Enter a Murderer Read online

  Bailey knelt down and did this. Surbonadier was lying half on his face. When he was turned over Nigel forced himself to look at him. He had the same astonished expression as they had seen from their place in the stalls. The grease paint shone dully on the dead face. The eyes were wide open.

  "You notice the scorched clothes. He was killed instantly."

  "Shot through the heart," said the doctor.

  "God, it's awful!" said the manager suddenly.

  "I think that will do." Alleyn turned to the divisional surgeon, who knelt beside Surbonadier and closed the painted eyelids. Bailey, who had just gone off the stage for a moment, reappeared with a length of brocade, with which he covered the body. It was a flamboyant thing, flame-coloured and gold.

  "The revolver will, of course, show Mr. Gardener's prints," Alleyn said. "But you will test it for others, please, Bailey. It was in his dressing-room at seven-twenty, when I saw it." Bailey glanced at him in surprise. "The dresser took it to Mr. Surbonadier some time between seven-thirty and seven-forty-five. It was then unloaded and Surbonadier himself loaded it on the stage. We must remember that everyone in the cast knew exactly what would happen. Mr. Gardener was certain to do precisely what he did do—press the barrel of the revolver into Surbonadier above the heart and pull the trigger. There may be a remote possibility that Surbonadier was accidentally supplied with genuine ammunition. It seems scarcely likely. If he was deliberately supplied with live cartridges, the person responsible would be tolerably certain of results. Surbonadier was scarcely off the stage after he loaded the gun, and while on the stage would not fire, since even an unloaded revolver makes a loud click if this is done. Gardener would be certain to pull the trigger. His hand was in full view of the audience and the illusion had to be complete. Am I right, Mr. Stavely?"

  "Yes. Yes, I think so, but, you know, the production is not my province, inspector. I belong to the front of the house. The producer is in Manchester, but Mr. Simpson, the general manager, would be your best authority—or Gardener himself."

  "Of course, yes. Will you be kind enough to get Mr. Simpson for me? Oh—and, Mr. Stavely, take Detective-Sergeant Bailey with you and show him the dressing-rooms. Bailey, don't disturb any room but Miss Max's. From that you may take a towel and soap and a pot of grease. They take their paint off with grease, don't they? Take the stuff to the wardrobe-room, then lock the dressing-room doors and let 'em wash. And, Fox"—he turned to the second plain clothes man—"be a saint and ring for the mortuary van. Mr. Stavely will take you to the telephone. Sorry to be a bit Hitlerish, but it'll save time." He smiled charmingly at Stavely and the doctor. "Thank you very much, Dr. Milner. I shan't bother you any more to-night, but I've got your address. I'm sure you're longing to get away."

  The doctor looked very much as though he was longing to stay. However, he departed meekly, escorted by the divisional surgeon. The others went on their errands and Nigel was left alone with Alleyn.

  The theatre had become very silent. Far away in the front of the house a door slammed and immediately afterwards they heard a clock strike. Eleven. Twenty minutes ago the dead man under the length of brocade had been vigorous and alert; the echo of his voice had scarcely died away. To Nigel it seemed more like two hours.

  "Alleyn," he said suddenly, "you don't think it was Felix, do you?"

  "Bless the boy, I'm not a medium. I haven't the foggiest idea who it was, but he's no likelier than any of the others. He didn't load the revolver. The fact of his pulling the trigger doesn't appear to be particularly relevant. I say it doesn't appear to be. He may have to answer a technical charge of manslaughter. I don't know. Don't understand law."

  "Bosh."

  "Don't say bosh to me, child. Can you write shorthand?"

  "Yes."

  "Then take this notebook, sit on the other side of the scenery, and write down the ensuing conversations. Do it quietly. Your finger on your lips and all that."

  "I don't want your notebook. Got one of my own."

  "As you please. Here comes Simpson. Skedaddle."

  Nigel slipped out of the upstage entrance, leaving the door ajar. In the half-light offstage he saw a large round footstool of the type known as a "pouf." He pulled it quietly towards the entrance, sat down, and took out his scribbling pad and stylo. He heard someone come down the dressing-room passage and walk on to the stage at the prompt corner. From behind the scene flat, and quite close to him, Alleyn spoke.

