“I don’t suppose you know what a dossier is,” said Alleyn. “However, let’s see your effort.”
Nigel produced several sheets of typewritten paper.
“Here are the notes I took for you.”
“Thank you so much, Bathgate. Now do show me your summary. It may be very useful. I’m bad at summarizing.”
Nigel glanced suspiciously at him, but Alleyn seemed to be quite serious. He lit his pipe and applied himself to the sheet of foolscap, at the top of which Nigel had typed in capital letters:
“MURDER AT THE UNICORN.
“Circumstances.
“Surbonadier was shot by Gardener with the revolver used in the piece. According to the evidence of the stage manager and the property man, dummy cartridges, of which one was faulty, were placed in the drawer of the desk, immediately before the scene in which Surbonadier loaded the gun. Traces of sand, found in the prompt box, seem to support this theory.”
“There was also sand in the top drawer,” said Alleyn, glancing up.
“Was there? That’s pretty conclusive, then.” Alleyn read on:
“Props says the faulty cartridge only went wrong that night, when he dropped it Unless he is lying, and he and the stage manager are in collusion, that means the dummies were in the top drawer just before the scene opened. Therefore the murderer substituted the lethal cartridges either immediately prior to, or during, the blackout, which lasted four minutes. He used gloves, took the dummies from the top drawer, substituted the real ones, put the dummies in the lower drawer, and got rid of the gloves. A pair of men’s grey suede gloves was found in the bag that hung on an arm-chair on the stage. Surbonadier took the cartridges from the top drawer and loaded the revolver. During the scene that followed Gardener took the gun from him and fired point-blank in the usual way. The cartridges afterwards found in the gun were all live ones;
“Opportunity.
“Everyone behind the scenes had the chance of changing the cartridges. The people on the stage, perhaps, the greatest opportunity. These were Miss Max, Miss Emerald, Surbonadier himself, and the stage manager. On the other hand, anyone may have come out on to the darkened stage and done it. Miss Vaughan, Barclay Crammer, Howard Melville, Miss Deamer, the dressers and the staff, all come under the heading.
“Motive.
“The characters involved may now be taken in turn.
“Miss Emerald. She was on the stage. She had an altercation with Surbonadier. She was seen by the S. M. and Miss Max to cross to the desk and lean over it. Told lies. Motive. — Unknown, but she had quarrelled with S. N. B. — She seems to be on very friendly terms with Jacob Saint, uncle of S.
“Miss Max. On the stage. Handled bag where gloves were found. Did not go near desk while lights were up. Motive. — None known.
“Stage Manager. On the stage. Handled dummy cartridges. Would be able to go to desk unnoticed or during black-out. Peculiar witness. Motive. — None known.
“Property Master. Handed dummies to S. M. Easy access to desk after black-out. Behaved suspiciously after murder. Dropped candelabrum from above. Hid in gallery. Concealed locality of dummies in second drawer. Motive. — Engaged to Trixie Beadle. Surbonadier had interfered with her. Shellshock case.
“Stephanie Vaughan. In dressing-room. Says Trixie Beadle, her dresser, was there with her, but can’t remember how long. Says she went to Gardener’s room and remained there until after the black-out. Motive. — Had been threatened by Surbonadier, who was madly in love with her. Possibly afraid of something he might reveal to Gardener. Engaged to Gardener.
“Felix Gardener. Fired the revolver. His own weapon. Admits he came on to stage during the black-out. Says someone trod on his foot Supplied cartridges that Props converted into dummies. Motive. — Possibly Surbonadier’s threats to Miss Vaughan.
“J. B. Crammer. }
“Dulcie Deamer. } See Fox’s report.”
“Howard Melville. }
Alleyn looked up.
“Didn’t you hear? Melville and Crammer were together in Crammer’s room during the black-out. Before that Melville had been on the stage. Miss Deamer was next door and heard their voices. I’ll write it in for you.”
He went on with the summary.
“See Fox’s report. Motive. — None, except professional jealousy in Barclay Crammer’s case.
“Trixie Beadle. Was helping Miss Vaughan, but told Fox she was with her father in wardrobe-room during black-out. May have gone there from dressing-room. Motive. — Had possibly been seduced by deceased, and was afraid of him telling Props. Engaged to Props.
“Beadle. Father of above. Told Fox he was in wardrobe-room with his daughter. Met daughter in passage first. Motive. — Surbonadier meddling with the girl.
“Old Blair. Stage door-keeper. Most unlikely.
“Jacob Saint. Owns the show. Was behind earlier in the evening. Deceased’s uncle. Had a row with him. Hypothetical owner of the gloves found in bag. Gardener seemed to remember noticing a scent on the person who trod on his foot. Saint uses a very noticeable scent. Motive. — Unknown, except for the row about casting.
“Stage Staff. All in the property-room.
“Notes. Points of interest. Janet Emerald exclaimed: ‘It wasn’t you. They can’t say it was you,’ when Saint appeared. She lied about herself. Props behaved very strangely and suspiciously. Was Miss Vaughan telling the truth? Had Saint come back on to the stage? At first-night party Barclay Crammer seemed to dislike Surbonadier intensely. I noticed coolness between Saint and Surbonadier at studio party.”
Here Nigel’s document ended abruptly. Alleyn laid it down on his desk.
“It’s all quite correct,” he approved. “It’s even rather suggestive. If you were a policeman, what would you do next?”
“I haven’t any idea.”
“Really? Well, I’ll tell you what we have done. We’ve been delving in the murky past of Mr. Jacob Saint.”
“Jimini!”
“Yes. Rather a chequered career. You can help me.”
“I say — can I really?”
“How long have you been a Pressman?”
“Ever since I came down from Cambridge.”
“Almost the G.O.M. of Fleet Street. It’s a matter of a year, isn’t it?”
“And three months.”
“Then you don’t remember the illicit drug scandal of some six years ago, and an article in the Morning Express that resulted in a libel action in which Jacob Saint featured as plaintiff, and triumphed to the tune of five thousand pounds?”
Nigel whistled shrilly and then became thoughtful. “I do remember vaguely,” he said.
“The case was spectacular. The article hinted pretty broadly that Saint’s fortune had been amassed through the rather wholesale supply of proscribed drugs. Ladies and gentlemen with unattractive portmanteaux under their yellow eyeballs were, said the writer, constantly being obliged with opium and cocaine by some agency controlled by a ‘well-known theatre magnate whose recent successes in a playhouse not a thousand yards from Piccadilly… ’ and so on. As I have said, Saint took it to court, won hands down, and emerged a little tarnished but triumphant. One very curious fact came out. The identity of the author was unknown. A leading reporter on the Morning Express was away on holiday. The article arrived at the office purporting to have come from him. A typewritten note was signed with a clever forgery of his name. He denied any knowledge of the business and made his case good. For once in its cocksure career, the Morning Express had been had. The address on the notepaper was ‘Mossburn,’ a village near Cambridge, and the postmark, noticed by the secretary, bore this out. A half-hearted attempt was made to trace the authorship, but in any case the ‘Mex,’ as I believe your journalists call it, was responsible. Mr. Saint was dreadfully annoyed, and, oh, so virtuous.”