Bodies from the Library: Lost Tales of Mystery and Suspense by Agatha Christie and other Masters of the Golden Age
Bodies from the Library: Lost Tales of Mystery and Suspense by Agatha Christie and other Masters of the Golden Age
Alan Alexander Milne
Agatha Christie
Georgette Heyer
Nicholas Blake
Christianna Brand
Tony Medawar
This anthology of rare stories of crime and suspense brings together 16 tales by masters of the Golden Age of Detective Fiction for the first time in book form, including a newly discovered Agatha Christie crime story that has not been seen since 1922.At a time when crime and thriller writing has once again overtaken the sales of general and literary fiction, Bodies from the Library unearths lost stories from the Golden Age, that period between the World Wars when detective fiction captured the public’s imagination and saw the emergence of some of the world’s cleverest and most popular storytellers.This anthology brings together 16 forgotten tales that have either been published only once before – perhaps in a newspaper or rare magazine – or have never before appeared in print. From a previously unpublished 1917 script featuring Ernest Bramah’s blind detective Max Carrados, to early 1950s crime stories written for London’s Evening Standard by Cyril Hare, Freeman Wills Crofts and A.A. Milne, it spans five decades of writing by masters of the Golden Age.Most anticipated of all are the contributions by women writers: the first detective story by Georgette Heyer, unseen since 1923; an unpublished story by Christianna Brand, creator of Nanny McPhee; and a dark tale by Agatha Christie published only in an Australian journal in 1922 during her ‘Grand Tour’ of the British Empire.With other stories by Detection Club stalwarts Anthony Berkeley, H.C. Bailey, J.J. Connington, John Rhode and Nicholas Blake, plus Vincent Cornier, Leo Bruce, Roy Vickers and Arthur Upfield, this essential collection harks back to a time before forensic science – when murder was a complex business.
Copyright (#u74d070d4-130a-5514-a4b5-8d55e05dbe66)
COLLINS CRIME CLUB
An imprint of HarperCollinsPublishers
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Published by Collins Crime Club 2018
Selection, introduction and notes © Tony Medawar 2018
For copyright acknowledgements, see Acknowledgements
Cover design by Holly Macdonald © HarperCollinsPublishers Ltd 2018
Cover illustrations © Shutterstock.com (https://www.shutterstock.com)
A catalogue copy of this book is available from the British Library.
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Source ISBN: 9780008289225
Ebook Edition © July 2018 ISBN: 9780008289232
Version: 2018-07-04
Table of Contents
Cover (#u74272432-c694-58d5-aefe-dc3d10b45a76)
Title Page (#u42e6eb5a-e380-5eb1-a606-30a0e1ff4d90)
Copyright (#ud43a37c1-28e4-59b2-add7-bbe0edaf0b20)
Introduction (#uf02eea90-de71-5b36-a335-3d0e017ff452)
Before Insulin (#ud0f297f2-db13-5b17-991b-64fe0d2baaeb)
J. J. Connington (#u95e17cd0-ef42-574b-9e26-d4e9007675c5)
The Inverness Cape (#u5d11b7a5-5b9d-53bc-8107-3b1ce52220b7)
Leo Bruce (#u127fc414-ca94-5d1d-818f-31f8477ff681)
Dark Waters (#u43ae077e-8e45-51a5-9527-c52906345077)
Freeman Wills Crofts (#u1732695a-649a-5b43-bf3f-7593df3bb69b)
Linckes’ Great Case (#u9e533e4a-e619-5109-99e7-5c38722e328c)
Georgette Heyer (#u4a5ddd63-86b7-59a5-a442-63356dbf72ea)
‘Calling James Braithwaite’ (#ub2827ef3-0b65-5695-8162-3e38f3b867ed)
Nicholas Blake (#u6dc57c91-b5e5-5435-b896-8a70cfb32b83)
The Elusive Bullet (#ueb2b4078-1ff1-5ff1-a0c7-c075a5c0a172)
John Rhode (#uf5d3f8c9-b93e-5e4e-bf52-20b727b499fc)
The Euthanasia of Hilary’s Aunt (#u340a47f6-470d-5355-86ab-ea7e83ef52b5)
Cyril Hare (#uda7ddcba-a039-5f90-b1a2-293388274207)
The Girdle of Dreams (#uda1284d7-342f-5887-9c6c-182aab195b46)
Vincent Cornier (#uff93946a-b78b-5b07-ab0c-5b94c3614b7c)
The Fool and the Perfect Murder (#u619e658c-a097-559f-b82b-1205aeffd340)
Arthur Upfield (#u805b4ae2-d07f-5a46-a18d-9ff532240372)
Bread Upon the Waters (#u8d4a2b86-18f5-5830-956f-a188e22d4226)
A. A. Milne (#u0fdf0081-45c0-515d-8178-d700ae78d1ef)
The Man With the Twisted Thumb (#u256f0adc-6673-579e-ae70-5274c496d04e)
Anthony Berkeley (#u145c593e-1a4f-5d99-a985-4c11d43d6795)
The Rum Punch (#ua01b7485-5869-524f-8205-31f55bcb66b2)
Christianna Brand (#u2048c8f4-0e53-5b70-aa39-3e2c4052af27)
Blind Man’s Bluff (#u998873f0-5870-5c42-9e88-045c3ff60865)
Ernest Bramah (#u6154ea18-380c-5096-9316-34ed65b22a1f)
Victoria Pumphrey (#uc0e90e3f-b19c-51ef-a97b-7eb0d4dcdac2)
H. C. Bailey (#ue62edf37-38e5-5f91-87e0-dd74bf774856)
The Starting-Handle Murder (#u1e1e8741-0b57-50a9-ab29-567d2255e682)
Roy Vickers (#u3891d6c1-831e-5e40-aaa3-7d08c3eff7a9)
The Wife of the Kenite (#u4afaabb1-3235-5c89-80b0-85ccebe05e53)
Agatha Christie (#u083a2233-df75-5d73-944f-cd385cf96cd2)
Acknowledgements (#u9694d5ff-e71d-5b07-a539-e77d85e0dbd4)
About the Publisher (#u0a798e30-d251-53f9-b48a-f618e082df78)
INTRODUCTION (#u74d070d4-130a-5514-a4b5-8d55e05dbe66)
‘Death in particular seems to provide the minds of the Anglo-Saxon race with a greater fund of innocent amusement than any other single subject.’
Dorothy L. Sayers
In the beginning was Poe. It all begins with him. An alcoholic American critic who created, among other things, the detective story. And for that, if for nothing else, God bless Edgar Allan Poe.
Poe’s detective was the Chevalier C. Auguste Dupin, a brilliant if patronising bibliophile of independent means who appeared in ‘The Murders in the Rue Morgue’, a long short story published in 1841, and in two other short stories. For these and other mysteries, Poe created the concept of a detective story—a story in which murder or some other crime is solved by observation and deduction—and Poe also created many of the tropes of detective fiction: the ‘impossible crime’, the notion of an amateur investigator from whom the professionals seek advice, the least likely suspect as murderer … Quite simply, before anyone did anything, Poe did everything. Or almost everything.
While Poe’s stories were popular, and prompted others to try their hand at detective fiction, it would be nearly twenty years before the first novel-length detective story was published. This was The Notting Hill Mystery (1862–63) by Charles Warren Adams, writing as Charles Felix. Though other detective novels appeared, most notably The Moonstone (1868) by Wilkie Collins, detection remained generally subordinate to romance and suspense, and it would be a further twenty years before the next landmark in detective fiction, Fergus Hume’s The Mystery of a Hansom Cab, published in 1886. And then, in 1887, readers were introduced to the greatest detective of them all, Arthur Conan Doyle’s Sherlock Holmes. As well as that first novel, A Study in Scarlet, Holmes appeared in three more novels, but it is principally because of the fifty-six short stories about Holmes, published in the Strand magazine, that the character has endured. While Holmes had other ‘rivals’ in the 1880s and ’90s, most notably Arthur Morrison’s investigator Martin Hewitt, none has survived to the present day.
The popularity of detective fiction, especially in the short story form, continued into the Edwardian Age, although only two characters from that period approach Holmes in terms of the quality of the stories in which they appear: G. K. Chesterton’s Father Brown, a Catholic priest with an eye for paradox and a soul for the guilty, who featured in more than fifty stories; and Dr John Thorndyke, R. Austin Freeman’s preternaturally intelligent forensic investigator, although his novel-length cases are more satisfying than the forty-one short stories in which he appears.
While the puzzles set by Chesterton and Freeman were for the most part very much in the tradition of the Sherlock Holmes mysteries, E. C. Bentley’s 1913 novel Trent’s Last Case was a game-changer, its publication often regarded as marking the beginning of what has become known as the Golden Age of crime and detective fiction. In Trent’s Last Case, Bentley presented a clear problem, the shooting of a millionaire; but he turned convention on its head by allowing Trent to fall in love with a suspect—commonplace now but far from so at that time—and Bentley further confounded readers’ expectations because Trent does not solve the case.
Trent’s Last Case was immensely popular and remains in print today, along with Bentley’s second Trent novel and a volume containing all thirteen of the Trent short stories, Trent Interviews (1938). The novel prompted a boom in detective fiction in Britain, and for the best part of the next twenty years a detective short story appeared in almost every issue of almost every magazine: in long-lost titles like The Red, Pearson’s, The Bystander, The Sphere, The Corner, BritanniaandEve, as well as others that have endured like Harper’s and The Tatler. Detective stories—and episodic mystery serials—also became a standard feature in national weekly newspapers like the News of the World, and they could also be found in regional weeklies like the Yorkshire Weekly Post and the Sheffield Weekly Telegraph. These and countless other titles quickly became a strong, diverse and seemingly sustainable market for detective fiction, especially stories that turned on a twist or which featured an impossible crime, an unusual weapon or an unbreakable alibi, and they provided a complementary source of income for many of the best-known Golden Age authors as well as for some opportunistic hacks.
As the First World War ended, a steady trickle of novels that have come to be recognised as classics of the genre began to appear. In 1920, the Irish engineer Freeman Wills Crofts published The Cask, a sturdy police procedural whose mystery carried it through multiple editions. The same year, Agatha Christie, unquestionably the most popular writer of the Golden Age, had her first detective novel, The Mysterious Affair at Styles, serialised over eighteen weeks in the weekly edition of The Times, providing a retired Belgian police officer, Hercule Poirot, with his first case, and his first published book in Britain in 1921. In 1923, Dorothy L. Sayers’ first Lord Peter Wimsey novel, Whose Body?, was published, while 1924 saw the publication of The Rasp, the first of Philip Macdonald’s Colonel Gethryn novels. In 1925, John Rhode’s Dr Priestley and Anthony Berkeley’s Roger Sheringham took their first bow in, respectively, The Paddington Mystery and The Layton Court Mystery.
And so on. The trickle became a flood …
By the mid-1920s the appetite for crime fiction was enormous in Britain, as well as in much of the English-speaking world. As well as the many weekly and monthly magazines that carried crime and detective stories, daily newspapers also published mysteries, often basic puzzle stories in which the object was simply to spot the murderer’s error before the detective. And when radio came along, in the form of 2LO, the precursor to the BBC, it provided a new outlet for detective fiction, a tradition that continues—thankfully—to this day.
In 1928, with his tongue (as often) firmly in his cheek, Father Ronald Knox set out ten rules for anyone considering writing a detective story; in America, the crime writer S. S. Van Dine did much the same, albeit at greater length. And in late 1929, Anthony Berkeley founded the Detection Club, a dining club to allow the elite of the genre to gather together and at the same time distinguish themselves from the mass of writers then working to meet the enormous demand for mysteries.
