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.'
'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.'
Chapter VIII: 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.'
