The Man Who Knew Too Much. G. K. Chesterton

a dark goblin grinning at them, and it was literally grinning. It had two eyes like stars, and in similar livid points of light were picked out the two upturned and open nostrils and the two ends of the wide and tight mouth. A few white dots above each eye indicated the hoary eyebrows; and one of them ran upward almost erect. It was a brilliant caricature done in bright dotted lines and March knew of whom. It shone in the shadowy grass, smeared with sea fire as if one of the submarine monsters had crawled into the twilight garden; but it had the head of a dead man.

      “It’s only luminous paint,” said Burke. “Old Fisher’s been having a joke with that phosphorescent stuff of his.”

      “Seems to be meant for old Puggy” ’ observed Sir Howard. “Hits him off very well.”

      With that they all laughed, except Jenkins. When they had all done, he made a noise like the first effort of an animal to laugh, and Horne Fisher suddenly strode across to him and said:

      “Mr. Jenkins, I must speak to you at once in private.”

      It was by the little watercourse in the moors, on the slope under the hanging rock, that March met his new friend Fisher, by appointment, shortly after the ugly and almost grotesque scene that had broken up the group in the garden.

      “It was a monkey-trick of mine,” observed Fisher, gloomily, “putting phosphorus on the target; but the only chance to make him jump was to give him the horrors suddenly. And when he saw the face he’d shot at shining on the target he practiced on, all lit up with an infernal light, he did jump. Quite enough for my own intellectual satisfaction.”

      “I’m afraid I don’t quite understand even now,” said March, “exactly what he did or why he did it.”

      “You ought to,” replied Fisher, with his rather dreary smile, “for you gave me the first suggestion yourself. Oh yes, you did; and it was a very shrewd one. You said a man wouldn’t take sandwiches with him to dine at a great house. It was quite true; and the inference was that, though he was going there, he didn’t mean to dine there. Or, at any rate, that he might not be dining there. It occurred to me at once that he probably expected the visit to be unpleasant, or the reception doubtful, or something that would prevent his accepting hospitality. Then it struck me that Turnbull was a terror to certain shady characters in the past, and that he had come down to identify and denounce one of them. The chances at the start pointed to the host—that is, Jenkins. I’m morally certain now that Jenkins was the undesirable alien Turnbull wanted to convict in another shooting-affair, but you see the shooting gentleman had another shot in his locker.”

      “But you said he would have to be a very good shot,” protested March.

      “Jenkins is a very good shot,” said Fisher. “A very good shot who can pretend to be a very bad shot. Shall I tell you the second hint I hit on, after yours, to make me think it was Jenkins? It was my cousin’s account of his bad shooting. He’d shot a cockade off a hat and a weathercock off a building. Now, in fact, a man must shoot very well indeed to shoot so badly as that. He must shoot very neatly to hit the cockade and not the head, or even the hat. If the shots had really gone at random, the chances are a thousand to one that they would not have hit such prominent and picturesque objects. They were chosen because they were prominent and picturesque objects. They make a story to go the round of society. He keeps the crooked weathercock in the summerhouse to perpetuate the story of a legend. And then he lay in wait with his evil eye and wicked gun, safely ambushed behind the legend of his own incompetence.

      “But there is more than that. There is the summerhouse itself. I mean there is the whole thing. There’s all that Jenkins gets chaffed about, the gilding and the gaudy colors and all the vulgarity that’s supposed to stamp him as an upstart. Now, as a matter of fact, upstarts generally don’t do this. God knows there’s enough of ’em in society; and one knows ’em well enough. And this is the very last thing they do. They’re generally only too keen to know the right thing and do it; and they instantly put themselves body and soul into the hands of art decorators and art experts, who do the whole thing for them. There’s hardly another millionaire alive who has the moral courage to have a gilt monogram on a chair like that one in the gun-room. For that matter, there’s the name as well as the monogram. Names like Tompkins and Jenkins and Jinks are funny without being vulgar; I mean they are vulgar without being common. If you prefer it, they are commonplace without being common. They are just the names to be chosen to look ordinary, but they’re really rather extraordinary. Do you know many people called Tompkins? It’s a good deal rarer than Talbot. It’s pretty much the same with the comic clothes of the parvenu. Jenkins dresses like a character in Punch. But that’s because he is a character in Punch. I mean he’s a fictitious character. He’s a fabulous animal. He doesn’t exist.

      “Have you ever considered what it must be like to be a man who doesn’t exist? I mean to be a man with a fictitious character that he has to keep up at the expense not merely of personal talents: To be a new kind of hypocrite hiding a talent in a new kind of napkin. This man has chosen his hypocrisy very ingeniously; it was really a new one. A subtle villain has dressed up as a dashing gentleman and a worthy business man and a philanthropist and a saint; but the loud checks of a comical little cad were really rather a new disguise. But the disguise must be very irksome to a man who can really do things. This is a dexterous little cosmopolitan guttersnipe who can do scores of things, not only shoot, but draw and paint, and probably play the fiddle. Now a man like that may find the hiding of his talents useful; but he could never help wanting to use them where they were useless. If he can draw, he will draw absent-mindedly on blotting paper. I suspect this rascal has often drawn poor old Puggy’s face on blotting paper. Probably he began doing it in blots as he afterward did it in dots, or rather shots. It was the same sort of thing; he found a disused target in a deserted yard and couldn’t resist indulging in a little secret shooting, like secret drinking. You thought the shots all scattered and irregular, and so they were; but not accidental. No two distances were alike; but the different points were exactly where he wanted to put them. There’s nothing needs such mathematical precision as a wild caricature. I’ve dabbled a little in drawing myself, and I assure you that to put one dot where you want it is a marvel with a pen close to a piece of paper. It was a miracle to do it across a garden with a gun. But a man who can work those miracles will always itch to work them, if it’s only in the dark.”

      After a pause March observed, thoughtfully, “But he couldn’t have brought him down like a bird with one of those little guns.”

      “No; that was why I went into the gun-room,” replied Fisher. “He did it with one of Burke’s rifles, and Burke thought he knew the sound of it. That’s why he rushed out without a hat, looking so wild. He saw nothing but a car passing quickly, which he followed for a little way, and then concluded he’d made a mistake.”

      There was another silence, during which Fisher sat on a great stone as motionless as on their first meeting, and watched the gray and silver river eddying past under the bushes. Then March said, abruptly, “Of course he knows the truth now.”

      “Nobody knows the truth but you and I,” answered Fisher, with a certain softening in his voice. “And I don’t think you and I will ever quarrel.”

      “What do you mean?” asked March, in an altered accent. “What have you done about it?”

      Horne Fisher continued to gaze steadily at the eddying stream. At last he said, “The police have proved it was a motor accident.”

      “But you know it was not.”

      “I told you that I know too much,” replied Fisher, with his eye on the river. “I know that, and I know a great many other things. I know the atmosphere and the way the whole thing works. I know this fellow has succeeded in making himself something incurably commonplace and comic. I know you can’t get up a persecution of old Toole or Little Tich. If I were to tell Hoggs or Halkett that old Jink was an assassin, they would almost die of laughter before my eyes. Oh, I don’t say their laughter’s quite innocent, though it’s genuine in its way. They want old Jink, and they couldn’t do without him. I don’t say I’m quite innocent. I like Hoggs; I don’t want him to be down and out;