With hindsight, the 1930s can be seen as the high-point of the Golden Age, with many of the greatest writers in the genre producing their finest work, carefully constructed novels in which generally bloodless crimes are committed by consistently ingenious means; criminals are protected by unbreakable alibis and seemingly impenetrable mysteries are resolved by unmatchable detectives.
The Golden Age can be regarded as having ended in 1937 with the publication of Dorothy L. Sayers’ final Wimsey novel, Busman’s Honeymoon, which she described as ‘a love story with detective interruptions’, despite previously having said that ‘sloppy sentiment’ had no place in detective stories. However, it is important to acknowledge that there is much debate about dates. Some consider that the Golden Age continued into the 1940s, while others argue that it did not end until well into the second half of the twentieth century. Nonetheless, after Busman’s Honeymoon came the Second World War, and nothing was ever the same again. The magazines and newspapers that had survived paper rationing continued to carry mysteries, including the London Evening Standard, which published a detective story almost every day through to the early 1960s. While Dorothy L. Sayers and Anthony Berkeley had abandoned writing in the genre in the late 1930s, other Golden Age writers continued, with some like Agatha Christie and Ngaio Marsh writing into the ’70s and ’80s. As Berkeley and others had predicted, the focus of crime fiction moved away from detective puzzles, which focused for the most part on ‘Who?’ and ‘How?’, to more psychologically nuanced mysteries in which ‘Why?’ was the driving question.
Dating from as far back as 1917, most of the stories and plays in this collection, all of them by writers active in the Golden Age, have either been published only once before—in a newspaper, a rare magazine or an obscure collection—or have never been published until now. They hark back to a gentler time, when murder was committed by simpler means and solved without forensic science. And yet, if the psychological thriller and police procedurals reign supreme today, there are still stories and television series that have their roots firmly in the Golden Age—writers like Elly Griffiths, Ann Cleeves or, in a delightfully mad way, Christopher Fowler; and programmes like Death in Paradise and Midsomer Murders, as well as others of mixed lineage like Shetland, Broadchurch and River. There are also a small number of continuation novels, which aim to sustain the traditions of the Golden Age by reviving some of its best-loved characters—the Wimsey novels by Jill Paton Walsh, Sophie Hannah’s Poirot series, Mike Ripley’s Campion novels and unquestionably the best of its kind, Money in the Morgue by Ngaio Marsh and Stella Duffy, published in 2018. And, happiest of all, many of the classics of the Golden Age remain in print or are available as e-books thanks to publishers like HarperCollins, the British Library and small press imprints like Crippen & Landru, which has published many new short story collections by individual Golden Age authors.
Finally, there is the annual Bodies from the Library conference, held each year since 2015 at the British Library in London and attracting an audience from around the world. The event brings together writers, readers and academics to consider and discuss the themes and character of the books of the Golden Age and to focus on particular authors or publishers and their unique contributions. Among other topics, the conference has highlighted the existence of a frustratingly large number of uncollected short stories, forgotten radio and stage plays, and even unpublished material by some of the best-remembered writers of the period. For most of the individual writers concerned there are insufficient stories to assemble new dedicated collections, but there is ample material for volumes such as this, bringing together ‘lost’ works by different writers for their keenest admirers as well as for collectors and new readers who have an insatiable appetite for murder and the innocent amusement of a bygone age.
The Golden Age is dead; long live the Golden Age!
Tony Medawar
April 2018
BEFORE INSULIN
J. J. Connington
‘I’d more than the fishing in my mind when I asked you over for the weekend,’ Wendover confessed. ‘Fact is, Clinton, something’s turned up and I’d like your advice.’
Sir Clinton Driffield, Chief Constable of the county, glanced quizzically at his old friend.
‘If you’ve murdered anyone, Squire, my advice is: Keep it dark and leave the country. If it’s merely breach of promise, or anything of that sort, I’m at your disposal.’
‘It’s not breach of promise,’ Wendover assured him with the complacency of a hardened bachelor. ‘It’s a matter of an estate for which I happen to be sole trustee, worse luck. The other two have died since the will was made. I’ll tell you about it.’
Wendover prided himself on his power of lucid exposition. He settled himself in his chair and began.
‘You’ve heard me speak of old John Ashby, the iron-master? He died fifteen years back, worth £53,000; and he made his son, his daughter-in-law, and myself executors of his will. The son, James Ashby, was to have the life-rent of the estate; and on his death the capital was to be handed over to his offspring when the youngest of them came of age. As it happened, there was only one child, young Robin Ashby. James Ashby and his wife were killed in a railway accident some years ago; so the whole £53,000, less two estate duties, was secured to young Robin if he lived to come of age.’
‘And if he didn’t?’ queried Sir Clinton.
‘Then the money went to a lot of charities,’ Wendover explained. ‘That’s just the trouble, as you’ll see. Three years ago, young Robin took diabetes, a bad case, poor fellow. We did what we could for him, naturally. All the specialists had a turn, without improvement. Then we sent him over to Neuenahr, to some institute run by a German who specialised in diabetes. No good. I went over to see the poor boy, and he was worn to a shadow, simply skin and bone and hardly able to walk with weakness. Obviously it was a mere matter of time.’
‘Hard lines on the youngster,’ Sir Clinton commented soberly.
‘Very hard,’ said Wendover with a gesture of pity. ‘Now as it happened, at Neuenahr he scraped acquaintance with a French doctor. I saw him when I was there: about thirty, black torpedo beard, very brisk and well-got-up, with any amount of belief in himself. He spoke English fluently, which gave him a pull with Robin, out there among foreigners; and he persuaded the boy that he could cure him if he would put himself in his charge. Well, by that time, it seemed that any chance was worth taking, so I agreed. After all, the boy was dying by inches. So off he went to the south of France, where this man—Prevost, his name was—had a nursing home of his own. I saw the place: well-kept affair though small. And he had an English nurse, which was lucky for Robin. Pretty girl she was: chestnut hair, creamy skin, supple figure, neat hands and feet. A lady, too.’
‘Oh, any pretty girl can get round you,’ interjected Sir Clinton. ‘Get on with the tale.’
‘Well, it was all no good,’ Wendover went on, hastily. ‘The poor boy went downhill in spite of all the Frenchman’s talk; and, to cut a long story short, he died a fortnight ago, on the very day when he came of age.’
‘Oh, so he lived long enough to inherit?’
‘By the skin of his teeth,’ Wendover agreed. ‘That’s where the trouble begins. Before that day, of course, he could make no valid will. But now a claimant, one Sydney Eastcote, turns up with the claim that Robin made a will the morning of the day he died, and by this will this Eastcote scoops the whole estate. All I know of it is from a letter this Eastcote wrote to me giving the facts. I referred him to the lawyer for the estate and told the lawyer—Harringay’s his name—to bring the claimant here this afternoon. They’re due now. I’d like you to look him over, Clinton. I’m not quite satisfied about this will.’
The Chief Constable pondered for a moment or two.
‘Very well,’ he agreed. ‘But you’d better not introduce me as Sir Clinton Driffield, Chief Constable, etc. I’d better be Mr Clinton, I think. It sounds better for a private confabulation.’
‘Very well,’ Wendover conceded. ‘There’s a car on the drive. It must be they, I suppose.’
In a few moments the door opened and the visitors were ushered in. Surprised himself, the Chief Constable was still able to enjoy the astonishment of his friend; for instead of the expected man, a pretty chestnut-haired girl, dressed in mourning, was shown into the room along with the solicitor, and it was plain enough that Wendover recognised her.
‘You seem surprised, Mr Wendover,’ the girl began, evidently somewhat taken aback by Wendover’s expression. Then she smiled as though an explanation occurred to her. ‘Of course, it’s my name again. People always forget that Sydney’s a girl’s name as well as a man’s. But you remember me, don’t you? I met you when you visited poor Robin.’
‘Of course I remember you, Nurse,’ Wendover declared, recovering from his surprise. ‘But I never heard you called anything but “Nurse” and didn’t even hear your surname; so naturally I didn’t associate you with the letter I got about poor Robin’s will.’
‘Oh, I see,’ answered the girl. ‘That accounts for it.’
She looked inquiringly towards the Chief Constable, and Wendover recovered his presence of mind.
‘This is a friend of mine, Mr Clinton,’ he explained. ‘Miss Eastcote. Mr Harringay. Won’t you sit down? I must admit your letter took me completely by surprise, Miss Eastcote.’
Wendover was getting over his initial astonishment at the identity of the claimant, and when they had all seated themselves, he took the lead.
‘I’ve seen a copy of Robin’s death certificate,’ he began slowly. ‘He died in the afternoon of September 21st, the day he came of age, so he was quite competent to make a will. I suppose he was mentally fit to make one?’
‘Dr Prevost will certify that if necessary,’ the nurse affirmed quietly.
‘I noticed that he didn’t die in Dr Prevost’s Institute,’ Wendover continued. ‘At some local hotel, wasn’t it?’
‘Yes,’ Nurse Eastcote confirmed. ‘A patient died in the Institute about that time and poor Robin hated the place on that account. It depressed him, and he insisted on moving to the hotel for a time.’
‘He must have been at death’s door then, poor fellow,’ Wendover commented.
‘Yes,’ the nurse admitted, sadly. ‘He was very far through. He had lapses of consciousness, the usual diabetic coma. But while he was awake he was perfectly sound mentally, if that’s what you mean.’
Wendover nodded as though this satisfied him completely.
‘Tell me about this will,’ he asked. ‘It’s come as something of a surprise to me, not unnaturally.’
Nurse Eastcote hesitated for a moment. Her lip quivered and her eyes filled with tears as she drew from her bag an envelope of thin foreign paper. From this she extracted a sheet of foreign notepaper which she passed across to Wendover.
‘I can’t grumble if you’re surprised at his leaving me this money,’ she said, at last. ‘I didn’t expect anything of the kind myself. But the fact is … he fell in love with me, poor boy, while he was under my charge. You see, except for Dr Prevost, I was the only one who could speak English with him, and that meant much to him at that time when he was so lonely. Of course he was much younger that I am; I’m twenty-seven. I suppose I ought to have checked him when I saw how things were. But I hadn’t the heart to do it. It was something that gave him just the necessary spur to keep him going, and of course I knew that marriage would never come into it. It did no harm to let him fall in love; and I really did my very best to make him happy, in these last weeks. I was so sorry for him, you know.’
This put the matter in a fresh light for Wendover, and he grew more sympathetic in his manner.
‘I can understand,’ he said gently. ‘You didn’t care for him, of course …’
‘Not in that way. But I was very very sorry for him, and I’d have done anything to make him feel happier. It was so dreadful to see him going out into the dark before he’d really started in life.’
Wendover cleared his throat, evidently conscious that the talk was hardly on the businesslike lines which he had planned. He unfolded the thin sheet of notepaper and glanced over the writing.
‘This seems explicit enough. “I leave all that I have to Nurse Sydney Eastcote, residing at Dr Prevost’s medical Institute.” I recognise the handwriting as Robin’s, and the date is in the same writing. Who are the witnesses, by the way?’
‘Two of the waiters at the hotel, I believe,’ Nurse Eastcote explained.
Wendover turned to the flimsy foreign envelope and examined the address.
‘Addressed by himself to you at the institute, I see. And the postmark is 21st September. That’s quite good confirmatory evidence, if anything of the sort were needed.’
He passed the two papers to Sir Clinton. The Chief Constable seemed to find the light insufficient where he was sitting, for he rose and walked over to a window to examine the documents. This brought him slightly behind Nurse Eastcote. Wendover noted idly that Sir Clinton stood sideways to the light while he inspected the papers in his hand.
