The Innocence of Father Brown by G. K. Chesterton (top reads .txt) 📕

in the veranda seat; Father Brown, against his common habit, accepted a good cigar and smoked it steadily in silence, while the rain shrieked and rattled on the roof of the veranda.

"My friend," he said at length, "this is a very queer case. A very queer case."

"I should think it was," said Flambeau, with something like a shudder.

"You call it queer, and I call it queer," said the other, "and yet we mean quite opposite things. The modern mind always mixes up two different ideas: mystery in the sense of what is marvellous, and mystery in the sense of what is complicated. That is half its difficulty about miracles. A miracle is startling; but it is simple. It is simple because it is a miracle. It is power coming directly from God (or the devil) instead of indirectly through nature or human wills. Now, you mean that this business is marvellous because it is miraculous, because it is witchcraft worked by a wicked Indian. Understand, I do not say that it was not spiritual or diabolic. Heaven and hell only know by what surrounding influences strange sins come into the lives of men. But for the present my point is this: If it was pure magic, as you think, then it is marvellous; but it is not mysterious--that is, it is not complicated. The quality of a miracle is mysterious, but its manner is simple. Now, the manner of this business has been the reverse of simple."

The storm that had slackened for a little seemed to be swelling again, and there came heavy movements as of faint thunder. Father Brown let fall the ash of his cigar and went on:

"There has been in this incident," he said, "a twisted, ugly, complex quality that does not belong to the straight bolts either of heaven or hell. As one knows the crooked track of a snail, I know the crooked track of a man."

The white lightning opened its enormous eye in one wink, the sky shut up again, and the priest went on:

"Of all these crooked things, the crookedest was the shape of that piece of paper. It was crookeder than the dagger that killed him."

"You mean the paper on which Quinton confessed his suicide," said Flambeau.

"I mean the paper on which Quinton wrote, 'I die by my own hand,'" answered Father Brown. "The shape of that paper, my friend, was the wrong shape; the wrong shape, if ever I have seen it in this wicked world."

"It only had a corner snipped off," said Flambeau, "and I understand that all Quinton's paper was cut that way."

"It was a very odd way," said the other, "and a very bad way, to my taste and fancy. Look here, Flambeau, this Quinton--God receive his soul!--was perhaps a bit of a cur in some ways, but he really was an artist, with the pencil as well as the pen. His handwriting, though hard to read, was bold and beautiful. I can't prove what I say; I can't prove anything. But I tell you with the full force of conviction that he could never have cut that mean little piece off a sheet of paper. If he had wanted to cut down paper for some purpose of fitting in, or binding up, or what not, he would have made quite a different slash with the scissors. Do you remember the shape? It was a mean shape. It was a wrong shape. Like this. Don't you remember?"

And he waved his burning cigar before him in the darkness, making irregular squares so rapidly that Flambeau really seemed to see them as fiery hieroglyphics upon the darkness--hieroglyphics such as his friend had spoken of, which are undecipherable, yet can have no good meaning.

"But," said Flambeau, as the priest put his cigar in his mouth again and leaned back, staring at the roof, "suppose somebody else did use the scissors. Why should somebody else, cutting pieces off his sermon paper, make Quinton commit suicide?"

Father Brown was still leaning back and staring at the roof, but he took his cigar out of his mouth and said: "Quinton never did commit suicide."

Flambeau stared at him. "Why, confound it all," he cried, "then why did he confess to suicide?"

The priest leant forward again, settled his elbows on his knees, looked at the ground, and said, in a low, distinct voice: "He never did confess to suicide."

Flambeau laid his cigar down. "You mean," he said, "that the writing was forged?"

"No," said Father Brown. "Quinton wrote it all right."

"Well, there you are," said the aggravated Flambeau; "Quinton wrote, 'I die by my own hand,' with his own hand on a plain piece of paper."

"Of the wrong shape," said the priest calmly.

"Oh, the shape be damned!" cried Flambeau. "What has the shape to do with it?"

"There were twenty-three snipped papers," resumed Brown unmoved, "and only twenty-two pieces snipped off. Therefore one of the pieces had been destroyed, probably that from the written paper. Does that suggest anything to you?"