  "Oh, here you are, Mr. Simpson. Frightfully sorry to keep you all hanging about like this, but I want to do as much as I can before the scent, if there is a scent, grows cold. Do sit down."

  There was a gentle sound of a soft impact, and the rustle of a silk cushion. Then Simpson spoke. "Of course—anything I can do to help."

  "I want you to tell me 'in your own words,' as leading counsel loves to say, the exact procedure that took place every evening, and particularly this evening, in regard to the ammunition used in the revolver. As I remember, Mr. Surbonadier loaded the revolver with cartridges that he took from a drawer in a writing-desk during the first scene in the last act. Who put those cartridges there?"

  "The murderer."

  "I see," said Alleyn good-humouredly, "that you take my point. I should have said: Who put the dummy cartridges there?"

  "I did," said George Simpson.

  CHAPTER FIVE

  Statement of the Stage Manager

  NIGEL EXPERIENCED a slight thrill in taking down Simpson's last statement—a thrill that was at once tempered by the reflection that the placing of the dummy cartridges was of little importance in tracing the deadly ones. Alleyn went on easily:

  "You did. Splendid. Now, when exactly did you put the dummies in that drawer?"

  "During the second act wait, just before the curtain went up."

  "The desk was then on the stage, or should I say on the set?"

  "Only if you're a talkie actor. The scene was set and the desk was in position."

  "I wish there had been no further change of scene. Where exactly was the desk? As I remember, it was about here."

  Nigel heard Alleyn walk across the stage. By dint of squinting through the crack in the doorway he saw that the inspector was standing in the prompt first entrance, that is to say, in the doorway on the audience's right of the stage.

  "It was just upstage of there," said Simpson.

  "And the face of the desk towards the door, wasn't it?" asked Alleyn.

  "That is so."

  "Now, when you put the dummies in the drawer who was on the stage?"

  "The beginners for the third act. Miss Max, Miss Emerald, and—Mr. Surbonadier."

  "Did they see you put them there?"

  "Oh, yes. Janet said: 'I'm always terrified you'll forget those things, George. You leave it so late!' "

  "The drawer was empty when you pulled it out?"

  "I think so. I don't know that I'd swear it was—I may not have looked at the back of it."

  "Do you remember if any of the others afterwards came near the desk? Perhaps sat down at it while waiting for the curtain to go up?"

  "I don't remember," said Simpson in a great hurry.

  "Mr. Simpson—try to remember." There was a pause.

  "I can't remember," said Simpson querulously.

  "Let me try and help. Did you speak to any of them, now?"

  "Yes. Yes, I did. I spoke to Miss Max, who was over on the O.P. She said the rug on that side was in the way of the door opening, and I moved it for her. Then she sat down in the chair over there and took out her knitting. The knitting is 'business' in the part."

  "Yes. She had it in a red bag."

  "That's right." Simpson began to speak very rapidly. "And she didn't move again before the curtain went up. I remember that because she laughed about her knitting and said she was trying to get it finished before we had run three weeks. It's a scarf. She put it round my neck to measure it."

  "Now, didn't she sit in that chair for some time after the curtain went up? Was
n't she still sitting there when Surbonadier loaded the revolver?"

  Through the crack in the door Nigel saw Simpson's surprised glance at the inspector.

  "You've got a good memory," he said. "That's perfectly true."

  "I've got a rotten memory really," said Alleyn, "but the scene impressed me, you know. If you think back it's a great help. Now, what did you do after you had straightened the mat and had your merry jape with the knitting?"

  "I think I had a look round the stage to see everything was in place."

  "And then—?"

  "Then I went to the prompt box. I remember now that Surbonadier and Miss Emerald were standing upstage by the window and—" He stopped short.

  "Yes?"

  "That's all."

  "I don't think so, Mr. Simpson. What were you going to say?"

  "Nothing."

  "I can't force you to speak, but do—do let me urge you to consider the seriousness of your position. It's no good my pretending or trying to bluff. I'm no actor, Mr. Simpson. You put the cartridges in the drawer. It's of first importance from your point of view to prove that they were dummy cartridges."