‘Now just one point,’ Wendover continued. ‘I’d like to know something about Robin’s mental condition towards the end. Did he read to pass the time, newspapers and things like that?’
Nurse Eastcote shook her head.
‘No, he read nothing. He was too exhausted, poor boy. I used to sit by him and try to interest him in talk. But if you have any doubt about his mind at that time—I mean whether he was fit to make a will—I’m sure Dr Prevost will give a certificate that he was in full possession of his faculties and knew what he was doing.’
Sir Clinton came forward with the papers in his hand.
‘These are very important documents,’ he pointed out, addressing the nurse. ‘It’s not safe for you to be carrying them about in your bag as you’ve been doing. Leave them with us. Mr Wendover will give you a receipt and take good care of them. And to make sure there’s no mistake, I think you’d better write our name in the corner of each of them so as to identify them. Mr Harringay will agree with me that we mustn’t leave any loophole for doubt in a case like this.’
The lawyer nodded. He was a taciturn man by nature, and his pride had been slightly ruffled by the way in which he had been ignored in the conference. Nurse Eastcote, with Wendover’s fountain pen, wrote her signature on a free space of each paper. Wendover offered his guests tea before they departed, but he turned the talk into general channels and avoided any further reference to business topics.
When the lawyer and the girl had left the house, Wendover turned to Sir Clinton.
‘It seems straight enough to me,’ he said, ‘but I could see from the look you gave me behind her back when you were at the window that you aren’t satisfied. What’s wrong?’
‘If you want my opinion,’ the Chief Constable answered, ‘it’s a fake from start to finish. Certainly you can’t risk handing over a penny on that evidence. If you want it proved up to the hilt, I can do it for you, but it’ll cost something for inquiries and expert assistance. That ought to come out of the estate, and it’ll be cheaper than an action at law. Besides,’ he added with a smile, ‘I don’t suppose you want to put that girl in gaol. She’s probably only a tool in the hands of a cleverer person.’
Wendover was staggered by the Chief Constable’s tone of certainty. The girl, of course, had made no pretence that she was in love with Robin Ashby; but her story had been told as though she herself believed it.
‘Make your inquiries, certainly,’ he consented. ‘Still, on the face of it the thing sounds likely enough.’
‘I’ll give you definite proof in a fortnight or so. Better make a further appointment with that girl in, say, three weeks. But don’t drag the lawyer into it this time. It may savour too much of compounding a felony for his taste. I’ll need these papers.’
‘Here’s the concrete evidence,’ said the Chief Constable, three weeks later. ‘I may as well show it to you before she arrives, and you can amuse yourself with turning it over in the meanwhile.’
He produced the will, the envelope, and two photographs from his pocket-book as he spoke and laid them on the table, opening out the will as he put it down.
‘Now first of all, notice that the will and envelope are of very thin paper, the foreign correspondence stuff. Second, observe that the envelope is of the exact size to hold that sheet of paper if it’s folded in four—I mean folded in half and then doubled over. The sheet’s about quarto size, ten inches by eight. Now look here. There’s an extra fold in the paper. It’s been folded in four and then it’s been folded across once more. That struck me as soon as I had it in my hand. Why the extra fold, since it would fit into the envelope without that?’
Wendover inspected the sheet carefully and looked rather perplexed.
‘You’re quite right,’ he said, ‘but you can’t upset a will on the strength of a fold in it. She may have doubled it up herself, after she got it.’
‘Not when it was in the envelope that fitted it,’ Sir Clinton pointed out. ‘There’s no corresponding doubling of the envelope. However, let’s go on. Here’s a photograph of the envelope, taken with the light falling sideways. You see the postal erasing stamp has made an impression?’
‘Yes, I can read it, and the date’s 21st September right enough.’ He paused for a moment and then added in surprise, ‘But where’s the postage stamp? It hasn’t come out in the photo.’
‘No, because that’s a photo of the impression on the back half of the envelope. The stamp came down hard and not only cancelled the stamp but impressed the second side of the envelope as well. The impression comes out quite clearly when it’s illuminated from the side. That’s worth thinking over. And, finally, here’s another print. It was made before the envelope was slit to get at the stamp impression. All we did was to put the envelope into a printing-frame with a bit of photographic printing paper behind it and expose it to light for a while. Now you’ll notice that the gummed portions of the envelope show up in white, like a sort of St Andrew’s Cross. But if you look carefully, you’ll see a couple of darker patches on the part of the white strip which corresponds to the flap of the envelope that one sticks down. Just think out what they imply, Squire. There are the facts for you, and it’s not too difficult to put an interpretation on them if you think for a minute or two. And I’ll add just one further bit of information. The two waiters who acted as witnesses to that will were given tickets for South America, and a certain sum of money each to keep them from feeling homesick … But here’s your visitor.’
Rather to Wendover’s surprise, Sir Clinton took the lead in the conversation as soon as the girl arrived.
‘Before we turn to business, Miss Eastcote,’ he said, ‘I’d like to tell you a little anecdote. It may be of use to you. May I?’
Nurse Eastcote nodded politely and Wendover, looking her over, noticed a ring on her engagement finger which he had not seen on her last visit.
‘This is a case which came to my knowledge lately,’ Sir Clinton went on, ‘and it resembles your own so closely that I’m sure it will suggest something. A young man of twenty, in an almost dying state, was induced to enter a nursing home by the doctor in charge. If he lived to come of age, he could make a will and leave a very large fortune to anyone he choose: but it was the merest gamble whether he would live to come of age.’
Nurse Eastcote’s figure stiffened and her eyes widened at this beginning, but she merely nodded as though asking Sir Clinton to continue.
‘The boy fell in love with one of the nurses, who happened to be under the influence of the doctor,’ Sir Clinton went on. ‘If he lived to make a will, there was little doubt that he would leave the fortune to the nurse. A considerable temptation for any girl, I think you’ll agree.
‘The boy’s birthday was very near, only a few days off; but it looked as though he would not live to see it. He was very far gone. He had no interest in the newspapers and he had long lapses of unconsciousness, so that he had no idea of what the actual date was. It was easy enough to tell him, on a given day, that he had come of age, though actually two days were still to run. Misled by the doctor, he imagined that he could make a valid will, being now twenty-one; and he wrote with his own hand a short document leaving everything to the nurse.’
Miss Eastcote cleared her throat with an effort.
‘Yes?’ she said.
‘This fraudulent will,’ Sir Clinton continued, ‘was witnessed by two waiters of the hotel to which the boy had been removed; and soon after, these waiters were packed off abroad and provided with some cash in addition to their fares. Then it occurred to the doctor that an extra bit of confirmatory evidence might be supplied. The boy had put the will into an envelope which he had addressed to the nurse. While the gum was still wet, the doctor opened the flap and took out the “will”, which he then folded smaller in order to get the paper into an ordinary business-size envelope. He then addressed this to the nurse and posted the will to her in it. The original large envelope, addressed by the boy, he retained. But in pulling it open, the doctor had slightly torn the inner side of the flap where the gum lies; and that little defect shows up when one exposes the envelope over a sheet of photographic paper. Here’s an example of what I mean.’
He passed over to Nurse Eastcote the print which he had shown Wendover and drew her attention to the spots on the St Andrew’s Cross.
‘As it chanced, the boy died next morning, a day before he came of age. The doctor concealed the death for a day, which was easy enough in the circumstances. Then, on the afternoon of the crucial date—did I mention that it was September 21st?—he closed the empty envelope, stamped it, and put it into the post, thus securing a postmark of the proper date. Unfortunately for this plan, the defacement stamp of the post office came down hard enough to impress its image on both the sheets of the thin paper envelope, so that by opening up the envelope and photographing it by a sideways illumination the embossing of the stamp showed up—like this.’
He handed the girl the second photograph.
‘Now if the “will” had been in that envelope, the “will” itself would have borne that stamp. But it did not; and that proves that the “will” was not in the envelope when it passed through the post. A clever woman like yourself, Miss Eastcote, will see the point at once.’
‘And what happened after that?’ asked the girl huskily.
‘It’s difficult to tell you,’ Sir Clinton pursued. ‘If it had come before me officially—I’m Chief Constable of the county, you know—I should probably have had to prosecute that unfortunate nurse for attempted fraud; and I’ve not the slightest doubt that we’d have proved the case up to the hilt. It would have meant a year or two in gaol, I expect.
‘I forgot to mention that the nurse was secretly engaged to the doctor all this while. And, by the way, that’s a very pretty ring you’re wearing, Miss Eastcote. That, of course, accounted for the way in which the doctor managed to get her to play her part in the little scheme. I think, if I were you, Miss Eastcote, I’d go back to France as soon as possible and tell Dr Prevost that … well, it hasn’t come off.’
J. J. CONNINGTON (#u74d070d4-130a-5514-a4b5-8d55e05dbe66)
Alfred Walter Stewart, alias J. J. Connington, was born in Glasgow in 1880. A clever child with an enquiring mind, he attended Glasgow High School and graduated in 1902 from Glasgow University with honours in chemistry, mathematics and geology. While Stewart could have pursued almost any of the sciences he decided to focus on chemistry. After completing his doctorate in 1907, he took up an appointment at Belfast University where in 1919, after spells working for the Admiralty and lecturing at the universities of London and Glasgow, he became Professor of Chemistry, occupying this chair until his retirement in 1944. He had been suffering for many years from a debilitating illness, and he died in 1947.
Stewart had begun writing novels in the 1920s, adopting the pseudonym J. J. Connington doubtless to distance what he saw as a hobby from his academic career. His first book, Nordenholt’s Millions (1923), dealt with a Wellesian apocalypse, brought about by scientific error and ended—in the Clyde valley—by scientific genius. His second, Almighty Gold (1924), was a more prosaic tale of adventure and crime in the world of high finance. Both books sold well, and were well received critically, but this was the 1920s and what John Dickson Carr would later describe as ‘the lure of detective fiction’ was too great. For his first detective story, Death at Swaythling Court (1926), Stewart wrote an entertaining village mystery in which a blackmailing butterfly collector is poisoned and stabbed. This was quickly followed by The Dangerfield Talisman (1926), an ‘old dark house’ mystery with many characters and almost as many clues.
For Murder in the Maze (1927), Stewart created his first recurring character, Sir Clinton Driffield, an atypically misanthropic policeman who would appear in seventeen novel-length mysteries. Driffield is generally aided, and sometimes hindered, by his Watsonian friend Squire Wendover, a local landowner in the county where Driffield is the chief constable. Driffield is a far more active chief constable than is customary in fiction—or in real life—and, while he can tend to be didactic, he is one of only a handful of detectives in the Golden Age willing to admit, occasionally, that he is unable to explain every aspect of a case. And Driffield can also proceed in unorthodox ways, never more so than in the extraordinary Nemesis at Raynham Parva (1929).
As might be expected from a scientist, Stewart’s mysteries are careful and methodically written and, while some contemporary critics felt the author could sometimes be long-winded, the majority found him adept at constructing ingenious plots, entertaining and imaginative, and above all scrupulous at playing fair with the reader. His novels often feature memorable elements, such as the sinister legend of the Green Devil in Death at Swaythling Court, the hedge maze of Murder in the Maze, the lottery tontine of The Sweepstake Murders (1931) or the ‘fairy houses’ and weaponry museum in Tragedy at Ravensthorpe (1927).
‘Before Insulin’, the only short story to feature Driffield and Wendover, was first published in the LondonEvening Standard on 1 September 1936 as the final story in Detective Cavalcade, a series of stories selected by Dorothy L. Sayers.
