The Innocence of Father Brown by G. K. Chesterton (tools of titans ebook .txt) 📗

diners and attendants that tumbled helter-skelter down the passages divided into two groups. Most of the Fishermen followed the proprietor to the front room to demand news of any exit. Colonel Pound, with the chairman, the vice-president, and one or two others darted down the corridor leading to the servants’ quarters, as the more likely line of escape. As they did so they passed the dim alcove or cavern of the cloak room, and saw a short, black-coated figure, presumably an attendant, standing a little way back in the shadow of it.

“Hallo, there!” called out the duke. “Have you seen anyone pass?”

The short figure did not answer the question directly, but merely said: “Perhaps I have got what you are looking for, gentlemen.”

They paused, wavering and wondering, while he quietly went to the back of the cloak room, and came back with both hands full of shining silver, which he laid out on the counter as calmly as a salesman. It took the form of a dozen quaintly shaped forks and knives.

“You—you—” began the colonel, quite thrown off his balance at last. Then he peered into the dim little room and saw two things: first, that the short, black-clad man was dressed like a clergyman; and, second, that the window of the room behind him was burst, as if someone had passed violently through. “Valuable things to deposit in a cloak room, aren’t they?” remarked the clergyman, with cheerful composure.

“Did—did you steal those things?” stammered Mr. Audley, with staring eyes.

“If I did,” said the cleric pleasantly, “at least I am bringing them back again.”

“But you didn’t,” said Colonel Pound, still staring at the broken window.

“To make a clean breast of it, I didn’t,” said the other, with some humour. And he seated himself quite gravely on a stool. “But you know who did,” said the, colonel.

“I don’t know his real name,” said the priest placidly, “but I know something of his fighting weight, and a great deal about his spiritual difficulties. I formed the physical estimate when he was trying to throttle me, and the moral estimate when he repented.”

“Oh, I say—repented!” cried young Chester, with a sort of crow of laughter.

Father Brown got to his feet, putting his hands behind him. “Odd, isn’t it,” he said, “that a thief and a vagabond should repent, when so many who are rich and secure remain hard and frivolous, and without fruit for God or man? But there, if you will excuse me, you trespass a little upon my province. If you doubt the penitence as a practical fact, there are your knives and forks. You are The Twelve True Fishers, and there are all your silver fish. But He has made me a fisher of men.”

“Did you catch this man?” asked the colonel, frowning.

Father Brown looked him full in his frowning face. “Yes,” he said, “I caught him, with an unseen hook and an invisible line which is long enough to let him wander to the ends of the world, and still to bring him back with a twitch upon the thread.”

There was a long silence. All the other men present drifted away to carry the recovered silver to their comrades, or to consult the proprietor about the queer condition of affairs. But the grim-faced colonel still sat sideways on the counter, swinging his long, lank legs and biting his dark moustache.

At last he said quietly to the priest: “He must have been a clever fellow, but I think I know a cleverer.”

“He was a clever fellow,” answered the other, “but I am not quite sure of what other you mean.”

“I mean you,” said the colonel, with a short laugh. “I don’t want to get the fellow jailed; make yourself easy about that. But I’d give a good many silver forks to know exactly how you fell into this affair, and how you got the stuff out of him. I reckon you’re the most up-to-date devil of the present company.”

Father Brown seemed rather to like the saturnine candour of the soldier. “Well,” he said, smiling, “I mustn’t tell you anything of the man’s identity, or his own story, of course; but there’s no particular reason why I shouldn’t tell you of the mere outside facts which I found out for myself.”

He hopped over the barrier with unexpected activity, and sat beside Colonel Pound, kicking his short legs like a little boy on a gate. He began to tell the story as easily as if he were telling it to an old friend by a Christmas fire.

“You see, colonel,” he said, “I was shut up in that small room there doing some writing, when I heard a pair of feet in this passage doing a dance that was as queer as the dance of death. First came quick, funny little steps, like a man walking on tiptoe for a wager; then came slow, careless, creaking steps, as of a big man walking about with a cigar. But they were both made by the same feet, I swear, and they came in rotation; first the run and then the walk, and then the run again. I wondered at first idly and then wildly why a man should act these two parts at once. One walk I knew; it was just like yours, colonel. It was the walk of a well-fed gentleman waiting for something, who strolls about rather because he is physically alert than because he is mentally impatient. I knew that I knew the other walk, too, but I could not remember what it was. What wild creature had I met on my travels that tore along on tiptoe in that extraordinary style? Then I heard a clink of plates somewhere; and the answer stood up as plain as St. Peter’s. It was the walk of a waiter—that walk with the body slanted forward, the eyes looking down, the ball of the toe spurning away the ground, the coat tails and napkin flying. Then I thought for a minute and a half more. And I believe I saw the manner of the crime, as clearly as if I were going to commit it.”

Colonel Pound looked at him keenly, but the speaker’s mild grey eyes were fixed upon the ceiling with almost empty wistfulness.

“A crime,” he said slowly, “is like any other work of art. Don’t look surprised; crimes are by no means the only works of art that come from an infernal workshop. But every work of art, divine or diabolic, has one indispensable mark—I mean, that the centre of it is simple, however much the fulfilment may be complicated. Thus, in Hamlet, let us say, the grotesqueness of the grave-digger, the flowers of the mad girl, the fantastic finery of Osric, the pallor of the ghost and the grin of the skull are all oddities in a sort of tangled wreath round one plain tragic figure of a man in black. Well, this also,” he said, getting slowly down from his seat with a smile, “this also is the plain tragedy of a man in black. Yes,” he went on, seeing the colonel look up in some wonder, “the whole of this tale turns on a black coat. In this, as in Hamlet, there are the rococo excrescences—yourselves, let us say. There is the dead waiter, who was there when he could not be there. There is the invisible hand that swept your table clear of silver and melted into air. But every clever crime is founded ultimately on some one quite simple fact—some fact that is