Complete Works of G K Chesterton, page 30
“Well, if he’s ambitious, he ought to be satisfied now,” said Flambeau rather bitterly. “All Paris will cheer him now our cursed Colonel has turned tail.”
“Don’t talk so loud,” said Father Brown, lowering his voice, “your cursed Colonel is just in front.”
The other two started and shrank farther back into the shadow of the wall, for the sturdy figure of their runaway principal could indeed be seen shuffling along in the twilight in front, a bag in each hand. He looked much the same as when they first saw him, except that he had changed his picturesque mountaineering knickers for a conventional pair of trousers. It was clear he was already escaping from the hotel.
The lane down which they followed him was one of those that seem to be at the back of things, and look like the wrong side of the stage scenery. A colourless, continuous wall ran down one flank of it, interrupted at intervals by dull-hued and dirt-stained doors, all shut fast and featureless save for the chalk scribbles of some passing gamin. The tops of trees, mostly rather depressing evergreens, showed at intervals over the top of the wall, and beyond them in the grey and purple gloaming could be seen the back of some long terrace of tall Parisian houses, really comparatively close, but somehow looking as inaccessible as a range of marble mountains. On the other side of the lane ran the high gilt railings of a gloomy park.
Flambeau was looking round him in rather a weird way. “Do you know,” he said, “there is something about this place that—”
“Hullo!” called out the Duke sharply; “that fellow’s disappeared. Vanished, like a blasted fairy!”
“He has a key,” explained their clerical friend. “He’s only gone into one of these garden doors,” and as he spoke they heard one of the dull wooden doors close again with a click in front of them.
Flambeau strode up to the door thus shut almost in his face, and stood in front of it for a moment, biting his black moustache in a fury of curiosity. Then he threw up his long arms and swung himself aloft like a monkey and stood on the top of the wall, his enormous figure dark against the purple sky, like the dark tree-tops.
The Duke looked at the priest. “Dubosc’s escape is more elaborate than we thought,” he said; “but I suppose he is escaping from France.”
“He is escaping from everywhere,” answered Father Brown.
Valognes’s eyes brightened, but his voice sank. “Do you mean suicide?” he asked.
“You will not find his body,” replied the other.
A kind of cry came from Flambeau on the wall above. “My God,” he exclaimed in French, “I know what this place is now! Why, it’s the back of the street where old Hirsch lives. I thought I could recognize the back of a house as well as the back of a man.”
“And Dubosc’s gone in there!” cried the Duke, smiting his hip. “Why, they’ll meet after all!” And with sudden Gallic vivacity he hopped up on the wall beside Flambeau and sat there positively kicking his legs with excitement. The priest alone remained below, leaning against the wall, with his back to the whole theatre of events, and looking wistfully across to the park palings and the twinkling, twilit trees.
The Duke, however stimulated, had the instincts of an aristocrat, and desired rather to stare at the house than to spy on it; but Flambeau, who had the instincts of a burglar (and a detective), had already swung himself from the wall into the fork of a straggling tree from which he could crawl quite close to the only illuminated window in the back of the high dark house. A red blind had been pulled down over the light, but pulled crookedly, so that it gaped on one side, and by risking his neck along a branch that looked as treacherous as a twig, Flambeau could just see Colonel Dubosc walking about in a brilliantly-lighted and luxurious bedroom. But close as Flambeau was to the house, he heard the words of his colleagues by the wall, and repeated them in a low voice.
“Yes, they will meet now after all!”
“They will never meet,” said Father Brown. “Hirsch was right when he said that in such an affair the principals must not meet. Have you read a queer psychological story by Henry James, of two persons who so perpetually missed meeting each other by accident that they began to feel quite frightened of each other, and to think it was fate? This is something of the kind, but more curious.”
“There are people in Paris who will cure them of such morbid fancies,” said Valognes vindictively. “They will jolly well have to meet if we capture them and force them to fight.”
“They will not meet on the Day of Judgement,” said the priest. “If God Almighty held the truncheon of the lists, if St Michael blew the trumpet for the swords to cross — even then, if one of them stood ready, the other would not come.”