THE INVERNESS CAPE
Leo Bruce
‘You’d think I was used to violence, wouldn’t you?’ asked Sergeant Beef, rhetorically, after all the crime and horror I’ve seen. But there was one crime of violence, I remember, which shocked me more than any of your sneaking poisoners could do. It happened some years ago now. One old lady was clubbed to death in full view of her crippled sister. The most brutal case I ever had to tackle.
I knew the old ladies well; nice kind old parties who would do anyone a good turn. They lived together in a big house overlooking their own park. The only thing that anyone could have against them was that they were rich.
Miss Lucia was the older of the two and must have been over seventy. She was active, though: moved like a young woman and loved her garden, which was kept ‘just so’ by two gardeners and a lad. Miss Agatha was a few years younger and no one had ever seen her out of her invalid chair since the bad hunting accident she had as a young girl. She would be wheeled out on to the terrace on fine days and sit there watching her sister in the garden. They were very fond of one another and very happy.
Then their nephew came to live with them, young Richard Luckery, and I didn’t much take to him. It was known that he hadn’t any money of his own and he must have had a lot from the old ladies because he spent like a madman. Motor-cars, racing, racketing about—an extravagant young devil who cared only for himself.
Perhaps what I didn’t like was that he used to dress in the most extraordinary clothes; eccentric, that’s what he looked. And when he started wearing one of those Inverness capes and a deerstalker hat, like Sherlock Holmes, I thought it downright silly.
He had friends to play up to him, though, like anyone else who throws money about. One of these, Cuthbert Mireling, lived right opposite to the old ladies’ home, and another, Gilly Ponstock, had rooms at the local pub where Richard Luckery used to drink, sometimes with one of his aunt’s gardeners, Albert Giggs.
On a Saturday in June, Miss Lucia said at lunch that she was going to spend the afternoon taking cuttings of pinks and pansies in one of the borders. The gardeners would have gone home and she liked having the garden to herself. In fact, she never missed her Saturday afternoon’s gardening.
Agatha asked her nephew to wheel her out on the terrace from which she would be able to watch her sister. This he did, then went up to his own room for a sleep.
At about half-past two, in full blazing sunlight, Miss Agatha was horrified to see a man walk furtively out of the shrubbery with a heavy bar of wood and crash it down on her sister’s head. The first blow may have been enough to kill her, but he struck again and again.
Miss Agatha screamed, but it was some minutes before Katie, the only servant then in the house, came running out and a few minutes more before Richard Luckery appeared. He seemed rather dazed, and said afterwards that he had been asleep.
Miss Agatha then did something which shocked and astounded the servant. She turned to Richard in great horror and shouted, ‘Keep away from me! You killed Lucia!’
Richard protested: he had been upstairs. His aunt was hysterical, he said. He was as shocked as she was. Then he told the servant to telephone for a doctor. The old lady would not be left alone with Richard. It was some time before she became coherent enough to tell the servant exactly what had happened.
By now people began to gather. Giggs, the gardener, whose cottage was across the stable yard, appeared and Cuthbert Mireling arrived at the front door, having heard the screams from his home. A doctor was sent for and so was I, and between us we examined Miss Lucia, who was quite dead, and managed to calm her sister a little.
It was not until the evening, however, that I could get a statement from her. I had been over the ground by then and seen that the murder had happened about 200 yards from the terrace and that it was possible to reach the shrubbery from the house without being visible from where Miss Agatha had sat. Or, as I thought, to reach the house from the shrubbery for that matter.
The first thing that Miss Agatha said was that her nephew must be arrested at once.
‘I saw him do it!’ she kept repeating.
I pointed out that it was 200 yards away and asked how she could be sure.
‘I watched him. He was wearing his deerstalker hat and that cape of his.’
‘But did you see his face?’
She would not or could not give a clear answer to that question. She knew it was Richard. She could see him quite clearly. The cape … the hat … it was Richard. I was to arrest him; not leave him in the house with her. Question her as I might, I could get no more from her.
Then I tackled the nephew. Before lunch he had been in the local pub playing darts with his two friends and Giggs, the gardener. He had left his aunt on the terrace and gone upstairs to sleep. He had heard the screams and come down. He could not account for Miss Agatha’s accusations.
When I asked him about the Inverness cape he said he had found a stuffy little outfitter’s shop in London which had some old stock of things long out of fashion—spats, fancy waistcoats, Norfolk suits and these capes. He gave me the name and address. He said that he had thought it would be amusing to wear something so dated. Yes, his friends knew where he had purchased it. I asked him to go and fetch it, and he did so, but took a long time over it.
‘Katie had it,’ he explained. (Katie was the servant.) ‘She was mending a tear in it.’
There was no sign of a stain or anything unusual about the thing.
I sent for Katie and found out, as I half-expected by then, that she had taken the cape to her room after lunch that day to repair it and that it had actually been in her hands while the murder was committed.
It was easy to understand which way the case was developing now, and when I went to the little shop and found that they had sold two of these Inverness capes in the last few months I could see daylight. The shopkeeper could not help me much over the two purchasers. He remembered the first fairly well and his description fitted Richard Luckery, but about the second he was uncertain. He remembered it was a young man, but nothing much more except that he had seemed in a hurry.
Next, of course, I cross-examined the two friends, but neither of them had much of an alibi. Cuthbert Mireling had been at home reading, he said, in a deck-chair on the lawn when he had heard screams coming from the old ladies’ house. He had gone across to see what was the matter and whether he could be of any help. Gilly Ponstock had remained in his room at the inn asleep. He knew nothing about the murder till he came down to tea at half-past four and was told by the innkeeper. The gardener had been alone in his cottage.
It was a puzzler. Someone had bought one of these capes with which to impersonate Richard Luckery, had put it on in the shrubbery, murdered the old lady and made off. Giggs and Mireling had some sort of motive because each had fair-sized legacies, Giggs as an old employee, Mireling as a son of old friends. Either could have done it, but there was not a shred of real evidence against them.
My wife said that case would be the death of me. I couldn’t sleep for worrying over it. I’d tried all the ordinary things that should have provided clues—fingerprints, footprints, the weapon used, but none of them gave me an inkling. If I ever commit murder, I said, it will be like this, in the open where everyone can see me do it. Then I know I’ll never be found out.
Then suddenly I had an idea. I searched Richard Luckery’s room, then came downstairs and arrested him. He was charged, tried and, I’m glad to say, in due course hanged.
The explanation? Well, he had found what he thought was a very clever way of committing murder. A double bluff. He decided to impersonate someone impersonating him. Perhaps it was by chance that he came on that old stock of Edwardian clothes, or perhaps he was actually looking for something of the sort. He chose that Inverness cape as a garment easily distinguishable, bought another with which to impersonate himself, made a habit of wearing the first one, then waited his moment. He chose a Saturday afternoon because he knew that Miss Lucia would be gardening then, asked Katie to mend his first cape, went down to the shrubbery where he had hidden the second, put it on, murdered his aunt and returned to the house, which he entered while the servant was on the terrace. He had a perfect witness in Miss Agatha, who would swear it was him, because of the cape, and a perfect alibi in that his cape would be in Katie’s room. He knew I should soon find out about the purchase of the second cape by someone who did not resemble the purchaser of the first—some simple disguise, I guessed. The more Agatha swore it was him, the more sympathy he would gain for being impersonated.
But, of course, he made his one mistake. They all do, thank heavens, or I don’t know what would become of detectives. He forgot to plan the disposal of the second cape. I found it between the mattresses on his bed.
LEO BRUCE (#ulink_8306d546-2f49-52b3-a7ed-0152a7a2d856)
Rupert Croft-Cooke, who wrote detective fiction under the pen name of Leo Bruce, was born in 1903. He was brought up in south-east England, an aesthete in a family of athletes, and attended Tonbridge School and what is now known as Wrekin College in Shropshire, where he did well both academically and at the game of darts, at which he excelled.
Croft-Cooke published his first work, a slim booklet of verse entitled Clouds of Gold, at the age of 18. Aged 19, after a brief period working as a private tutor, he decided to go in search of what he would later describe as ‘adventure, romance and excitement’. He secured a teaching post in Argentina and travelled throughout South America, taking in Brazil and even the Falkland Islands. After two years he returned to England, and began working as a freelance journalist and writer, as well as broadcasting on 2LO, one of the first radio stations in Britain, which would go on to become part of the BBC.
In 1940, Croft-Cooke enlisted in the Intelligence Corps, serving first in Madagascar and later in India. On returning to civilian life, he settled in Ticehurst, Sussex, where he continued to write. In 1953, as part of a ‘war on vice’—defined as encompassing prostitution and homosexuality—initiated by the then Commissioner of the Metropolitan Police, Croft-Cooke and his Indian companion and secretary were charged with indecency and convicted. After serving his sentence, he sold up and moved to Tangier, where he spent the next fifteen years writing and playing host to visiting writers including Noël Coward.
Over a career lasting more than fifty years, Rupert Croft-Cooke was amazingly prolific. He authored nearly thirty volumes of autobiography, including The World is Young (1937) on his experiences in South America, as well as collections of verse, memoirs of his extensive travels and biographies of Lord Alfred Douglas—Oscar Wilde’s Bosie—and of the entertainers Charles ‘Tom Thumb’ Stratton and Colonel ‘Buffalo Bill’ Cody. Croft-Cooke also wrote widely on subjects that interested him, including his beloved darts and the circus, as well as the importance of freedom of the press and the problems caused by ‘petty’ regulation. After his conviction and subsequent imprisonment, he argued for greater tolerance of homosexuality and in support of improvements to the penal system. His writing was highly regarded by critics up to the early 1950s, but after his conviction, reviews tended to be more negative and even favourable ones were marred by obscurely worded but plainly homophobic allusions.
As well as his extensive writing under his own name, Croft-Cooke also wrote detective stories using the pseudonym of Leo Bruce. His first mystery novel, Case for Three Detectives, was published in 1936. While the titular detectives parody Lord Peter Wimsey, Hercule Poirot and G. K. Chesterton’s Father Brown, the case is solved by a cockney policeman, Sergeant William Beef, who would go on to appear in seven other novels. In the early 1950s, Croft-Cooke abandoned Beef and created another amateur sleuth, Dr Carolus Deene, a history teacher who would appear in more than twenty novels. As Bruce and under his own name, Croft-Cooke wrote many short stories including a round-robin novella with Beverley Nichols and Monica Dickens, author of the Follyfoot series of children’s novels. His last book was published in 1977 and Rupert Croft-Cooke died in 1979.
One of four uncollected stories to feature Sergeant Beef, The Inverness Cape was first published in The Sketch on 16 July 1952. The text in this collection is taken from the original manuscript of the story in the author’s papers, where it was located by Curtis Evans, author of Masters of the ‘Humdrum’ Mystery and The Spectrum of Murder.