  "It's not for myself—" began Simpson hotly.

  "Then don't for the love of Mike start some fool game of shielding another person. That sort of thing is either damn' dangerous or just plain silly. However, it's as you please."

  Simpson moved away from the range of Nigel's vision and when he did speak his voice sounded remote.

  "You're quite right, I suppose," he said. "As for myself, I think I can clear up the cartridge business."

  "All to the good. Now what were you going to say about Miss Janet Emerald?"

  "Honestly, it's nothing really. Arthur Surbonadier seemed a bit upset. He—well, it's my job as stage manager to look after that sort of thing—he was not himself."

  "You mean he was drunk—I know he was."

  "Oh—well—yes, that and something else. Sort of dangerous drunk. Well, when I went back to the prompt box Janet Emerald came after me and she said: 'Arthur's tight, George, and I'm nervous,' and I said: 'He's giving a damn' good show, anyway.' (He was, you know.) Then she said: 'That may be right, but he's a beast, a filthy beast.' And I heard her whisper—Oh, Lord, it meant nothing—"

  "Well?"

  "She whispered to herself: 'I could kill him'; and then she turned her back to me and stood with her hands on the desk. She talks that way. It meant nothing. I didn't look at her again. I glanced at the book and said: 'All clear, please,' and they took up positions."

  "And then?"

  "Then I said: 'House lights' to the switch-board man and flicked on the orchestra warning and the black-out warning. That scene opens on a black-out."

  "Yes."

  "Well, then I said: 'Stand by please,' and we blacked out and the scene went up."

  "How long did the black-out last?"

  "For the first few speeches of the dialogue. About four minutes altogether, because we black out for a little before the curtain goes up. Then Surbonadier switched on the stage lamp."

  "Who was on the stage, behind the scenes, all that time?"

  "Oh, the staff were up at the back. The property master and others. Props was standing beside me in the prompt box, I remember. He stayed there after he had given me the dummies and was there all the time until after the black-out. I know that because he kept whispering something about one of the dummies being loose. He seemed scared it might come to bits when Surbonadier loaded the gun."

  "I see. And the others?"

  "I think young Howard Melville was somewhere round—he's assistant S.M. I was on the book. It's a short scene, but the beginners in the next bit aren't called until half-way through."

  "One more point and then I'm done. Where did you get the dummies?"

  "Props made them. He's a positive genius at anything like that. Takes a pride in it. He got empty shells and filled them with sand, and then shoved the bullets in."

  "Rather unnecessarily thorough, one would think."

  "Lord, yes!" Simpson sounded much more at ease now. "But that's Props all over. He was shell-shocked during the war, poor devil, and he's—not exactly queer—but kind of intensely concentrated. He was as proud as Punch when he showed them to me, and said no one could tell they weren't the goods."

  "Where were they kept?"

  "Props always picked up the revolver at the end of the show and took them out. Then he used to take the gun to Felix Gardener. It was his brother's gun and Felix sets great store by it and always takes it home. Props used to put the dummies into the property-room and bring them to me before that scene. I made him do that because I wanted to be quite certain they were in the right drawer."

  "And that's what happened to-night?"

  "Yes."

  "Did you examine them before you put them in the drawer?"

  "I don't think so—I—I don't know."

  "Would you have known if they were genuine ammunition?"

  "I don't know—yes, I'm sure I would."

  "In spite of the property master's art?"

  "I don't know, I tell you."

  "All right, all right, keep your hair on. If the property man was worried about the loose cartridge——"

  "Yes. Yes, of course. They must have been dummies."

  "Q.E.D. Now, Mr. Simpson, that's all for the moment. I see Inspector Fox is waiting out there. Just give him your address, will you, and get him to take you to your dressing-room? Show him which clothes you want to change into—no, wait a second; you're in a dinner jacket, and I imagine won't need to change. Fox!"

  "Hullo!"

  "Has the van come?"

  "Outside now."

  "Oh. Well, see if Mr. Simpson wants anything from his dressing-room. And, Mr. Simpson, will you let Inspector Fox just have a look at you? Pure formality and whatnot. You needn't if you don't want to. Don't get all het up over it."