A light dawned on Flambeau's face, and he said: "There was something else written by Quinton, some other words. 'They will tell you I die by my own hand,' or 'Do not believe that--'"

"Hotter, as the children say," said his friend. "But the piece was hardly half an inch across; there was no room for one word, let alone five. Can you think of anything hardly bigger than a comma which the man with hell in his heart had to tear away as a testimony against him?"

"I can think of nothing," said Flambeau at last.

"What about quotation marks?" said the priest, and flung his cigar far into the darkness like a shooting star.

All words had left the other man's mouth, and Father Brown said, like one going back to fundamentals:

"Leonard Quinton was a romancer, and was writing an Oriental romance about wizardry and hypnotism. He--"

At this moment the door opened briskly behind them, and the doctor came out with his hat on. He put a long envelope into the priest's hands.

"That's the document you wanted," he said, "and I must be getting home. Good night."

"Good night," said Father Brown, as the doctor walked briskly to the gate. He had left the front door open, so that a shaft of gaslight fell upon them. In the light of this Brown opened the envelope and read the following words:



DEAR FATHER BROWN,--Vicisti Galilee. Otherwise, damn your
eyes, which are very penetrating ones. Can it be possible that
there is something in all that stuff of yours after all?

I am a man who has ever since boyhood believed in Nature and
in all natural functions and instincts, whether men called them
moral or immoral. Long before I became a doctor, when I was a
schoolboy keeping mice and spiders, I believed that to be a good
animal is the best thing in the world. But just now I am shaken;
I have believed in Nature; but it seems as if Nature could betray
a man. Can there be anything in your bosh? I am really getting
morbid.

I loved Quinton's wife. What was there wrong in that? Nature
told me to, and it's love that makes the world go round. I also
thought quite sincerely that she would be happier with a clean
animal like me than with that tormenting little lunatic. What was
there wrong in that? I was only facing facts, like a man of
science. She would have been happier.

According to my own creed I was quite free to kill Quinton,
which was the best thing for everybody, even himself. But as a
healthy animal I had no notion of killing myself. I resolved,
therefore, that I would never do it until I saw a chance that
would leave me scot free. I saw that chance this morning.

I have been three times, all told, into Quinton's study today.
The first time I went in he would talk about nothing but the weird
tale, called "The Cure of a Saint," which he was writing, which
was all about how some Indian hermit made an English colonel kill
himself by thinking about him. He showed me the last sheets, and
even read me the last paragraph, which was something like this:
"The conqueror of the Punjab, a mere yellow skeleton, but still
gigantic, managed to lift himself on his elbow and gasp in his
nephew's ear: 'I die by my own hand, yet I die murdered!'" It so
happened by one chance out of a hundred, that those last words
were written at the top of a new sheet of paper. I left the room,
and went out into the garden intoxicated with a frightful
opportunity.

We walked round the house; and two more things happened in my
favour. You suspected an Indian, and you found a dagger which the
Indian might most probably use. Taking the opportunity to stuff
it in my pocket I went back to Quinton's study, locked the door,
and gave him his sleeping draught. He was against answering
Atkinson at all, but I urged him to call out and quiet the fellow,
because I wanted a clear proof that Quinton was alive when I left
the room for the second time. Quinton lay down in the conservatory,
and I came through the study. I am a quick man with my hands, and
in a minute and a half I had done what I wanted to do. I had
emptied all the first part of Quinton's romance into the fireplace,
where it burnt to ashes. Then I saw that the quotation marks
wouldn't do, so I snipped them off, and to make it seem likelier,
snipped the whole quire to match. Then I came out with the
knowledge that Quinton's confession of suicide lay on the front
table, while Quinton lay alive but asleep in the conservatory
beyond.

The last act was a desperate one; you can guess it: I pretended
to have seen Quinton dead and rushed to his room. I delayed you
with the paper, and, being a quick man with my hands, killed
Quinton while you were looking at his confession of suicide. He
was half-asleep, being drugged, and I put his own hand on the
knife and drove it into his body. The knife was of so queer a
shape that no one but an operator could have calculated the angle
that would reach his heart. I wonder if you noticed this.

When I had done it, the extraordinary thing happened. Nature
deserted me. I felt ill. I felt just as if I had done something
wrong. I think my brain is breaking up; I feel some sort of
desperate pleasure in thinking I have told the thing to somebody;
that I shall not have to be alone