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Alan Alexander Milne
Agatha Christie
Georgette Heyer
Nicholas Blake
Christianna Brand
Tony Medawar
This anthology of rare stories of crime and suspense brings together 16 tales by masters of the Golden Age of Detective Fiction for the first time in book form, including a newly discovered Agatha Christie crime story that has not been seen since 1922.At a time when crime and thriller writing has once again overtaken the sales of general and literary fiction, Bodies from the Library unearths lost stories from the Golden Age, that period between the World Wars when detective fiction captured the public’s imagination and saw the emergence of some of the world’s cleverest and most popular storytellers.This anthology brings together 16 forgotten tales that have either been published only once before – perhaps in a newspaper or rare magazine – or have never before appeared in print. From a previously unpublished 1917 script featuring Ernest Bramah’s blind detective Max Carrados, to early 1950s crime stories written for London’s Evening Standard by Cyril Hare, Freeman Wills Crofts and A.A. Milne, it spans five decades of writing by masters of the Golden Age.Most anticipated of all are the contributions by women writers: the first detective story by Georgette Heyer, unseen since 1923; an unpublished story by Christianna Brand, creator of Nanny McPhee; and a dark tale by Agatha Christie published only in an Australian journal in 1922 during her ‘Grand Tour’ of the British Empire.With other stories by Detection Club stalwarts Anthony Berkeley, H.C. Bailey, J.J. Connington, John Rhode and Nicholas Blake, plus Vincent Cornier, Leo Bruce, Roy Vickers and Arthur Upfield, this essential collection harks back to a time before forensic science – when murder was a complex business.
Copyright (#u74d070d4-130a-5514-a4b5-8d55e05dbe66)
COLLINS CRIME CLUB
An imprint of HarperCollinsPublishers
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Published by Collins Crime Club 2018
Selection, introduction and notes © Tony Medawar 2018
For copyright acknowledgements, see Acknowledgements
Cover design by Holly Macdonald © HarperCollinsPublishers Ltd 2018
Cover illustrations © Shutterstock.com (https://www.shutterstock.com)
A catalogue copy of this book is available from the British Library.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008289225
Ebook Edition © July 2018 ISBN: 9780008289232
Version: 2018-07-04
Table of Contents
Cover (#u74272432-c694-58d5-aefe-dc3d10b45a76)
Title Page (#u42e6eb5a-e380-5eb1-a606-30a0e1ff4d90)
Copyright (#ud43a37c1-28e4-59b2-add7-bbe0edaf0b20)
Introduction (#uf02eea90-de71-5b36-a335-3d0e017ff452)
Before Insulin (#ud0f297f2-db13-5b17-991b-64fe0d2baaeb)
J. J. Connington (#u95e17cd0-ef42-574b-9e26-d4e9007675c5)
The Inverness Cape (#u5d11b7a5-5b9d-53bc-8107-3b1ce52220b7)
Leo Bruce (#u127fc414-ca94-5d1d-818f-31f8477ff681)
Dark Waters (#u43ae077e-8e45-51a5-9527-c52906345077)
Freeman Wills Crofts (#u1732695a-649a-5b43-bf3f-7593df3bb69b)
Linckes’ Great Case (#u9e533e4a-e619-5109-99e7-5c38722e328c)
Georgette Heyer (#u4a5ddd63-86b7-59a5-a442-63356dbf72ea)
‘Calling James Braithwaite’ (#ub2827ef3-0b65-5695-8162-3e38f3b867ed)
Nicholas Blake (#u6dc57c91-b5e5-5435-b896-8a70cfb32b83)
The Elusive Bullet (#ueb2b4078-1ff1-5ff1-a0c7-c075a5c0a172)
John Rhode (#uf5d3f8c9-b93e-5e4e-bf52-20b727b499fc)
The Euthanasia of Hilary’s Aunt (#u340a47f6-470d-5355-86ab-ea7e83ef52b5)
Cyril Hare (#uda7ddcba-a039-5f90-b1a2-293388274207)
The Girdle of Dreams (#uda1284d7-342f-5887-9c6c-182aab195b46)
Vincent Cornier (#uff93946a-b78b-5b07-ab0c-5b94c3614b7c)
The Fool and the Perfect Murder (#u619e658c-a097-559f-b82b-1205aeffd340)
Arthur Upfield (#u805b4ae2-d07f-5a46-a18d-9ff532240372)
Bread Upon the Waters (#u8d4a2b86-18f5-5830-956f-a188e22d4226)
A. A. Milne (#u0fdf0081-45c0-515d-8178-d700ae78d1ef)
The Man With the Twisted Thumb (#u256f0adc-6673-579e-ae70-5274c496d04e)
Anthony Berkeley (#u145c593e-1a4f-5d99-a985-4c11d43d6795)
The Rum Punch (#ua01b7485-5869-524f-8205-31f55bcb66b2)
Christianna Brand (#u2048c8f4-0e53-5b70-aa39-3e2c4052af27)
Blind Man’s Bluff (#u998873f0-5870-5c42-9e88-045c3ff60865)
Ernest Bramah (#u6154ea18-380c-5096-9316-34ed65b22a1f)
Victoria Pumphrey (#uc0e90e3f-b19c-51ef-a97b-7eb0d4dcdac2)
H. C. Bailey (#ue62edf37-38e5-5f91-87e0-dd74bf774856)
The Starting-Handle Murder (#u1e1e8741-0b57-50a9-ab29-567d2255e682)
Roy Vickers (#u3891d6c1-831e-5e40-aaa3-7d08c3eff7a9)
The Wife of the Kenite (#u4afaabb1-3235-5c89-80b0-85ccebe05e53)
Agatha Christie (#u083a2233-df75-5d73-944f-cd385cf96cd2)
Acknowledgements (#u9694d5ff-e71d-5b07-a539-e77d85e0dbd4)
About the Publisher (#u0a798e30-d251-53f9-b48a-f618e082df78)
INTRODUCTION (#u74d070d4-130a-5514-a4b5-8d55e05dbe66)
‘Death in particular seems to provide the minds of the Anglo-Saxon race with a greater fund of innocent amusement than any other single subject.’
Dorothy L. Sayers
In the beginning was Poe. It all begins with him. An alcoholic American critic who created, among other things, the detective story. And for that, if for nothing else, God bless Edgar Allan Poe.
Poe’s detective was the Chevalier C. Auguste Dupin, a brilliant if patronising bibliophile of independent means who appeared in ‘The Murders in the Rue Morgue’, a long short story published in 1841, and in two other short stories. For these and other mysteries, Poe created the concept of a detective story—a story in which murder or some other crime is solved by observation and deduction—and Poe also created many of the tropes of detective fiction: the ‘impossible crime’, the notion of an amateur investigator from whom the professionals seek advice, the least likely suspect as murderer … Quite simply, before anyone did anything, Poe did everything. Or almost everything.
While Poe’s stories were popular, and prompted others to try their hand at detective fiction, it would be nearly twenty years before the first novel-length detective story was published. This was The Notting Hill Mystery (1862–63) by Charles Warren Adams, writing as Charles Felix. Though other detective novels appeared, most notably The Moonstone (1868) by Wilkie Collins, detection remained generally subordinate to romance and suspense, and it would be a further twenty years before the next landmark in detective fiction, Fergus Hume’s The Mystery of a Hansom Cab, published in 1886. And then, in 1887, readers were introduced to the greatest detective of them all, Arthur Conan Doyle’s Sherlock Holmes. As well as that first novel, A Study in Scarlet, Holmes appeared in three more novels, but it is principally because of the fifty-six short stories about Holmes, published in the Strand magazine, that the character has endured. While Holmes had other ‘rivals’ in the 1880s and ’90s, most notably Arthur Morrison’s investigator Martin Hewitt, none has survived to the present day.
The popularity of detective fiction, especially in the short story form, continued into the Edwardian Age, although only two characters from that period approach Holmes in terms of the quality of the stories in which they appear: G. K. Chesterton’s Father Brown, a Catholic priest with an eye for paradox and a soul for the guilty, who featured in more than fifty stories; and Dr John Thorndyke, R. Austin Freeman’s preternaturally intelligent forensic investigator, although his novel-length cases are more satisfying than the forty-one short stories in which he appears.
While the puzzles set by Chesterton and Freeman were for the most part very much in the tradition of the Sherlock Holmes mysteries, E. C. Bentley’s 1913 novel Trent’s Last Case was a game-changer, its publication often regarded as marking the beginning of what has become known as the Golden Age of crime and detective fiction. In Trent’s Last Case, Bentley presented a clear problem, the shooting of a millionaire; but he turned convention on its head by allowing Trent to fall in love with a suspect—commonplace now but far from so at that time—and Bentley further confounded readers’ expectations because Trent does not solve the case.
Trent’s Last Case was immensely popular and remains in print today, along with Bentley’s second Trent novel and a volume containing all thirteen of the Trent short stories, Trent Interviews (1938). The novel prompted a boom in detective fiction in Britain, and for the best part of the next twenty years a detective short story appeared in almost every issue of almost every magazine: in long-lost titles like The Red, Pearson’s, The Bystander, The Sphere, The Corner, BritanniaandEve, as well as others that have endured like Harper’s and The Tatler. Detective stories—and episodic mystery serials—also became a standard feature in national weekly newspapers like the News of the World, and they could also be found in regional weeklies like the Yorkshire Weekly Post and the Sheffield Weekly Telegraph. These and countless other titles quickly became a strong, diverse and seemingly sustainable market for detective fiction, especially stories that turned on a twist or which featured an impossible crime, an unusual weapon or an unbreakable alibi, and they provided a complementary source of income for many of the best-known Golden Age authors as well as for some opportunistic hacks.
As the First World War ended, a steady trickle of novels that have come to be recognised as classics of the genre began to appear. In 1920, the Irish engineer Freeman Wills Crofts published The Cask, a sturdy police procedural whose mystery carried it through multiple editions. The same year, Agatha Christie, unquestionably the most popular writer of the Golden Age, had her first detective novel, The Mysterious Affair at Styles, serialised over eighteen weeks in the weekly edition of The Times, providing a retired Belgian police officer, Hercule Poirot, with his first case, and his first published book in Britain in 1921. In 1923, Dorothy L. Sayers’ first Lord Peter Wimsey novel, Whose Body?, was published, while 1924 saw the publication of The Rasp, the first of Philip Macdonald’s Colonel Gethryn novels. In 1925, John Rhode’s Dr Priestley and Anthony Berkeley’s Roger Sheringham took their first bow in, respectively, The Paddington Mystery and The Layton Court Mystery.
And so on. The trickle became a flood …
By the mid-1920s the appetite for crime fiction was enormous in Britain, as well as in much of the English-speaking world. As well as the many weekly and monthly magazines that carried crime and detective stories, daily newspapers also published mysteries, often basic puzzle stories in which the object was simply to spot the murderer’s error before the detective. And when radio came along, in the form of 2LO, the precursor to the BBC, it provided a new outlet for detective fiction, a tradition that continues—thankfully—to this day.
In 1928, with his tongue (as often) firmly in his cheek, Father Ronald Knox set out ten rules for anyone considering writing a detective story; in America, the crime writer S. S. Van Dine did much the same, albeit at greater length. And in late 1929, Anthony Berkeley founded the Detection Club, a dining club to allow the elite of the genre to gather together and at the same time distinguish themselves from the mass of writers then working to meet the enormous demand for mysteries.
With hindsight, the 1930s can be seen as the high-point of the Golden Age, with many of the greatest writers in the genre producing their finest work, carefully constructed novels in which generally bloodless crimes are committed by consistently ingenious means; criminals are protected by unbreakable alibis and seemingly impenetrable mysteries are resolved by unmatchable detectives.
The Golden Age can be regarded as having ended in 1937 with the publication of Dorothy L. Sayers’ final Wimsey novel, Busman’s Honeymoon, which she described as ‘a love story with detective interruptions’, despite previously having said that ‘sloppy sentiment’ had no place in detective stories. However, it is important to acknowledge that there is much debate about dates. Some consider that the Golden Age continued into the 1940s, while others argue that it did not end until well into the second half of the twentieth century. Nonetheless, after Busman’s Honeymoon came the Second World War, and nothing was ever the same again. The magazines and newspapers that had survived paper rationing continued to carry mysteries, including the London Evening Standard, which published a detective story almost every day through to the early 1960s. While Dorothy L. Sayers and Anthony Berkeley had abandoned writing in the genre in the late 1930s, other Golden Age writers continued, with some like Agatha Christie and Ngaio Marsh writing into the ’70s and ’80s. As Berkeley and others had predicted, the focus of crime fiction moved away from detective puzzles, which focused for the most part on ‘Who?’ and ‘How?’, to more psychologically nuanced mysteries in which ‘Why?’ was the driving question.