“Oh, what does all this mysticism mean?” cried the Duc de Valognes, impatiently; “why on earth shouldn’t they meet like other people?”
“They are the opposite of each other,” said Father Brown, with a queer kind of smile. “They contradict each other. They cancel out, so to speak.”
He continued to gaze at the darkening trees opposite, but Valognes turned his head sharply at a suppressed exclamation from Flambeau. That investigator, peering into the lighted room, had just seen the Colonel, after a pace or two, proceed to take his coat off. Flambeau’s first thought was that this really looked like a fight; but he soon dropped the thought for another. The solidity and squareness of Dubosc’s chest and shoulders was all a powerful piece of padding and came off with his coat. In his shirt and trousers he was a comparatively slim gentleman, who walked across the bedroom to the bathroom with no more pugnacious purpose than that of washing himself. He bent over a basin, dried his dripping hands and face on a towel, and turned again so that the strong light fell on his face. His brown complexion had gone, his big black moustache had gone; he — was clean-shaven and very pate. Nothing remained of the Colonel but his bright, hawk-like, brown eyes. Under the wall Father Brown was going on in heavy meditation, as if to himself.
“It is all just like what I was saying to Flambeau. These opposites won’t do. They don’t work. They don’t fight. If it’s white instead of black, and solid instead of liquid, and so on all along the line — then there’s something wrong, Monsieur, there’s something wrong. One of these men is fair and the other dark, one stout and the other slim, one strong and the other weak. One has a moustache and no beard, so you can’t see his mouth; the other has a beard and no moustache, so you can’t see his chin. One has hair cropped to his skull, but a scarf to hide his neck; the other has low shirt-collars, but long hair to bide his skull. It’s all too neat and correct, Monsieur, and there’s something wrong. Things made so opposite are things that cannot quarrel. Wherever the one sticks out the other sinks in. Like a face and a mask, like a lock and a key...”
Flambeau was peering into the house with a visage as white as a sheet. The occupant of the room was standing with his back to him, but in front of a looking-glass, and had already fitted round his face a sort of framework of rank red hair, hanging disordered from the head and clinging round the jaws and chin while leaving the mocking mouth uncovered. Seen thus in the glass the white face looked like the face of Judas laughing horribly and surrounded by capering flames of hell. For a spasm Flambeau saw the fierce, red-brown eyes dancing, then they were covered with a pair of blue spectacles. Slipping on a loose black coat, the figure vanished towards the front of the house. A few moments later a roar of popular applause from the street beyond announced that Dr Hirsch had once more appeared upon the balcony.
The Man in the Passage
TWO men appeared simultaneously at the two ends of a sort of passage running along the side of the Apollo Theatre in the Adelphi. The evening daylight in the streets was large and luminous, opalescent and empty. The passage was comparatively long and dark, so each man could see the other as a mere black silhouette at the other end. Nevertheless, each man knew the other, even in that inky outline; for they were both men of striking appearance and they hated each other.
The covered passage opened at one end on one of the steep streets of the Adelphi, and at the other on a terrace overlooking the sunset-coloured river. One side of the passage was a blank wall, for the building it supported was an old unsuccessful theatre restaurant, now shut up. The other side of the passage contained two doors, one at each end. Neither was what was commonly called the stage door; they were a sort of special and private stage doors used by very special performers, and in this case by the star actor and actress in the Shakespearean performance of the day. Persons of that eminence often like to have such private exits and entrances, for meeting friends or avoiding them.
The two men in question were certainly two such friends, men who evidently knew the doors and counted on their opening, for each approached the door at the upper end with equal coolness and confidence. Not, however, with equal speed; but the man who walked fast was the man from the other end of the tunnel, so they both arrived before the secret stage door almost at the same instant. They saluted each other with civility, and waited a moment before one of them, the sharper walker who seemed to have the shorter patience, knocked at the door.
