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The Mystery of the Hasty Arrow, a novel by Anna Katharine Green |
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Book 1. A Problem Of The First Order - Chapter 3. "I Have Something To Show You" |
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_ BOOK I. A PROBLEM OF THE FIRST ORDER CHAPTER III. "I HAVE SOMETHING TO SHOW YOU" Mr. Gryce took advantage of the momentary disturbance to slip from the room. He was followed by the Curator, who seemed more than ever anxious to talk. "You see! Mad as a March hare!" was his hurried exclamation as the door closed behind them. "I declare I do not know which I pity more, her victim or herself. The one is freed from all her troubles; the other--Do you think we ought to have a doctor to look after her? Shall I telephone?" "Not yet. We have much to learn before taking any decided steps." Then as he caught the look of amazement with which this unexpected suggestion of difficulties was met, he paused on his way to the stair-head to ask in a tentative way peculiarly his own: "Then you still think the girl died from a thrust given by this woman?" "Of course. What else is there to think? You saw where the arrow came from. You saw that the only bow the place contained was hanging high and unstrung upon the wall, and you are witness to this woman's irresponsible condition of mind. The sight of those arrows well within her reach evidently aroused the homicidal mania often latent in one of her highly emotional nature; and when this fresh young girl came by, the natural result followed. I only hope I shall not be called upon to face the poor child's parents. What can I say to them? What can anybody say? Yet I do not see how we can be held responsible for so unprecedented an attack as this, do you?" Mr. Gryce made no answer. He had turned his back toward the stair-head and was wondering if this easy explanation of a tragedy so peculiar as to have no prototype in all of the hundreds of cases he had been called upon to investigate in a long life of detective activity would satisfy all the other persons then in the building. It was his present business to find out--to search and probe among the dozen or two people he saw collected below, for the witness who had seen or had heard some slight thing as yet unrevealed which would throw a different light upon this matter. For his mind--or shall we say the almost unerring instinct of this ancient delver into human hearts?--would not accept without question this theory of sudden madness in one of Mrs. Taylor's appearance, strange and inexplicable as her conduct seemed. Though it was quite among the possibilities that she had struck the fatal blow and in the manner mentioned, it was equally clear to his mind that she had not done it in an access of frenzy. He knew a mad eye and he knew a despairing one. Fantastic as her story certainly was, he found himself more ready to believe it than to accept any explanation of this crime which ascribed its peculiar features to the irresponsibilities of lunacy. However, he kept his impressions to himself and in his anxiety to pursue his inquiries among the people below, was on the point of descending thither, when he found his attention arrested, and that of the Curator's as well, by the sight of a young man hastening toward them through the northern gallery. (The tragedy, as you will remember, had occurred in the southern one.) He was dressed in the uniform of the museum, and moved so quickly and in such an evident flurry of spirits that the detective instinctively asked: "Who's that? One of your own men?" "Yes, that's Correy, our best-informed and most-trusted attendant. Looks as if he had something to tell us. Well, Correy, what is it?" he queried as the man emerged upon the landing where they stood. "Anything new? If there is, speak out plainly. Mr. Gryce is anxious for all the evidence he can get." With an ingenuousness rather pleasing than otherwise to the man thus presented to his notice, the young fellow stopped short and subjected the famous detective to a keen and close scrutiny before venturing to give the required information. Was it because of the importance of what he had to communicate? It would seem so, from the suppressed excitement of his tone, as after his brief but exceedingly satisfactory survey, he jerked his finger over his shoulder in the direction from which he had come, with the short remark: "I have something to show you." Something! Mr. Gryce had been asking for this something only a moment before. We can imagine, then, the celerity with which he followed this new guide into the one spot of all others which possessed for him the greatest interest. For if by any chance the arrow which had done such deadly work had been sped from a bow instead of having been used as a dart, then it was from this gallery and from no other quarter of the building that it had been so sped. Any proof of this could have but the one effect of exonerating from all blame the woman who had so impressed him. He had traversed the first section and had entered the second, when the Curator joined him; together they passed into the third. For those who have not visited this museum, a more detailed description of these galleries may be welcome. Acting as a means of communication between the row of front rooms and those at the back, they also serve to exhibit certain choice articles which call for little space, and are of a nature more or less ornamental. For this purpose they are each divided into five sections connected by arches narrower but not less decorative than those which open in a direct row upon the court. Of these sections the middle one on either side is much larger than the rest; otherwise they do not differ. It was in the midst of this larger section that Correy now stood, awaiting their approach. There had been show-cases filled with rare exhibits in the two through which they had just passed, but in this one there was nothing to be seen but a gorgeous hanging, covering very nearly the whole wall, flanked at either end by a pedestal upholding a vase of inestimable value and corresponding ugliness. A highly decorative arrangement, it is true, but in