Dating from as far back as 1917, most of the stories and plays in this collection, all of them by writers active in the Golden Age, have either been published only once before—in a newspaper, a rare magazine or an obscure collection—or have never been published until now. They hark back to a gentler time, when murder was committed by simpler means and solved without forensic science. And yet, if the psychological thriller and police procedurals reign supreme today, there are still stories and television series that have their roots firmly in the Golden Age—writers like Elly Griffiths, Ann Cleeves or, in a delightfully mad way, Christopher Fowler; and programmes like Death in Paradise and Midsomer Murders, as well as others of mixed lineage like Shetland, Broadchurch and River. There are also a small number of continuation novels, which aim to sustain the traditions of the Golden Age by reviving some of its best-loved characters—the Wimsey novels by Jill Paton Walsh, Sophie Hannah’s Poirot series, Mike Ripley’s Campion novels and unquestionably the best of its kind, Money in the Morgue by Ngaio Marsh and Stella Duffy, published in 2018. And, happiest of all, many of the classics of the Golden Age remain in print or are available as e-books thanks to publishers like HarperCollins, the British Library and small press imprints like Crippen & Landru, which has published many new short story collections by individual Golden Age authors.
Finally, there is the annual Bodies from the Library conference, held each year since 2015 at the British Library in London and attracting an audience from around the world. The event brings together writers, readers and academics to consider and discuss the themes and character of the books of the Golden Age and to focus on particular authors or publishers and their unique contributions. Among other topics, the conference has highlighted the existence of a frustratingly large number of uncollected short stories, forgotten radio and stage plays, and even unpublished material by some of the best-remembered writers of the period. For most of the individual writers concerned there are insufficient stories to assemble new dedicated collections, but there is ample material for volumes such as this, bringing together ‘lost’ works by different writers for their keenest admirers as well as for collectors and new readers who have an insatiable appetite for murder and the innocent amusement of a bygone age.
The Golden Age is dead; long live the Golden Age!
Tony Medawar
April 2018
BEFORE INSULIN
J. J. Connington
‘I’d more than the fishing in my mind when I asked you over for the weekend,’ Wendover confessed. ‘Fact is, Clinton, something’s turned up and I’d like your advice.’
Sir Clinton Driffield, Chief Constable of the county, glanced quizzically at his old friend.
‘If you’ve murdered anyone, Squire, my advice is: Keep it dark and leave the country. If it’s merely breach of promise, or anything of that sort, I’m at your disposal.’
‘It’s not breach of promise,’ Wendover assured him with the complacency of a hardened bachelor. ‘It’s a matter of an estate for which I happen to be sole trustee, worse luck. The other two have died since the will was made. I’ll tell you about it.’
Wendover prided himself on his power of lucid exposition. He settled himself in his chair and began.
‘You’ve heard me speak of old John Ashby, the iron-master? He died fifteen years back, worth £53,000; and he made his son, his daughter-in-law, and myself executors of his will. The son, James Ashby, was to have the life-rent of the estate; and on his death the capital was to be handed over to his offspring when the youngest of them came of age. As it happened, there was only one child, young Robin Ashby. James Ashby and his wife were killed in a railway accident some years ago; so the whole £53,000, less two estate duties, was secured to young Robin if he lived to come of age.’
‘And if he didn’t?’ queried Sir Clinton.
‘Then the money went to a lot of charities,’ Wendover explained. ‘That’s just the trouble, as you’ll see. Three years ago, young Robin took diabetes, a bad case, poor fellow. We did what we could for him, naturally. All the specialists had a turn, without improvement. Then we sent him over to Neuenahr, to some institute run by a German who specialised in diabetes. No good. I went over to see the poor boy, and he was worn to a shadow, simply skin and bone and hardly able to walk with weakness. Obviously it was a mere matter of time.’
‘Hard lines on the youngster,’ Sir Clinton commented soberly.
‘Very hard,’ said Wendover with a gesture of pity. ‘Now as it happened, at Neuenahr he scraped acquaintance with a French doctor. I saw him when I was there: about thirty, black torpedo beard, very brisk and well-got-up, with any amount of belief in himself. He spoke English fluently, which gave him a pull with Robin, out there among foreigners; and he persuaded the boy that he could cure him if he would put himself in his charge. Well, by that time, it seemed that any chance was worth taking, so I agreed. After all, the boy was dying by inches. So off he went to the south of France, where this man—Prevost, his name was—had a nursing home of his own. I saw the place: well-kept affair though small. And he had an English nurse, which was lucky for Robin. Pretty girl she was: chestnut hair, creamy skin, supple figure, neat hands and feet. A lady, too.’
‘Oh, any pretty girl can get round you,’ interjected Sir Clinton. ‘Get on with the tale.’
‘Well, it was all no good,’ Wendover went on, hastily. ‘The poor boy went downhill in spite of all the Frenchman’s talk; and, to cut a long story short, he died a fortnight ago, on the very day when he came of age.’
‘Oh, so he lived long enough to inherit?’
‘By the skin of his teeth,’ Wendover agreed. ‘That’s where the trouble begins. Before that day, of course, he could make no valid will. But now a claimant, one Sydney Eastcote, turns up with the claim that Robin made a will the morning of the day he died, and by this will this Eastcote scoops the whole estate. All I know of it is from a letter this Eastcote wrote to me giving the facts. I referred him to the lawyer for the estate and told the lawyer—Harringay’s his name—to bring the claimant here this afternoon. They’re due now. I’d like you to look him over, Clinton. I’m not quite satisfied about this will.’
The Chief Constable pondered for a moment or two.
‘Very well,’ he agreed. ‘But you’d better not introduce me as Sir Clinton Driffield, Chief Constable, etc. I’d better be Mr Clinton, I think. It sounds better for a private confabulation.’
‘Very well,’ Wendover conceded. ‘There’s a car on the drive. It must be they, I suppose.’
In a few moments the door opened and the visitors were ushered in. Surprised himself, the Chief Constable was still able to enjoy the astonishment of his friend; for instead of the expected man, a pretty chestnut-haired girl, dressed in mourning, was shown into the room along with the solicitor, and it was plain enough that Wendover recognised her.
‘You seem surprised, Mr Wendover,’ the girl began, evidently somewhat taken aback by Wendover’s expression. Then she smiled as though an explanation occurred to her. ‘Of course, it’s my name again. People always forget that Sydney’s a girl’s name as well as a man’s. But you remember me, don’t you? I met you when you visited poor Robin.’
‘Of course I remember you, Nurse,’ Wendover declared, recovering from his surprise. ‘But I never heard you called anything but “Nurse” and didn’t even hear your surname; so naturally I didn’t associate you with the letter I got about poor Robin’s will.’
‘Oh, I see,’ answered the girl. ‘That accounts for it.’
She looked inquiringly towards the Chief Constable, and Wendover recovered his presence of mind.
‘This is a friend of mine, Mr Clinton,’ he explained. ‘Miss Eastcote. Mr Harringay. Won’t you sit down? I must admit your letter took me completely by surprise, Miss Eastcote.’
Wendover was getting over his initial astonishment at the identity of the claimant, and when they had all seated themselves, he took the lead.
‘I’ve seen a copy of Robin’s death certificate,’ he began slowly. ‘He died in the afternoon of September 21st, the day he came of age, so he was quite competent to make a will. I suppose he was mentally fit to make one?’
‘Dr Prevost will certify that if necessary,’ the nurse affirmed quietly.
‘I noticed that he didn’t die in Dr Prevost’s Institute,’ Wendover continued. ‘At some local hotel, wasn’t it?’
‘Yes,’ Nurse Eastcote confirmed. ‘A patient died in the Institute about that time and poor Robin hated the place on that account. It depressed him, and he insisted on moving to the hotel for a time.’
‘He must have been at death’s door then, poor fellow,’ Wendover commented.
‘Yes,’ the nurse admitted, sadly. ‘He was very far through. He had lapses of consciousness, the usual diabetic coma. But while he was awake he was perfectly sound mentally, if that’s what you mean.’
Wendover nodded as though this satisfied him completely.
‘Tell me about this will,’ he asked. ‘It’s come as something of a surprise to me, not unnaturally.’
Nurse Eastcote hesitated for a moment. Her lip quivered and her eyes filled with tears as she drew from her bag an envelope of thin foreign paper. From this she extracted a sheet of foreign notepaper which she passed across to Wendover.
‘I can’t grumble if you’re surprised at his leaving me this money,’ she said, at last. ‘I didn’t expect anything of the kind myself. But the fact is … he fell in love with me, poor boy, while he was under my charge. You see, except for Dr Prevost, I was the only one who could speak English with him, and that meant much to him at that time when he was so lonely. Of course he was much younger that I am; I’m twenty-seven. I suppose I ought to have checked him when I saw how things were. But I hadn’t the heart to do it. It was something that gave him just the necessary spur to keep him going, and of course I knew that marriage would never come into it. It did no harm to let him fall in love; and I really did my very best to make him happy, in these last weeks. I was so sorry for him, you know.’
This put the matter in a fresh light for Wendover, and he grew more sympathetic in his manner.
‘I can understand,’ he said gently. ‘You didn’t care for him, of course …’
‘Not in that way. But I was very very sorry for him, and I’d have done anything to make him feel happier. It was so dreadful to see him going out into the dark before he’d really started in life.’
Wendover cleared his throat, evidently conscious that the talk was hardly on the businesslike lines which he had planned. He unfolded the thin sheet of notepaper and glanced over the writing.
‘This seems explicit enough. “I leave all that I have to Nurse Sydney Eastcote, residing at Dr Prevost’s medical Institute.” I recognise the handwriting as Robin’s, and the date is in the same writing. Who are the witnesses, by the way?’
‘Two of the waiters at the hotel, I believe,’ Nurse Eastcote explained.
Wendover turned to the flimsy foreign envelope and examined the address.
‘Addressed by himself to you at the institute, I see. And the postmark is 21st September. That’s quite good confirmatory evidence, if anything of the sort were needed.’
He passed the two papers to Sir Clinton. The Chief Constable seemed to find the light insufficient where he was sitting, for he rose and walked over to a window to examine the documents. This brought him slightly behind Nurse Eastcote. Wendover noted idly that Sir Clinton stood sideways to the light while he inspected the papers in his hand.
‘Now just one point,’ Wendover continued. ‘I’d like to know something about Robin’s mental condition towards the end. Did he read to pass the time, newspapers and things like that?’
Nurse Eastcote shook her head.
‘No, he read nothing. He was too exhausted, poor boy. I used to sit by him and try to interest him in talk. But if you have any doubt about his mind at that time—I mean whether he was fit to make a will—I’m sure Dr Prevost will give a certificate that he was in full possession of his faculties and knew what he was doing.’
Sir Clinton came forward with the papers in his hand.
‘These are very important documents,’ he pointed out, addressing the nurse. ‘It’s not safe for you to be carrying them about in your bag as you’ve been doing. Leave them with us. Mr Wendover will give you a receipt and take good care of them. And to make sure there’s no mistake, I think you’d better write our name in the corner of each of them so as to identify them. Mr Harringay will agree with me that we mustn’t leave any loophole for doubt in a case like this.’
