"Looks a cannibal sort of chap, don't he?" said the constable confidentially to Cutler.
Cutler made no answer, but said sharply a moment after: "We must attend to the ... the death ..." and his voice escaped from articulation.
"The two deaths," came in the voice of the priest from the farther side of the room. "This poor fellow was gone when I got across to him." And he stood looking down at old Parkinson, who sat in a black huddle on the gorgeous chair. He also had paid his tribute, not without eloquence, to the woman who had died.
The silence was first broken by Cutler, who seemed not untouched by a rough tenderness. "I wish I was him," he said huskily. "I remember he used to watch her wherever she walked more than—anybody. She was his air, and he's dried up. He's just dead."
"We are all dead," said Seymour in a strange voice, looking down the road.
They took leave of Father Brown at the corner of the road, with some random apologies for any rudeness they might have shown. Both their faces were tragic, but also cryptic.
The mind of the little priest was always a rabbit-warren of wild thoughts that jumped too quickly for him to catch them. Like the white tail of a rabbit he had the vanishing thought that he was certain of their grief, but not so certain of their innocence.
"We had better all be going," said Seymour heavily; "we have done all we can to help."
"Will you understand my motives," asked Father Brown quietly, "if I say you have done all you can to hurt?"
They both started as if guiltily, and Cutler said sharply: "To hurt whom?"
"To hurt yourselves," answered the priest. "I would not add to your troubles if it weren't common justice to warn you. You've done nearly everything you could do to hang yourselves, if this actor should be acquitted. They'll be sure to subpoena me; I shall be bound to say that after the cry was heard each of you rushed into the room in a wild state and began quarrelling about a dagger. As far as my words on oath can go, you might either of you have done it. You hurt yourselves with that; and then Captain Cutler must have hurt himself with the dagger."
"Hurt myself!" exclaimed the Captain, with contempt. "A silly little scratch."
"Which drew blood," replied the priest, nodding. "We know there's blood on the brass now. And so we shall never know whether there was blood on it before."
There was a silence; and then Seymour said, with an emphasis quite alien to his daily accent: "But I saw a man in the passage."
"I know you did," answered the cleric Brown with a face of wood, "so did Captain Cutler. That's what seems so improbable."
Before either could make sufficient sense of it even to answer, Father Brown had politely excused himself and gone stumping up the road with his stumpy old umbrella.
As modern newspapers are conducted, the most honest and most important news is the police news. If it be true that in the twentieth century more space is given to murder than to politics, it is for the excellent reason that murder is a more serious subject. But even this would hardly explain the enormous omnipresence and widely distributed detail of "The Bruno Case," or "The Passage Mystery," in the Press of London and the provinces. So vast was the excitement that for some weeks the Press really told the truth; and the reports of examination and cross-examination, if interminable, even if intolerable, are at least reliable. The true reason, of course, was the coincidence of persons. The victim was a popular actress; the accused was a popular actor; and the accused had been caught red-handed, as it were, by the most popular soldier of the patriotic season. In those extraordinary circumstances the Press was paralysed into probity and accuracy; and the rest of this somewhat singular business can practically be recorded from reports of Bruno's trial.
The trial was presided over by Mr. Justice Monkhouse, one of those who are jeered at as humorous judges, but who are generally much more serious than the serious judges, for their levity comes from a living impatience of professional solemnity; while the serious judge is really filled with frivolity, because he is filled with vanity. All the chief actors being of a worldly importance, the barristers were well balanced; the prosecutor for the Crown was Sir Walter Cowdray, a heavy, but weighty advocate of the sort that knows how to seem English and trustworthy, and how to be rhetorical with reluctance. The prisoner was defended by Mr. Patrick Butler, K.C., who was mistaken for a mere flâneur by those who misunderstood the Irish character—and those who had not been examined by him. The medical evidence involved no contradictions, the doctor whom Seymour had summoned on the spot, agreeing with the eminent surgeon who had later examined the body. Aurora Rome had been stabbed with some sharp instrument such as a knife or dagger; some instrument, at least, of which the blade was short. The wound was just over the heart, and she had died instantly. When the doctor first saw her she could hardly have been dead for twenty minutes. Therefore when Father Brown found her she could hardly have been dead for three.
Some official detective evidence followed, chiefly concerned with the presence or absence of any proof of a struggle: the only suggestion of this was the tearing of the dress at the shoulder, and this did not seem to fit in particularly well with the direction and finality of the blow. When these details had been supplied, though not explained, the first of the important witnesses was called.
Sir Wilson Seymour gave evidence as he did everything else that he did at all—not only well, but perfectly. Though himself much more of a public man than the judge, he conveyed exactly the fine shade of self-effacement before the King's justice; and though everyone looked at him as they would at the Prime Minister or the Archbishop of Canterbury, they could have said nothing of his part in it but that it was that of a private gentleman, with an accent on the noun. He was also refreshingly lucid, as he was on the committees. He had been calling on Miss Rome at the theatre; he had met Captain Cutler there; they had been joined for a short time by the accused, who had then returned to his own dressing-room; they had then been joined by a Roman Catholic priest, who asked for the deceased lady and said his name was Brown. Miss Rome had then gone just outside the theatre to the entrance of the passage, in order to point out to Captain Cutler a flower-shop at which he was to buy her some more flowers; and the witness had remained in the room, exchanging a few words with the priest. He had then distinctly heard the deceased, having sent the Captain on his errand, turn round laughing and run down the passage towards its other end, where was the prisoner's dressing-room. In idle curiosity as to the rapid movement of his friends, he had strolled out to the head of the passage himself and looked down it towards the prisoner's door. Did he see anything in the passage? Yes; he saw something in the passage.
Sir Walter Cowdray allowed an impressive interval, during which the witness looked down, and for all his usual composure seemed to have more than his usual pallor. Then the barrister said in a lower voice, which seemed at once sympathetic and creepy: "Did you see it distinctly?"
Sir Wilson Seymour, however moved, had his excellent brains in full working-order. "Very distinctly as regards its outline, but quite indistinctly, indeed not at all, as regards the details inside the outline. The passage is of such length that anyone in the middle of it appears quite black against the light at the other end." The witness lowered his steady eyes once more and added: "I had noticed the fact before, when Captain Cutler first entered it." There was another silence, and the judge leaned forward and made a note.
"Well," said Sir Walter patiently, "what was the outline like? Was it, for instance, like the figure of the murdered woman?"
"Not in the least," answered Seymour quietly.
"What did it look like to you?"
"It looked to me," replied