fisher, in a louder and more cheerful tone; "let us all have the benefit of it."

  "On the very top of Sir Isaac's papers," explained Harker, "there was a threatening letter from a man named Hugo. It threatens to kill our unfortunate friend very much in the way that he was actually killed. It is a wild letter, full of taunts; you can see it for yourselves; but it makes a particular point of poor Hook's habit of fishing from the island. Above all, the man professes to be writing from a boat. And, since we alone went across to him," and he smiled in a rather ugly fashion, "the crime must have been committed by a man passing in a boat."

  "Why, dear me!" cried the duke, with something almost amounting to animation. "Why, I remember the man called Hugo quite well! He was a sort of body servant and bodyguard of Sir Isaac. You see, Sir Isaac was in some fear of assault. He was–he was not very popular with several people. Hugo was discharged after some row or other; but I remember him well. He was a great big Hungarian fellow with great mustaches that stood out on each side of his face."

  A door opened in the darkness of Harold March's memory, or, rather, oblivion, and showed a shining landscape, like that of a lost dream. It was rather a watersca
pe than a landscape, a thing of flooded meadows and low trees and the dark archway of a bridge. And for one instant he saw again the man with mustaches like dark horns leap up on to the bridge and disappear.

  "Good heavens!" he cried. "Why, I met the murderer this morning!"

  * * *

  Horne Fisher and Harold March had their day on the river, after all, for the little group broke up when the police arrived. They declared that the coincidence of March's evidence had cleared the whole company, and clinched the case against the flying Hugo. Whether that Hungarian fugitive would ever be caught appeared to Horne Fisher to be highly doubtful; nor can it be pretended that he displayed any very demoniac detective energy in the matter as he leaned back in the boat cushions, smoking, and watching the swaying reeds slide past.

  "It was a very good notion to hop up on to the bridge," he said. "An empty boat means very little; he hasn't been seen to land on either bank, and he's walked off the bridge without walking on to it, so to speak. He's got twenty-four hours' start; his mustaches will disappear, and then he will disappear. I think there is every hope of his escape."

  "Hope?" repeated March, and stopped sculling for an instant.

  "Yes, hope," repeated the other. "To begin with, I'm not going to be exactly consumed with Corsican revenge because somebody has killed Hook. Perhaps you may guess by this time what Hook was. A damned blood-sucking blackmailer was that simple, strenuous, self-made captain of industry. He had secrets against nearly everybody; one against poor old Westmoreland about an early marriage in Cyprus that might have put the duchess in a queer position; and one against Harker about some flutter with his client's money when he was a young solicitor. That's why they went to pieces when they found him murdered, of course. They felt as if they'd done it in a dream. But I admit I have another reason for not wanting our Hungarian friend actually hanged for the murder."

  "And what is that?" asked his friend.

  "Only that he didn't commit the murder," answered Fisher.

  Harold March laid down the oars and let the boat drift for a moment.

  "Do you know, I was half expecting something like that," he said. "It was quite irrational, but it was hanging about in the atmosphere, like thunder in the air."

  "On the contrary, it's finding Hugo guilty that's irrational," replied Fisher. "Don't you see that they're condemning him for the very reason for which they acquit everybody else? Harker and Westmoreland were silent because they found him murdered, and knew there were papers that made them look like the murderers. Well, so did Hugo find him murdered, and so did Hugo know there was a paper that would make him look like the murderer. He had written it himself the day before."

  "But in that case," said March, frowning, "at what sort of unearthly hour in the morning was the murder really committed? It was barely daylight when I met him at the bridge, and that's some way above the island."

  "The answer is very simple," replied Fisher. "The crime was not committed in the morning. The crime was not committed on the island."

  March stared at the shining water without replying, but Fisher resumed like one who had been asked a question:

  "Every intelligent murder involves taking advantage of some one uncommon feature in a common situation. The feature here was the fancy of old Hook for being the first man up every morning, his fixed routine as an angler, and his annoyance at being disturbed. The murderer strangled him in his own house after dinner on the night before, carried his corpse, with all his fishing tackle, across the stream in the dead of night, tied him to the tree, and left him there under the stars. It was a dead man who sat fishing there all day. Then the murderer went back to the house, or, rather, to the garage, and went off in his motor car. The murderer drove his own motor car."

  Fisher glanced at his friend's face and went on. "You look horrified, and the thing is horrible. But other things are horrible, too. If some obscure man had been hag-ridden by a blackmailer and had his family life ruined, you wouldn't think the murder of his persecutor the most inexcusable of murders. Is it any worse when a whole great nation is set free as well as a family? By this warning to Sweden we shall probably prevent war and not precipitate it, and save many thousand lives rather more valuable than the life of that viper. Oh, I'm not talking sophistry or seriously justifying the thing, but the slavery that held him and his country was a thousand times less justifiable. If I'd really been sharp I should have guessed it from his smooth, deadly smiling at dinner that night. Do you remember that silly talk about how old Isaac could always play his fish? In a pretty hellish sense he was a fisher of men."

