The Wisdom of Father Brown. G. K. Chesterton
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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