The lawyer nodded. He was a taciturn man by nature, and his pride had been slightly ruffled by the way in which he had been ignored in the conference. Nurse Eastcote, with Wendover’s fountain pen, wrote her signature on a free space of each paper. Wendover offered his guests tea before they departed, but he turned the talk into general channels and avoided any further reference to business topics.
When the lawyer and the girl had left the house, Wendover turned to Sir Clinton.
‘It seems straight enough to me,’ he said, ‘but I could see from the look you gave me behind her back when you were at the window that you aren’t satisfied. What’s wrong?’
‘If you want my opinion,’ the Chief Constable answered, ‘it’s a fake from start to finish. Certainly you can’t risk handing over a penny on that evidence. If you want it proved up to the hilt, I can do it for you, but it’ll cost something for inquiries and expert assistance. That ought to come out of the estate, and it’ll be cheaper than an action at law. Besides,’ he added with a smile, ‘I don’t suppose you want to put that girl in gaol. She’s probably only a tool in the hands of a cleverer person.’
Wendover was staggered by the Chief Constable’s tone of certainty. The girl, of course, had made no pretence that she was in love with Robin Ashby; but her story had been told as though she herself believed it.
‘Make your inquiries, certainly,’ he consented. ‘Still, on the face of it the thing sounds likely enough.’
‘I’ll give you definite proof in a fortnight or so. Better make a further appointment with that girl in, say, three weeks. But don’t drag the lawyer into it this time. It may savour too much of compounding a felony for his taste. I’ll need these papers.’
‘Here’s the concrete evidence,’ said the Chief Constable, three weeks later. ‘I may as well show it to you before she arrives, and you can amuse yourself with turning it over in the meanwhile.’
He produced the will, the envelope, and two photographs from his pocket-book as he spoke and laid them on the table, opening out the will as he put it down.
‘Now first of all, notice that the will and envelope are of very thin paper, the foreign correspondence stuff. Second, observe that the envelope is of the exact size to hold that sheet of paper if it’s folded in four—I mean folded in half and then doubled over. The sheet’s about quarto size, ten inches by eight. Now look here. There’s an extra fold in the paper. It’s been folded in four and then it’s been folded across once more. That struck me as soon as I had it in my hand. Why the extra fold, since it would fit into the envelope without that?’
Wendover inspected the sheet carefully and looked rather perplexed.
‘You’re quite right,’ he said, ‘but you can’t upset a will on the strength of a fold in it. She may have doubled it up herself, after she got it.’
‘Not when it was in the envelope that fitted it,’ Sir Clinton pointed out. ‘There’s no corresponding doubling of the envelope. However, let’s go on. Here’s a photograph of the envelope, taken with the light falling sideways. You see the postal erasing stamp has made an impression?’
‘Yes, I can read it, and the date’s 21st September right enough.’ He paused for a moment and then added in surprise, ‘But where’s the postage stamp? It hasn’t come out in the photo.’
‘No, because that’s a photo of the impression on the back half of the envelope. The stamp came down hard and not only cancelled the stamp but impressed the second side of the envelope as well. The impression comes out quite clearly when it’s illuminated from the side. That’s worth thinking over. And, finally, here’s another print. It was made before the envelope was slit to get at the stamp impression. All we did was to put the envelope into a printing-frame with a bit of photographic printing paper behind it and expose it to light for a while. Now you’ll notice that the gummed portions of the envelope show up in white, like a sort of St Andrew’s Cross. But if you look carefully, you’ll see a couple of darker patches on the part of the white strip which corresponds to the flap of the envelope that one sticks down. Just think out what they imply, Squire. There are the facts for you, and it’s not too difficult to put an interpretation on them if you think for a minute or two. And I’ll add just one further bit of information. The two waiters who acted as witnesses to that will were given tickets for South America, and a certain sum of money each to keep them from feeling homesick … But here’s your visitor.’
Rather to Wendover’s surprise, Sir Clinton took the lead in the conversation as soon as the girl arrived.
‘Before we turn to business, Miss Eastcote,’ he said, ‘I’d like to tell you a little anecdote. It may be of use to you. May I?’
Nurse Eastcote nodded politely and Wendover, looking her over, noticed a ring on her engagement finger which he had not seen on her last visit.
‘This is a case which came to my knowledge lately,’ Sir Clinton went on, ‘and it resembles your own so closely that I’m sure it will suggest something. A young man of twenty, in an almost dying state, was induced to enter a nursing home by the doctor in charge. If he lived to come of age, he could make a will and leave a very large fortune to anyone he choose: but it was the merest gamble whether he would live to come of age.’
Nurse Eastcote’s figure stiffened and her eyes widened at this beginning, but she merely nodded as though asking Sir Clinton to continue.
‘The boy fell in love with one of the nurses, who happened to be under the influence of the doctor,’ Sir Clinton went on. ‘If he lived to make a will, there was little doubt that he would leave the fortune to the nurse. A considerable temptation for any girl, I think you’ll agree.
‘The boy’s birthday was very near, only a few days off; but it looked as though he would not live to see it. He was very far gone. He had no interest in the newspapers and he had long lapses of unconsciousness, so that he had no idea of what the actual date was. It was easy enough to tell him, on a given day, that he had come of age, though actually two days were still to run. Misled by the doctor, he imagined that he could make a valid will, being now twenty-one; and he wrote with his own hand a short document leaving everything to the nurse.’
Miss Eastcote cleared her throat with an effort.
‘Yes?’ she said.
‘This fraudulent will,’ Sir Clinton continued, ‘was witnessed by two waiters of the hotel to which the boy had been removed; and soon after, these waiters were packed off abroad and provided with some cash in addition to their fares. Then it occurred to the doctor that an extra bit of confirmatory evidence might be supplied. The boy had put the will into an envelope which he had addressed to the nurse. While the gum was still wet, the doctor opened the flap and took out the “will”, which he then folded smaller in order to get the paper into an ordinary business-size envelope. He then addressed this to the nurse and posted the will to her in it. The original large envelope, addressed by the boy, he retained. But in pulling it open, the doctor had slightly torn the inner side of the flap where the gum lies; and that little defect shows up when one exposes the envelope over a sheet of photographic paper. Here’s an example of what I mean.’
He passed over to Nurse Eastcote the print which he had shown Wendover and drew her attention to the spots on the St Andrew’s Cross.
‘As it chanced, the boy died next morning, a day before he came of age. The doctor concealed the death for a day, which was easy enough in the circumstances. Then, on the afternoon of the crucial date—did I mention that it was September 21st?—he closed the empty envelope, stamped it, and put it into the post, thus securing a postmark of the proper date. Unfortunately for this plan, the defacement stamp of the post office came down hard enough to impress its image on both the sheets of the thin paper envelope, so that by opening up the envelope and photographing it by a sideways illumination the embossing of the stamp showed up—like this.’
He handed the girl the second photograph.
‘Now if the “will” had been in that envelope, the “will” itself would have borne that stamp. But it did not; and that proves that the “will” was not in the envelope when it passed through the post. A clever woman like yourself, Miss Eastcote, will see the point at once.’
‘And what happened after that?’ asked the girl huskily.
‘It’s difficult to tell you,’ Sir Clinton pursued. ‘If it had come before me officially—I’m Chief Constable of the county, you know—I should probably have had to prosecute that unfortunate nurse for attempted fraud; and I’ve not the slightest doubt that we’d have proved the case up to the hilt. It would have meant a year or two in gaol, I expect.
‘I forgot to mention that the nurse was secretly engaged to the doctor all this while. And, by the way, that’s a very pretty ring you’re wearing, Miss Eastcote. That, of course, accounted for the way in which the doctor managed to get her to play her part in the little scheme. I think, if I were you, Miss Eastcote, I’d go back to France as soon as possible and tell Dr Prevost that … well, it hasn’t come off.’
J. J. CONNINGTON (#u74d070d4-130a-5514-a4b5-8d55e05dbe66)
Alfred Walter Stewart, alias J. J. Connington, was born in Glasgow in 1880. A clever child with an enquiring mind, he attended Glasgow High School and graduated in 1902 from Glasgow University with honours in chemistry, mathematics and geology. While Stewart could have pursued almost any of the sciences he decided to focus on chemistry. After completing his doctorate in 1907, he took up an appointment at Belfast University where in 1919, after spells working for the Admiralty and lecturing at the universities of London and Glasgow, he became Professor of Chemistry, occupying this chair until his retirement in 1944. He had been suffering for many years from a debilitating illness, and he died in 1947.
Stewart had begun writing novels in the 1920s, adopting the pseudonym J. J. Connington doubtless to distance what he saw as a hobby from his academic career. His first book, Nordenholt’s Millions (1923), dealt with a Wellesian apocalypse, brought about by scientific error and ended—in the Clyde valley—by scientific genius. His second, Almighty Gold (1924), was a more prosaic tale of adventure and crime in the world of high finance. Both books sold well, and were well received critically, but this was the 1920s and what John Dickson Carr would later describe as ‘the lure of detective fiction’ was too great. For his first detective story, Death at Swaythling Court (1926), Stewart wrote an entertaining village mystery in which a blackmailing butterfly collector is poisoned and stabbed. This was quickly followed by The Dangerfield Talisman (1926), an ‘old dark house’ mystery with many characters and almost as many clues.
For Murder in the Maze (1927), Stewart created his first recurring character, Sir Clinton Driffield, an atypically misanthropic policeman who would appear in seventeen novel-length mysteries. Driffield is generally aided, and sometimes hindered, by his Watsonian friend Squire Wendover, a local landowner in the county where Driffield is the chief constable. Driffield is a far more active chief constable than is customary in fiction—or in real life—and, while he can tend to be didactic, he is one of only a handful of detectives in the Golden Age willing to admit, occasionally, that he is unable to explain every aspect of a case. And Driffield can also proceed in unorthodox ways, never more so than in the extraordinary Nemesis at Raynham Parva (1929).
As might be expected from a scientist, Stewart’s mysteries are careful and methodically written and, while some contemporary critics felt the author could sometimes be long-winded, the majority found him adept at constructing ingenious plots, entertaining and imaginative, and above all scrupulous at playing fair with the reader. His novels often feature memorable elements, such as the sinister legend of the Green Devil in Death at Swaythling Court, the hedge maze of Murder in the Maze, the lottery tontine of The Sweepstake Murders (1931) or the ‘fairy houses’ and weaponry museum in Tragedy at Ravensthorpe (1927).
‘Before Insulin’, the only short story to feature Driffield and Wendover, was first published in the LondonEvening Standard on 1 September 1936 as the final story in Detective Cavalcade, a series of stories selected by Dorothy L. Sayers.
THE INVERNESS CAPE
Leo Bruce
‘You’d think I was used to violence, wouldn’t you?’ asked Sergeant Beef, rhetorically, after all the crime and horror I’ve seen. But there was one crime of violence, I remember, which shocked me more than any of your sneaking poisoners could do. It happened some years ago now. One old lady was clubbed to death in full view of her crippled sister. The most brutal case I ever had to tackle.
I knew the old ladies well; nice kind old parties who would do anyone a good turn. They lived together in a big house overlooking their own park. The only thing that anyone could have against them was that they were rich.
Miss Lucia was the older of the two and must have been over seventy. She was active, though: moved like a young woman and loved her garden, which was kept ‘just so’ by two gardeners and a lad. Miss Agatha was a few years younger and no one had ever seen her out of her invalid chair since the bad hunting accident she had as a young girl. She would be wheeled out on to the terrace on fine days and sit there watching her sister in the garden. They were very fond of one another and very happy.