  Simpson's reply to this speech was indistinguishable.

  Nigel, by dint of widening his peephole, could see Fox going rapidly and thoroughly through the stage manager's pockets.

  "Cigarette-case, two pounds in notes and cash, pocket-book, handkerchief, matches, no written matter at all. Want to see anything, sir?" he asked cheerfully.

  "Not a thing. One last question. Would Gardener be certain to pull the trigger when he pretended to fire the shot into the Beaver?"

  "Definitely certain. It was rehearsed most carefully. He always closed his left hand a fraction of a second before he pulled the trigger. That gave me the cue for the blank shot."

  "I see, yes. Thank you so much. Good night, Mr. Simpson."

  Fox and the stage manager walked away. Nigel was wondering if he might speak when Alleyn's face suddenly appeared close to the door. The inspector laid his finger on his nose and made a face at Nigel, who was rather shocked at this display. Alleyn opened the door and came out. Nigel saw men with a stretcher on the stage and suddenly shut the door to. Alleyn looked curiously, but not unsympathetically, at him.

  "Exit an actor, eh?" he said.

  "You're a callous old pig," said Nigel.

  "Did you get all that down?"

  "I did."

  "Good boy. Hullo, who's this? Stay where you are and stand by."

  Voices, noisy in argument, could be heard from somewhere near the stage door.

  "What the hell d'yer mean?" someone inquired loudly. "It's my theatre. Get out of my light."

  Nigel returned to his peephole. The body of Surbonadier had gone. Inspector Fox appeared in hot pursuit of a monster of a man in tails, with a gardenia in his coat. He advanced truculently upon Alleyn, uttering a sort of roaring noise.

  "Mr. Jacob Saint, I believe," said the inspector politely.

  "And who the devil are you?"

  "From the Yard, Mr. Saint, and in charge of this unhappy business. I am sorry you should have to meet such shocking news—I see you have heard of the tragedy. Mr. Surbonadier was your nephew, wasn't he? May I offer my sympathy?"

 
"Who's the swine that did him in?"

  "At present we don't know."

  "Was he drunk?"

  "Since you ask me—yes."

  Jacob Saint eyed the inspector and suddenly threw his bulk into an arm-chair. Nigel was seized with an idea and began taking notes again.

  "I was in front to-night," said Saint.

  "I saw you," said Alleyn brightly.

  "I didn't know he was dead, but I knew he was drunk. He did it himself."

  "You think so?" Alleyn seemed quite unmoved by this announcement.

  "Stavely rang me up at the Savoy. I was behind, earlier in the evening, and saw Arthur. He was tight then. I told him he'd have to get out at the end of the week. Couldn't face the music and killed himself."

  "It would take extraordinary fortitude to load a revolver, play a part, and wait for another man to shoot you, I should have thought," remarked Alleyn mildly.

  "He was drunk."

  "So we agreed. He had provided himself with live cartridges before he was drunk perhaps."

  "What d'yer mean? Oh. Wouldn't put it past him. Where's Janet?"

  "Who?"

  "Miss Emerald."

  "The artists are all in the wardrobe-room."

  "I'll go and see her."

  "Please don't move, Mr. Saint. I'll let her know. Miss Emerald, please, Fox."

  Inspector Fox went. Saint glared after him, appeared to hesitate and then produced a cigar-case. "Smoke?" he said.

  "No, thank you so much," said Alleyn. "I'm for a pipe." Saint lit a cigar.

  "Understand this," he said. "I'm no hypocrite and I don't spill any sob stuff over Arthur. He was a rotten failure. When one of my shows crashes I forget about it—a dud speculation. So was Arthur. Rotten all through, and a coward, but enough of an actor to see himself in a star part at last—and play it. He was crazy to play a big part, and when I wouldn't give him 'Carruthers' he—he actually threatened me—me!"

  "Where did you see him to-night?"

  "In his dressing-room. I had business in the office here and went behind."

  "Would you care to tell me what happened?"

  "Told you already. He was drunk and I fired him."

  "What did he say?"