The Man Who Knew Too Much [54]
knew subconsciously that the whole tale had taken a new and terrible turn, when they saw the prince stand in the gap of the gaunt trees, in his robes of angry crimson and with his lowering face of bronze, bearing in his hand a new shape of death. They could not have named a reason, but the two swords seemed indeed to have become toy swords and the whole tale of them broken and tossed away like a toy. Borodino looked like the Old World headsman, clad in terrible red, and carrying the ax for the execution of the criminal. And the criminal was not Crane.
Mr. Brain of the Indian police was glaring at the new object, and it was a moment or two before he spoke, harshly and almost hoarsely.
"What are you doing with that?" he asked. "Seems to be a woodman's chopper."
"A natural association of ideas," observed Horne Fisher. "If you meet a cat in a wood you think it's a wildcat, though it may have just strolled from the drawing-room sofa. As a matter of fact, I happen to know that is not the woodman's chopper. It's the kitchen chopper, or meat ax, or something like that, that somebody has thrown away in the wood. I saw it in the kitchen myself when I was getting the potato sacks with which I reconstructed a mediaeval hermit."
"All the same, it is not without interest," remarked the prince, holding out the instrument to Fisher, who took it and examined it carefully. "A butcher's cleaver that has done butcher's work."
"It was certainly the instrument of the crime," assented Fisher, in a low voice.
Brain was staring at the dull blue gleam of the ax head with fierce and fascinated eyes. "I don't understand you," he said. "There is no--there are no marks on it."
"It has shed no blood," answered Fisher, "but for all that it has committed a crime. This is as near as the criminal came to the crime when he committed it."
"What do you mean?"
"He was not there when he did it," explained Fisher. "It's a poor sort of murderer who can't murder people when he isn't there."
"You seem to be talking merely for the sake of mystification," said Brain. "If you have any practical advice to give you might as well make it intelligible."
"The only practical advice I can suggest," said Fisher, thoughtfully, "is a little research into local topography and nomenclature. They say there used to be a Mr. Prior, who had a farm in this neighborhood. I think some details about the domestic life of the late Mr. Prior would throw a light on this terrible business."
"And you have nothing more immediate than your topography to offer," said Brain, with a sneer, "to help me avenge my friend?"
"Well," said Fisher, "I should find out the truth about the Hole in the Wall."
That night, at the close of a stormy twilight and under a strong west wind that followed the breaking of the frost, Leonard Crane was wending his way in a wild rotatory walk round and round the high, continuous wall that inclosed the little wood. He was driven by a desperate idea of solving for himself the riddle that had clouded his reputation and already even threatened his liberty. The police authorities, now in charge of the inquiry, had not arrested him, but he knew well enough that if he tried to move far afield he would be instantly arrested. Horne Fisher's fragmentary hints, though he had refused to expand them as yet, had stirred the artistic temperament of the architect to a sort of wild analysis, and he was resolved to read the hieroglyph upside down and every way until it made sense. If it was something connected with a hole in the wall he would find the hole in the wall; but, as a matter of fact, he was unable to find the faintest crack in the wall. His professional knowledge told him that the masonry was all of one workmanship and one date, and, except for the regular entrance, which threw no light on the mystery, he found nothing suggesting any sort of hiding place or means of escape. Walking a narrow path between the winding wall and the wild eastward bend and sweep of the gray and feathery trees, seeing shifting gleams of a lost sunset winking
Mr. Brain of the Indian police was glaring at the new object, and it was a moment or two before he spoke, harshly and almost hoarsely.
"What are you doing with that?" he asked. "Seems to be a woodman's chopper."
"A natural association of ideas," observed Horne Fisher. "If you meet a cat in a wood you think it's a wildcat, though it may have just strolled from the drawing-room sofa. As a matter of fact, I happen to know that is not the woodman's chopper. It's the kitchen chopper, or meat ax, or something like that, that somebody has thrown away in the wood. I saw it in the kitchen myself when I was getting the potato sacks with which I reconstructed a mediaeval hermit."
"All the same, it is not without interest," remarked the prince, holding out the instrument to Fisher, who took it and examined it carefully. "A butcher's cleaver that has done butcher's work."
"It was certainly the instrument of the crime," assented Fisher, in a low voice.
Brain was staring at the dull blue gleam of the ax head with fierce and fascinated eyes. "I don't understand you," he said. "There is no--there are no marks on it."
"It has shed no blood," answered Fisher, "but for all that it has committed a crime. This is as near as the criminal came to the crime when he committed it."
"What do you mean?"
"He was not there when he did it," explained Fisher. "It's a poor sort of murderer who can't murder people when he isn't there."
"You seem to be talking merely for the sake of mystification," said Brain. "If you have any practical advice to give you might as well make it intelligible."
"The only practical advice I can suggest," said Fisher, thoughtfully, "is a little research into local topography and nomenclature. They say there used to be a Mr. Prior, who had a farm in this neighborhood. I think some details about the domestic life of the late Mr. Prior would throw a light on this terrible business."
"And you have nothing more immediate than your topography to offer," said Brain, with a sneer, "to help me avenge my friend?"
"Well," said Fisher, "I should find out the truth about the Hole in the Wall."
That night, at the close of a stormy twilight and under a strong west wind that followed the breaking of the frost, Leonard Crane was wending his way in a wild rotatory walk round and round the high, continuous wall that inclosed the little wood. He was driven by a desperate idea of solving for himself the riddle that had clouded his reputation and already even threatened his liberty. The police authorities, now in charge of the inquiry, had not arrested him, but he knew well enough that if he tried to move far afield he would be instantly arrested. Horne Fisher's fragmentary hints, though he had refused to expand them as yet, had stirred the artistic temperament of the architect to a sort of wild analysis, and he was resolved to read the hieroglyph upside down and every way until it made sense. If it was something connected with a hole in the wall he would find the hole in the wall; but, as a matter of fact, he was unable to find the faintest crack in the wall. His professional knowledge told him that the masonry was all of one workmanship and one date, and, except for the regular entrance, which threw no light on the mystery, he found nothing suggesting any sort of hiding place or means of escape. Walking a narrow path between the winding wall and the wild eastward bend and sweep of the gray and feathery trees, seeing shifting gleams of a lost sunset winking