couldn’t hear of anything tangible she had to complain of. Nobody pretended that her husband drank, or beat her, or left her without money, or even was unfaithful, until the rumour about the secret meetings; which were simply her own melodramatic habit of pestering him with curtain-lectures in his own business office. And when one looked at the facts, apart from the atmospheric impression of martyrdom she contrived to spread, the facts were really quite the other way. Mandeville left off making money on pantomimes to please her; he started losing money on classical drama to please her. She arranged the scenery and furniture as she liked. She wanted Sheridan’s play and she had it; she wanted the part of Lady Teazle and she had it; she wanted a rehearsal without costume at that particular hour and she had it. It may be worth remarking on the curious fact that she wanted that.”
“But what is the use of all this tirade?” asked the actor, who had hardly ever heard his clerical friend make so long a speech before. “We seem to have got a long way from the murder in all this psychological business. She may have eloped with Knight; she may have bamboozled Randall; she may have bamboozled me. But she can’t have murdered her husband; for everyone agrees she was on the stage through the whole scene. She may be wicked; but she isn’t a witch.”
“Well, I wouldn’t be so sure,” said Father Brown, with a smile. “But she didn’t need to use any witchcraft in this case. I know now that she did it, and very simply indeed.”
“Why are you so sure of that?” asked Jarvis, looking at him in a puzzled way.
“Because the play was The School for Scandal,” replied Father Brown. “And that particular Act of The School for Scandal. I should like to remind you, as I said just now, that she always arranged the furniture how she liked. I should also like to remind you that this stage was built and used for pantomimes; it would naturally have trap-doors and trick exits of that sort. And when you say that witnesses could attest to having seen all the performers on the stage, I should like to remind you that in the principal scene of The School for Scandal one of the principal performers remains for a considerable time on the stage, but is not seen. She is technically ‘on,’ but she might practically be very much ‘off.’ That is the Screen of Lady Teazle and the Alibi of Mrs. Mandeville.”
There was a silence and then the actor said: “You think she slipped through a trap-door behind a screen down to the floor below, where the manager’s room was?”
“She certainly slipped away in some fashion; and that is the most probable fashion,” said the other. “I think it all the more probable because she took the opportunity of an undress rehearsal, and even indeed arranged for one. It is a guess; but I fancy if it had been a dress rehearsal it might have been more difficult to get through a trap-door in the hoops of the eighteenth century. There are many little difficulties, of course, but I think they could all be met in time and in turn.”
“What I can’t meet is the big difficulty,” said Jarvis, putting his head on his hand with a sort of groan. “I simply can’t bring myself to believe that a radiant and serene creature like that could so lose, so to speak, her bodily balance, to say nothing of her moral balance. Was any motive strong enough? Was she very much in love with Knight?”
“I hope so,” replied his companion; “for really it would be the most human excuse. But I’m sorry to say that I have my doubts. She wanted to get rid of her husband, who was an old-fashioned provincial hack, not even making much money. She wanted to have a career as the brilliant wife of a brilliant and rapidly-rising actor. But she didn’t want in that sense to act in The School for Scandal. She wouldn’t have run away with a man except in the last resort. It wasn’t a human passion with her, but a sort of hellish respectability. She was always dogging her husband in secret and badgering him to divorce himself or otherwise get out of the way; and as he refused he paid at last for his refusal. There’s another thing you’ve got to remember. You talk about these highbrows having a higher art and a more philosophical drama. But remember what a lot of the philosophy is! Remember what sort of conduct those highbrows often present to the highest! All about the Will to Power and the Right to Live and the Right to Experience … damned nonsense and more than damned nonsense—nonsense that can damn.”
Father Brown frowned, which he did very rarely; and there was still a cloud on his brow as he put on his hat and went out into the night.
The Vanishing of Vaudrey
Sir Arthur Vaudrey, in his light-grey summer suit, and wearing on his grey head the white hat which he so boldly affected, went walking briskly up the road by the river from his own house to the little group of houses that were almost like outhouses to his own; entered that little hamlet, and then vanished completely as if he had been carried away by the fairies.
The disappearance seemed the more absolute and abrupt because of the familiarity of the scene and the extreme simplicity of the conditions of the problem. The hamlet could not be called a village; indeed, it was little more than a small and strangely-isolated street. It stood in the middle of wide and open fields and plains, a mere string of the four or five shops absolutely needed by the neighbours; that is, by a few farmers and the family at the great house. There was a butcher’s