In this and everything else each man was opposite and neither could be called inferior. As private persons both were handsome, capable and popular. As public persons, both were in the first public rank. But everything about them, from their glory to their good looks, was of a diverse and incomparable kind. Sir Wilson Seymour was the kind of man whose importance is known to everybody who knows. The more you mixed with the innermost ring in every polity or profession, the more often you met Sir Wilson Seymour. He was the one intelligent man on twenty unintelligent committees — on every sort of subject, from the reform of the Royal Academy to the project of bimetallism for Greater Britain. In the Arts especially he was omnipotent. He was so unique that nobody could quite decide whether he was a great aristocrat who had taken up Art, or a great artist whom the aristocrats had taken up. But you could not meet him for five minutes without realizing that you had really been ruled by him all your life.
His appearance was “distinguished” in exactly the same sense; it was at once conventional and unique. Fashion could have found no fault with his high silk hat — , yet it was unlike anyone else’s hat — a little higher, perhaps, and adding something to his natural height. His tall, slender figure had a slight stoop yet it looked the reverse of feeble. His hair was silver-grey, but he did not look old; it was worn longer than the common yet he did not look effeminate; it was curly but it did not look curled. His carefully pointed beard made him look more manly and militant than otherwise, as it does in those old admirals of Velazquez with whose dark portraits his house was hung. His grey gloves were a shade bluer, his silver-knobbed cane a shade longer than scores of such gloves and canes flapped and flourished about the theatres and the restaurants.
The other man was not so tall, yet would have struck nobody as short, but merely as strong and handsome. His hair also was curly, but fair and cropped close to a strong, massive head — the sort of head you break a door with, as Chaucer said of the Miller’s. His military moustache and the carriage of his shoulders showed him a soldier, but he had a pair of those peculiar frank and piercing blue eyes which are more common in sailors. His face was somewhat square, his jaw was square, his shoulders were square, even his jacket was square. Indeed, in the wild school of caricature then current, Mr Max Beerbohm had represented him as a proposition in the fourth book of Euclid.
For he also was a public man, though with quite another sort of success. You did not have to be in the best society to have heard of Captain Cutler, of the siege of Hong-Kong, and the great march across China. You could not get away from hearing of him wherever you were; his portrait was on every other postcard; his maps and battles in every other illustrated paper; songs in his honour in every other music-hall turn or on every other barrel-organ. His fame, though probably more temporary, was ten times more wide, popular and spontaneous than the other man’s. In thousands of English homes he appeared enormous above England, like Nelson. Yet he had infinitely less power in England than Sir Wilson Seymour.
The door was opened to them by an aged servant or “dresser”, whose broken-down face and figure and black shabby coat and trousers contrasted queerly with the glittering interior of the great actress’s dressing-room. It was fitted and filled with looking-glasses at every angle of refraction, so that they looked like the hundred facets of one huge diamond — if one could get inside a diamond. The other features of luxury, a few flowers, a few coloured cushions, a few scraps of stage costume, were multiplied by all the mirrors into the madness of the Arabian Nights, and danced and changed places perpetually as the shuffling attendant shifted a mirror outwards or shot one back against the wall.
They both spoke to the dingy dresser by name, calling him Parkinson, and asking for the lady as Miss Aurora Rome. Parkinson said she was in the other room, but he would go and tell her. A shade crossed the brow of both visitors; for the other room was the private room of the great actor with whom Miss Aurora was performing, and she was of the kind that does not inflame admiration without inflaming jealousy. In about half a minute, however, the inner door opened, and she entered as she always did, even in private life, so that the very silence seemed to be a roar of applause, and one well-deserved. She was clad in a somewhat strange garb of peacock green and peacock blue satins, that gleamed like blue and green metals, such as delight children and aesthetes, and her heavy, hot brown hair framed one of those magic faces which are dangerous to all men, but especially to boys and to men growing grey. In company with her male colleague, the great American actor, Isidore Bruno, she was producing a particularly poetical and fantastic interpretation of Midsummer Night’s Dream: in which the artistic prominence was given to Oberon and Titania, or in other words to Bruno and herself. Set in dreamy and exquisite scenery, and moving in mystical dances, the green costume, like burnished beetle-wings, expressed all the elusive individuality of an elfin queen. But when personally confronted in what was still broad daylight, a man looked only at the woman’s face.