  Harold March took the oars and began to row again.

  "I remember," he said, "and about how a big fish might break the line and get away."

  VI. THE HOLE IN THE WALL

  Two men, the one an architect and the other an archaeologist, met on the steps of the great house at Prior's Park; and their host, Lord Bulmer, in his breezy way, thought it natural to introduce them. It must be confessed that he was hazy as well as breezy, and had no very clear connection in his mind, beyond the sense that an architect and an archaeologist begin with the same series of letters. The world must remain in a reverent doubt as to whether he would, on the same principles, have presented a diplomatist to a dipsomaniac or a ratiocinator to a rat catcher. He was a big, fair, bull-necked young man, abounding in outward gestures, unconsciously flapping his gloves and flourishing his stick.

  "You two ought to have something to talk about," he said, cheerfully. "Old buildings and all that sort of thing; this is rather an old building, by the way, though I say it who shouldn't. I must ask you to excuse me a moment; I've got to go and see about the cards for this Christmas romp my sister's arranging. We hope to see you all there, of course. Juliet wants it to be a fancy-dress affair–abbots and crusaders and all that. My ancestors, I suppose, after all."

  "I trust the abbot was not an ancestor," said the archaeological gentleman, with a smile.

  "Only a sort of great-uncle, I imagine," answered the other, laughing; then his rather rambling eye rolled round the ordered landscape in front of the house; an artificial sheet of water ornamented with an antiquated nymph in the center and surrounded by a park of tall trees now gray and black and frosty, for it was in the depth of a severe winter.

  "It's getting jolly cold," his lordship continued. "My sister hopes we shall have some skating as well as dancing."

  "If the crusaders come in full armor," said the other, "you must be careful not to drown your ancestors."

  "Oh, there's no fear of that," answered Bulmer; "this precious lake of ours is not two feet deep anywhere." And with one of his flourishing gestures he stuck his stick into the water to demonstrate its shallowness. They could see the short end bent in the water, so that he seemed for a moment to lean his large weight on a breaking staff.

  "The worst you can expect is to see an abbot sit down rather suddenly," he added, turning away. "Well, au revoir; I'll let you know about it later."

  The archaeologist and the architect were left on the great stone steps smiling at each other; but whatever their common interests, they presented a considerable personal contrast, and the fanciful might even have found some contradiction in each considered individually. The former, a Mr. James Haddow, came from a drowsy den in the Inns of Court, full of leather and parchment, for the law was his profession and history only his hobby; he was indeed, among other things, the solicitor and agent of the Prior's Park estate. But he himself was far from drowsy and seemed remarkably wide awake, with shrewd and prominent blue eyes, and red hair brushed as neatly as his very neat costume. The latter, whose name was Leonard Crane, came straight from a crude and almost cockney office of builders and house agents in the neighboring suburb, sunning itself at the end of a new row of jerry-built houses with plans in very bright colors and notices in very large letters. But a serious observer, at a second glance, might have seen in his eyes something of that shining sleep that is called vision; and his yellow hair, while no
t affectedly long, was unaffectedly untidy. It was a manifest if melancholy truth that the architect was an artist. But the artistic temperament was far from explaining him; there was something else about him that was not definable, but which some even felt to be dangerous. Despite his dreaminess, he would sometimes surprise his friends with arts and even sports apart from his ordinary life, like memories of some previous existence. On this occasion, nevertheless, he hastened to disclaim any authority on the other man's hobby.

  "I mustn't appear on false pretences," he said, with a smile. "I hardly even know what an archaeologist is, except that a rather rusty remnant of Greek suggests that he is a man who studies old things."

  "Yes," replied Haddow, grimly. "An archaeologist is a man who studies old things and finds they are new."Crane looked at him steadily for a moment and then smiled again.

  "Dare one suggest," he said, "that some of the things we have been talking about are among the old things that turn out not to be old?"

  His companion also was silent for a moment, and the smile on his rugged face was fainter as he replied, quietly:

  "The wall round the park is really old. The one gate in it is Gothic, and I cannot find any trace of destruction or restoration. But the house and the estate generally–well the romantic ideas read into these things are often rather recent romances, things almost like fashionable novels. For instance, the very name of this place, Prior's Park, makes everybody think of it as a moonlit mediaeval abbey; I dare say the spiritualists by this time have discovered the ghost of a monk there. But, according to the only authoritative study of the matter I can find, the place was simply called Prior's as any rural place is called Podger's. It was the house of a Mr. Prior, a farmhouse, probably, that stood here at some time or other and was a local landmark. Oh, there are a great many examples of the same thing, here and everywhere else. This suburb of ours used to be a village, and because some of the people slurred the name and pronounced it Holliwell, many a minor poet indulged in fancies about a Holy Well, with spells and fairies and all the rest of it, filling the suburban drawing-rooms with the Celtic twilight. Whereas anyone acquainted with the facts knows that 'Hollinwall' simply means 'the hole in the wall,' and probably referred to some quite trivial accident. That's what I mean when I say that we don't so much find old things as we find new ones."