what lay its interest for the criminal investigator? Correy was soon to show them. With a significant gesture toward the tapestry, he eagerly exclaimed: "You see that? I've run by it several times since the accident sent me flying all over the building at everybody's call. But only just now, when I had a moment to myself, did I remember the door hid behind it. It's a door we no longer use, and I'd no reason for thinking it had anything to do with the killing of the young lady in the opposite gallery. But for all that I felt it would do no harm to give it a look, and running from the front, where I happened to be, I pulled out the tapestry and saw--but supposing I wait and let you see for yourselves. That will be better." Leaving them where they stood face to face with the great hanging, he made a dive for the pedestal towering aloft at the farther end, and edging himself in behind it, drew out the tapestry from the wall, calling on them as he did so to come and look behind it. The Curator did not hesitate. He was there almost as soon as the young man himself. But the detective was not so hasty. With a thousand things in mind, he stopped to peer along the gallery and down into the court before giving himself away to any prying eye. Satisfied that he might make the desired move with impunity, Mr. Gryce was about to turn in the desired direction when, struck by a new fact, he again stopped short. He had noticed how the heavy tapestry shivered under Correy's clutch. Had this been observed by anyone besides himself? If by chance some person wandering about the court had been looking up--but no, the few people gathered there stood too far forward to see what was going on in this part of the gallery; and relieved from all further anxiety on this score, he joined Correy at the pedestal and at a word from him succeeded in squeezing himself around it into the small space they had left for him between the pushed-out hanging and the wall. An exclamation from the Curator, who had only waited for his coming to take his first look, added zest to his own scrutiny. It would take something more than the sight of a well-known door to give it such a tone of astonished discovery. What? Even he, with the accumulated surprises of years to give wings to his imagination, did not succeed in guessing. But when his eyes, once accustomed to the semi-darkness of the narrow space which Correy had thus opened out before him, saw not the door but what lay within its recess, he acknowledged to himself that he should have guessed--and that a dozen years before, he certainly would have done so. It was a _bow_--not like the one hanging high in the Apache exhibit, but yet a bow strong of make and strung for use. * * * * * Here was a discovery as important as it was unexpected, eliminating Mrs. Taylor at once from the case and raising it into a mystery of the first order. By dint of long custom, Mr. Gryce succeeded in hiding his extreme satisfaction, but not the perplexity into which he was thrown by this complete change of base. The Curator appeared to be impressed in much the same way, and shook his head in a doubtful fashion when Correy asked him if he recognized the bow as belonging to the museum. "I should have to see it nearer to answer that question with any sort of confidence," he demurred. "From such glimpses as I can get of it from here I should say that it has not been taken from any of our exhibits." "I am sure it has not," muttered Correy. Then with a side glance at Mr. Gryce, he added: "Shall I slip in behind and get it?" The detective, thus appealed to, hesitated a moment; then with an irrelevance perhaps natural to the occasion, he inquired where this door so conveniently hidden from the general view led to. It was the Curator who answered. "To a twisting, breakneck staircase opening directly into my office. But this door has not been used in years. See! Here is the key to it on my own ring. There is no other. I lost the mate to it myself not long after my installation here." The detective, working his way back around the pedestal, cast another glance up and down the gallery and over into the court. Still no spying eye, save that of the officer opposite. "We will leave that bow where it is for the present," he decided, "a secret between us three." And motioning for Correy to let the tapestry fall, he stood watching it settle into place, till it hung quite straight again, with its one edge close to the wall and the other sweeping the floor. Had its weight been great enough to push the bow back again into its former place close against the door? Yes. No eye, however trained, would, from any bulge in the heavy tapestry, detect its presence there. He could leave the spot without fear; their secret would remain theirs until such time as they chose to disclose it. As the three walked back the way they had come, the Curator glanced earnestly at the detective, who seemed to have fallen into a kind of anxious dream. Would it do to interrupt him with questions? Would he obtain a straight answer if he did? The old man moved heavily but the now fully alert Curator could not fail to see that it was with the heaviness of absorbed thought. Dare he disturb that thought? They had both reached the broad corridor separating the two galleries at the western end before he ventured to remark: "This discovery alters matters, does it not? May I ask what you propose to do now? Anything in which we can help you?"
"I have it. Follow and see how my plan works." Amazed, for he looked and moved like another man,--a man in whom the almost extinguished spark of early genius had suddenly flared again into full blaze,--they hastily joined him in anticipation of they knew not what. But their enthusiasm received a check when at the moment of descent Mr. Gryce again turned back with the remark: "I had forgotten. I have something to do first. If you will kindly see that the people down there are kept from growing too impatient, I will soon join you with Mrs. Taylor, who must not be left on this floor after we have gone below." And with no further explanation of his purpose, he turned and proceeded without delay to Room B. _ |
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