He rapidly unlocked the door and locked it again behind him, just balking a blundering charge from the young man in the billycock. The young man threw himself impatiently on a hall chair. Flambeau looked at a Persian illumination on the wall; Father Brown, who seemed in a sort of daze, dully eyed the door. In about four minutes the door was opened again. Atkinson was quicker this time. He sprang forward, held the door open for an instant, and called out: "Oh, I say, Quinton, I want—"
From the other end of the study came the clear voice of Quinton, in something between a yawn and a yell of weary laughter.
"Oh, I know what you want. Take it, and leave me in peace. I'm writing a song about peacocks."
Before the door closed half a sovereign came flying through the aperture; and Atkinson, stumbling forward, caught it with singular dexterity.
"So that's settled," said the doctor, and, locking the door savagely, he led the way out into the garden.
"Poor Leonard can get a little peace now," he added to Father Brown; "he's locked in all by himself for an hour or two."
"Yes," answered the priest; "and his voice sounded jolly enough when we left him." Then he looked gravely round the garden, and saw the loose figure of Atkinson standing and jingling the half-sovereign in his pocket, and beyond, in the purple twilight, the figure of the Indian sitting bolt upright upon a bank of grass with his face turned towards the setting sun. Then he said abruptly: "Where is Mrs. Quinton!"
"She has gone up to her room," said the doctor. "That is her shadow on the blind."
Father Brown looked up, and frowningly scrutinised a dark outline at the gas-lit window.
"Yes," he said, "that is her shadow," and he walked a yard or two and threw himself upon a garden seat.
Flambeau sat down beside him; but the doctor was one of those energetic people who live naturally on their legs. He walked away, smoking, into the twilight, and the two friends were left together.
"My father," said Flambeau in French, "what is the matter with you?"
Father Brown was silent and motionless for half a minute, then he said: "Superstition is irreligious, but there is something in the air of this place. I think it's that Indian—at least, partly."
He sank into silence, and watched the distant outline of the Indian, who still sat rigid as if in prayer. At first sight he seemed motionless, but as Father Brown watched him he saw that the man swayed ever so slightly with a rhythmic movement, just as the dark tree-tops swayed ever so slightly in the wind that was creeping up the dim garden paths and shuffling the fallen leaves a little.
The landscape was growing rapidly dark, as if for a storm, but they could still see all the figures in their various places. Atkinson was leaning against a tree with a listless face; Quinton's wife was still at her window; the doctor had gone strolling round the end of the conservatory; they could see his cigar like a will-o'-the-wisp; and the fakir still sat rigid and yet rocking, while the trees above him began to rock and almost to roar. Storm was certainly coming.
"When that Indian spoke to us," went on Brown in a conversational undertone, "I had a sort of vision, a vision of him and all his universe. Yet he only said the same thing three times. When first he said 'I want nothing,' it meant only that he was impenetrable, that Asia does not give itself away. Then he said again, 'I want nothing,' and I knew that he meant that he was sufficient to himself, like a cosmos, that he needed no God, neither admitted any sins. And when he said the third time, 'I want nothing,' he said it with blazing eyes. And I knew that he meant literally what he said; that nothing was his desire and his home; that he was weary for nothing as for wine; that annihilation, the mere destruction of everything or anything—"
Two drops of rain fell; and for some reason Flambeau started and looked up, as if they had stung him. And the same instant the doctor down by the end of the conservatory began running towards them, calling out something as he ran.
As he came among them like a bombshell the restless Atkinson happened to be taking a turn nearer to the house front; and the doctor clutched him by the collar in a convulsive grip. "Foul play!" he cried; "what have you been doing to him, you dog?"
The priest had sprung erect, and had the voice of steel of a soldier in command.
"No fighting," he cried coolly; "we are enough to hold anyone we want to. What is the matter, doctor?"
"Things are not right with Quinton," said the doctor, quite white. "I could just see him through the glass, and I don't like the way he's lying. It's not as I left him, anyhow."
"Let us go in to him," said Father Brown shortly. "You can leave Mr. Atkinson alone. I have had him in sight since we heard Quinton's voice."
"I will stop here and watch him," said Flambeau hurriedly. "You go in and see."
The doctor and the priest flew to the study door, unlocked it, and fell into the room. In doing so they nearly fell over the large mahogany table in the centre at which the poet usually wrote; for the place was lit only by a small fire kept for the invalid. In the middle of this table lay a single sheet of paper, evidently left there on purpose. The doctor snatched it up, glanced at it, handed it to Father Brown, and crying, "Good God, look at that!" plunged toward the glass room beyond, where the terrible tropic flowers still seemed to keep a crimson memory of the sunset.
Father Brown read the words three times before he put down the paper. The words were: "I die by my own hand; yet I die murdered!" They were in the quite inimitable, not to say illegible, handwriting of Leonard Quinton.
Then Father Brown, still keeping the paper in his hand, strode towards the conservatory, only to meet his medical friend coming back with a face of assurance and collapse. "He's done it," said Harris.
They went together through the gorgeous unnatural beauty of cactus and azalea and found Leonard Quinton, poet and romancer, with his head hanging downward off his ottoman and his red curls sweeping the ground. Into his left side was thrust the queer dagger that they had picked up in the garden, and his limp hand still rested on the hilt.
Outside the storm had come at one stride, like the night in Coleridge, and garden and glass roof were darkened with driving rain. Father Brown seemed to be studying the paper more than the corpse; he held it close to his eyes; and seemed trying to read it in the twilight. Then he held it up against the faint light, and, as he did so, lightning stared at them for an instant so white that the paper looked black against it.
Darkness full of thunder followed, and after the thunder Father Brown's voice said out of the dark: "Doctor, this paper is the wrong shape."
"What do you mean?" asked Doctor Harris, with a frowning stare.
"It isn't square," answered Brown. "It has a sort of edge snipped off at the corner. What does it mean?"
"How the deuce should I know?" growled the doctor. "Shall we move this poor chap, do you think? He's quite dead."
"No," answered the priest; "we must leave him as he lies and send for the police." But he was still scrutinising the paper.
As they went back through the study he stopped by the table and picked up a small pair of nail scissors. "Ah," he said, with a sort of relief, "this is what he did it with. But yet—" And he knitted his brows.
"Oh, stop fooling with that scrap of paper," said the doctor emphatically. "It was a fad of his. He had hundreds of them. He cut all his paper like that," as he pointed to a stack of sermon paper still unused on another and smaller table. Father Brown went up to it and held up a sheet. It was the same irregular shape.
"Quite so," he said. "And here I see the corners that were snipped off." And to the indignation of his colleague he began to count them.
"That's all right," he said, with an apologetic smile. "Twenty-three sheets cut and twenty-two corners cut off them. And as I see you are impatient we will rejoin the others."
"Who is to tell his wife?" asked Dr. Harris. "Will you go and tell her now, while I send a servant for the police?"
"As