Then their nephew came to live with them, young Richard Luckery, and I didn’t much take to him. It was known that he hadn’t any money of his own and he must have had a lot from the old ladies because he spent like a madman. Motor-cars, racing, racketing about—an extravagant young devil who cared only for himself.
Perhaps what I didn’t like was that he used to dress in the most extraordinary clothes; eccentric, that’s what he looked. And when he started wearing one of those Inverness capes and a deerstalker hat, like Sherlock Holmes, I thought it downright silly.
He had friends to play up to him, though, like anyone else who throws money about. One of these, Cuthbert Mireling, lived right opposite to the old ladies’ home, and another, Gilly Ponstock, had rooms at the local pub where Richard Luckery used to drink, sometimes with one of his aunt’s gardeners, Albert Giggs.
On a Saturday in June, Miss Lucia said at lunch that she was going to spend the afternoon taking cuttings of pinks and pansies in one of the borders. The gardeners would have gone home and she liked having the garden to herself. In fact, she never missed her Saturday afternoon’s gardening.
Agatha asked her nephew to wheel her out on the terrace from which she would be able to watch her sister. This he did, then went up to his own room for a sleep.
At about half-past two, in full blazing sunlight, Miss Agatha was horrified to see a man walk furtively out of the shrubbery with a heavy bar of wood and crash it down on her sister’s head. The first blow may have been enough to kill her, but he struck again and again.
Miss Agatha screamed, but it was some minutes before Katie, the only servant then in the house, came running out and a few minutes more before Richard Luckery appeared. He seemed rather dazed, and said afterwards that he had been asleep.
Miss Agatha then did something which shocked and astounded the servant. She turned to Richard in great horror and shouted, ‘Keep away from me! You killed Lucia!’
Richard protested: he had been upstairs. His aunt was hysterical, he said. He was as shocked as she was. Then he told the servant to telephone for a doctor. The old lady would not be left alone with Richard. It was some time before she became coherent enough to tell the servant exactly what had happened.
By now people began to gather. Giggs, the gardener, whose cottage was across the stable yard, appeared and Cuthbert Mireling arrived at the front door, having heard the screams from his home. A doctor was sent for and so was I, and between us we examined Miss Lucia, who was quite dead, and managed to calm her sister a little.
It was not until the evening, however, that I could get a statement from her. I had been over the ground by then and seen that the murder had happened about 200 yards from the terrace and that it was possible to reach the shrubbery from the house without being visible from where Miss Agatha had sat. Or, as I thought, to reach the house from the shrubbery for that matter.
The first thing that Miss Agatha said was that her nephew must be arrested at once.
‘I saw him do it!’ she kept repeating.
I pointed out that it was 200 yards away and asked how she could be sure.
‘I watched him. He was wearing his deerstalker hat and that cape of his.’
‘But did you see his face?’
She would not or could not give a clear answer to that question. She knew it was Richard. She could see him quite clearly. The cape … the hat … it was Richard. I was to arrest him; not leave him in the house with her. Question her as I might, I could get no more from her.
Then I tackled the nephew. Before lunch he had been in the local pub playing darts with his two friends and Giggs, the gardener. He had left his aunt on the terrace and gone upstairs to sleep. He had heard the screams and come down. He could not account for Miss Agatha’s accusations.
When I asked him about the Inverness cape he said he had found a stuffy little outfitter’s shop in London which had some old stock of things long out of fashion—spats, fancy waistcoats, Norfolk suits and these capes. He gave me the name and address. He said that he had thought it would be amusing to wear something so dated. Yes, his friends knew where he had purchased it. I asked him to go and fetch it, and he did so, but took a long time over it.
‘Katie had it,’ he explained. (Katie was the servant.) ‘She was mending a tear in it.’
There was no sign of a stain or anything unusual about the thing.
I sent for Katie and found out, as I half-expected by then, that she had taken the cape to her room after lunch that day to repair it and that it had actually been in her hands while the murder was committed.
It was easy to understand which way the case was developing now, and when I went to the little shop and found that they had sold two of these Inverness capes in the last few months I could see daylight. The shopkeeper could not help me much over the two purchasers. He remembered the first fairly well and his description fitted Richard Luckery, but about the second he was uncertain. He remembered it was a young man, but nothing much more except that he had seemed in a hurry.
Next, of course, I cross-examined the two friends, but neither of them had much of an alibi. Cuthbert Mireling had been at home reading, he said, in a deck-chair on the lawn when he had heard screams coming from the old ladies’ house. He had gone across to see what was the matter and whether he could be of any help. Gilly Ponstock had remained in his room at the inn asleep. He knew nothing about the murder till he came down to tea at half-past four and was told by the innkeeper. The gardener had been alone in his cottage.
It was a puzzler. Someone had bought one of these capes with which to impersonate Richard Luckery, had put it on in the shrubbery, murdered the old lady and made off. Giggs and Mireling had some sort of motive because each had fair-sized legacies, Giggs as an old employee, Mireling as a son of old friends. Either could have done it, but there was not a shred of real evidence against them.
My wife said that case would be the death of me. I couldn’t sleep for worrying over it. I’d tried all the ordinary things that should have provided clues—fingerprints, footprints, the weapon used, but none of them gave me an inkling. If I ever commit murder, I said, it will be like this, in the open where everyone can see me do it. Then I know I’ll never be found out.
Then suddenly I had an idea. I searched Richard Luckery’s room, then came downstairs and arrested him. He was charged, tried and, I’m glad to say, in due course hanged.
The explanation? Well, he had found what he thought was a very clever way of committing murder. A double bluff. He decided to impersonate someone impersonating him. Perhaps it was by chance that he came on that old stock of Edwardian clothes, or perhaps he was actually looking for something of the sort. He chose that Inverness cape as a garment easily distinguishable, bought another with which to impersonate himself, made a habit of wearing the first one, then waited his moment. He chose a Saturday afternoon because he knew that Miss Lucia would be gardening then, asked Katie to mend his first cape, went down to the shrubbery where he had hidden the second, put it on, murdered his aunt and returned to the house, which he entered while the servant was on the terrace. He had a perfect witness in Miss Agatha, who would swear it was him, because of the cape, and a perfect alibi in that his cape would be in Katie’s room. He knew I should soon find out about the purchase of the second cape by someone who did not resemble the purchaser of the first—some simple disguise, I guessed. The more Agatha swore it was him, the more sympathy he would gain for being impersonated.
But, of course, he made his one mistake. They all do, thank heavens, or I don’t know what would become of detectives. He forgot to plan the disposal of the second cape. I found it between the mattresses on his bed.
LEO BRUCE (#ulink_8306d546-2f49-52b3-a7ed-0152a7a2d856)
Rupert Croft-Cooke, who wrote detective fiction under the pen name of Leo Bruce, was born in 1903. He was brought up in south-east England, an aesthete in a family of athletes, and attended Tonbridge School and what is now known as Wrekin College in Shropshire, where he did well both academically and at the game of darts, at which he excelled.
Croft-Cooke published his first work, a slim booklet of verse entitled Clouds of Gold, at the age of 18. Aged 19, after a brief period working as a private tutor, he decided to go in search of what he would later describe as ‘adventure, romance and excitement’. He secured a teaching post in Argentina and travelled throughout South America, taking in Brazil and even the Falkland Islands. After two years he returned to England, and began working as a freelance journalist and writer, as well as broadcasting on 2LO, one of the first radio stations in Britain, which would go on to become part of the BBC.
In 1940, Croft-Cooke enlisted in the Intelligence Corps, serving first in Madagascar and later in India. On returning to civilian life, he settled in Ticehurst, Sussex, where he continued to write. In 1953, as part of a ‘war on vice’—defined as encompassing prostitution and homosexuality—initiated by the then Commissioner of the Metropolitan Police, Croft-Cooke and his Indian companion and secretary were charged with indecency and convicted. After serving his sentence, he sold up and moved to Tangier, where he spent the next fifteen years writing and playing host to visiting writers including Noël Coward.
Over a career lasting more than fifty years, Rupert Croft-Cooke was amazingly prolific. He authored nearly thirty volumes of autobiography, including The World is Young (1937) on his experiences in South America, as well as collections of verse, memoirs of his extensive travels and biographies of Lord Alfred Douglas—Oscar Wilde’s Bosie—and of the entertainers Charles ‘Tom Thumb’ Stratton and Colonel ‘Buffalo Bill’ Cody. Croft-Cooke also wrote widely on subjects that interested him, including his beloved darts and the circus, as well as the importance of freedom of the press and the problems caused by ‘petty’ regulation. After his conviction and subsequent imprisonment, he argued for greater tolerance of homosexuality and in support of improvements to the penal system. His writing was highly regarded by critics up to the early 1950s, but after his conviction, reviews tended to be more negative and even favourable ones were marred by obscurely worded but plainly homophobic allusions.
As well as his extensive writing under his own name, Croft-Cooke also wrote detective stories using the pseudonym of Leo Bruce. His first mystery novel, Case for Three Detectives, was published in 1936. While the titular detectives parody Lord Peter Wimsey, Hercule Poirot and G. K. Chesterton’s Father Brown, the case is solved by a cockney policeman, Sergeant William Beef, who would go on to appear in seven other novels. In the early 1950s, Croft-Cooke abandoned Beef and created another amateur sleuth, Dr Carolus Deene, a history teacher who would appear in more than twenty novels. As Bruce and under his own name, Croft-Cooke wrote many short stories including a round-robin novella with Beverley Nichols and Monica Dickens, author of the Follyfoot series of children’s novels. His last book was published in 1977 and Rupert Croft-Cooke died in 1979.
One of four uncollected stories to feature Sergeant Beef, The Inverness Cape was first published in The Sketch on 16 July 1952. The text in this collection is taken from the original manuscript of the story in the author’s papers, where it was located by Curtis Evans, author of Masters of the ‘Humdrum’ Mystery and The Spectrum of Murder.
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Алан Милн и Агата Кристи
Тип: электронная книга
Жанр: Современная зарубежная литература
Язык: на английском языке
Издательство: HarperCollins
Дата публикации: 16.04.2024
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О книге: This anthology of rare stories of crime and suspense brings together 16 tales by masters of the Golden Age of Detective Fiction for the first time in book form, including a newly discovered Agatha Christie crime story that has not been seen since 1922.At a time when crime and thriller writing has once again overtaken the sales of general and literary fiction, Bodies from the Library unearths lost stories from the Golden Age, that period between the World Wars when detective fiction captured the public’s imagination and saw the emergence of some of the world’s cleverest and most popular storytellers.This anthology brings together 16 forgotten tales that have either been published only once before – perhaps in a newspaper or rare magazine – or have never before appeared in print. From a previously unpublished 1917 script featuring Ernest Bramah’s blind detective Max Carrados, to early 1950s crime stories written for London’s Evening Standard by Cyril Hare, Freeman Wills Crofts and A.A. Milne, it spans five decades of writing by masters of the Golden Age.Most anticipated of all are the contributions by women writers: the first detective story by Georgette Heyer, unseen since 1923; an unpublished story by Christianna Brand, creator of Nanny McPhee; and a dark tale by Agatha Christie published only in an Australian journal in 1922 during her ‘Grand Tour’ of the British Empire.With other stories by Detection Club stalwarts Anthony Berkeley, H.C. Bailey, J.J. Connington, John Rhode and Nicholas Blake, plus Vincent Cornier, Leo Bruce, Roy Vickers and Arthur Upfield, this essential collection harks back to a time before forensic science – when murder was a complex business.