She greeted both men with the beaming and baffling smile which kept so many males at the same just dangerous distance from her. She accepted some flowers from Cutler, which were as tropical and expensive as his victories; and another sort of present from Sir Wilson Seymour, offered later on and more nonchalantly by that gentleman. For it was against his breeding to show eagerness, and against his conventional unconventionality to give anything so obvious as flowers. He had picked up a trifle, he said, which was rather a curiosity, it was an ancient Greek dagger of the Mycenaean Epoch, and might well have been worn in the time of Theseus and Hippolyta. It was made of brass like all the Heroic weapons, but, oddly enough, sharp enough to prick anyone still. He had really been attracted to it by the leaf-like shape; it was as perfect as a Greek vase. If it was of any interest to Miss Rome or could come in anywhere in the play, he hoped she would —
The inner door burst open and a big figure appeared, who was more of a contrast to the explanatory Seymour than even Captain Cutler. Nearly six-foot-six, and of more than theatrical thews and muscles, Isidore Bruno, in the gorgeous leopard skin and golden-brown garments of Oberon, looked like a barbaric god. He leaned on a sort of hunting-spear, which across a theatre looked a slight, silvery wand, but which in the small and comparatively crowded room looked as plain as a pike-staff — and as menacing. His vivid black eyes rolled volcanically, his bronzed face, handsome as it was, showed at that moment a combination of high cheekbones with set white teeth, which recalled certain American conjectures about his origin in the Southern plantations.
“Aurora,” he began, in that deep voice like a drum of passion that had moved so many audiences, “will you—”
He stopped indecisively because a sixth figure had suddenly presented itself just inside the doorway — a figure so incongruous in the scene as to be almost comic. It was a very short man in the black uniform of the Roman secular clergy, and looking (especially in such a presence as Bruno’s and Aurora’s) rather like the wooden Noah out of an ark. He did not, however, seem conscious of any contrast, but said with dull civility: “I believe Miss Rome sent for me.”
A shrewd observer might have remarked that the emotional temperature rather rose at so unemotional an interruption. The detachment of a professional celibate seemed to reveal to the others that they stood round the woman as a ring of amorous rivals; just as a stranger coming in with frost on his coat will reveal that a room is like a furnace. The presence of the one man who did not care about her increased Miss Rome’s sense that everybody else was in love with her, and each in a somewhat dangerous way: the actor with all the appetite of a savage and a spoilt child; the soldier with all the simple selfishness of a man of will rather than mind; Sir Wilson with that daily hardening concentration with which old Hedonists take to a hobby; nay, even the abject Parkinson, who had known her before her triumphs, and who followed her about the room with eyes or feet, with the dumb fascination of a dog.
A shrewd person might also have noted a yet odder thing. The man like a black wooden Noah (who was not wholly without shrewdness) noted it with a considerable but contained amusement. It was evident that the great Aurora, though by no means indifferent to the admiration of the other sex, wanted at this moment to get rid of all the men who admired her and be left alone with the man who did not — did not admire her in that sense at least; for the little priest did admire and even enjoy the firm feminine diplomacy with which she set about her task. There was, perhaps, only one thing that Aurora Rome was clever about, and that was one half of humanity — the other half. The little priest watched, like a Napoleonic campaign, the swift precision of her policy for expelling all while banishing none. Bruno, the big actor, was so babyish that it was easy to send him off in brute sulks, banging the door. Cutler, the British officer, was pachydermatous to ideas, but punctilious about behaviour. He would ignore all hints, but he would die rather than ignore a definite commission from a lady. As to old Seymour, he had to be treated differently; he had to be left to the last. The only way to move him was to appeal to him in confidence as an old friend, to let him into the secret of the clearance. The priest did really admire Miss Rome as she achieved all these three objects in one selected action.
