"Frankly, the original ending was something the big studios didn't care for,” King admits. “The story itself just sort of peters out. Frank wanted to do better than that. So we agonized a lot about it. And when I say we agonized, I mean Frank would call me up and say, ‘I'm agonizing,’ and I would say, ‘Well, Frank, that's fine. Go for it, big guy.’ And in the end, I really liked what he came up with."
Though he's written scripts himself (and even directed the 1986 machines-gone-wild thriller Maximum Overdrive), King says he was happy to stay on the sidelines for both The Mist and 1408. When he's actively involved as a writer/producer (as he was on the ABC miniseries Rose Red and Storm of the Century, for instance), he'll gladly call some of the shots. But if his only connection to a project is a paycheck, he sees himself as a cheerleader, nothing more.
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"I think one of the reasons so many of my books have been turned into movies is [the filmmakers] don't get a lot of hassles from me,” King says. “On 1408 [for instance], they shot a new ending because they felt like the movie was working like a bandit, but the end was a bit of a letdown. So they sent me the script pages for the new ending, and I just said, ‘This is alright. Go ahead, if this is what you want to do.’ Do they need me poking my nose in telling them to do this or that? That doesn't mean they couldn't use some writerly input. But they wouldn't take it anyway, so why bother?"
Which is why King saves his “writerly input” for his own projects. There's his next book, for instance: a dark crime thriller called Blaze, which King wrote under the pseudonym Richard Bachman and briefly considered publishing through noir specialists Hard Case Crime (which put out his 2005 pseudo-mystery The Colorado Kid). And then there's a possible television adaptation of his new novella The Gingerbread Girl. Slated to appear in Esquire later this summer, the 21,000-word story focuses on a woman who's taken prisoner by a neighbor who may or may not be a serial killer. As with many of King's tales, the only monsters are of the human variety, with no black magic necessary for dark deeds to be done.
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King's already finished a teleplay based on the novella, and he hopes to reunite with Rose Red/Storm of the Century director Craig R. Baxley to bring it to life on the small screen.
"It's a throwback to the kind of thing I dug when I was a kid,” says King, who fondly recalls raiding his town's bookmobile for paperback thrillers when he was a boy. “John D. MacDonald and Ed McBain—they really slapped me with the notion that suspense doesn't demand unreality. You can actually base [creepy stories] on real life.
"Reality,” King says, “that's what makes something really scary."
Copyright (c) 2007 Steven Hockensmith
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MYSTERY CLASSIC: THE STANWAY CAMEO MYSTERY by Arthur Morrison
From Martin Hewitt, Investigator, published in 1894.
It is now a fair number of years back since the loss of the famous Stanway Cameo made its sensation, and the only person who had the least interest in keeping the real facts of the case secret has now been dead for some time, leaving neither relatives nor other representatives. Therefore no harm will be done in making the inner history of the case public; on the contrary, it will afford an opportunity of vindicating the professional reputation of Hewitt, who is supposed to have completely failed to make anything of the mystery surrounding the case. At the present time connoisseurs in ancient objects of art are often heard regretfully to wonder whether the wonderful cameo—so suddenly discovered and so quickly stolen—will ever again be visible to the public eye. Now this question need be asked no longer.
The cameo, as may be remembered from the many descriptions published at the time, was said to be absolutely the finest extant. It was a sardonyx of three strata—one of those rare sardonyx cameos in which it has been possible for the artist to avail himself of three different colors of superimposed stone—the lowest for the ground and the two others for the middle and high relief of the design. In size it was, for a cameo, immense, measuring seven and a half inches by nearly six. In subject it was similar to the renowned Gonzago Cameo—now the property of the Czar of Russia—a male and a female head with Imperial insignia; but in this case supposed to represent Tiberius Claudius and Messalina. Experts considered it probably to be the work of Athenion, a famous gem-cutter of the first Christian century, whose most notable other work now extant is a smaller cameo, with a mythological subject, preserved in the Vatican.
The Stanway Cameo had been discovered in an obscure Italian village by one of those traveling agents who scour all Europe for valuable antiquities and objects of art. This man had hurried immediately to London with his prize and sold it to Mr. Claridge, of St. James's Street, eminent as a dealer in such objects. Mr. Claridge, recognizing the importance and value of the article, lost no opportunity of making its existence known, and very soon the Claudius Cameo, as it was at first usually called, was as famous as any in the world. Many experts in ancient art examined it, and several large bids were made for its purchase. In the end it was bought by the Marquis of Stanway for 5,000 pounds, for the purpose of presentation to the British Museum. The Marquis kept the cameo at his town house for a few days, showing it to his friends, and then returned it to Mr. Claridge to be finally and carefully cleaned before passing into the national collection. Two nights after, Mr. Claridge's premises were broken into and the cameo stolen.
Such, in outline, was the generally known history of the Stanway Cameo. The circumstances of the burglary in detail were these: Mr. Claridge had himself been the last to leave the premises at about eight in the evening, at dusk, and had locked the small side door as usual. His assistant, Mr. Cutler, had left an hour and a half earlier. When Mr. Claridge left, everything was in order, and the policeman on fixed point duty just opposite, who bade Mr. Claridge good evening as he left, saw nothing suspicious during the rest of his term of duty, nor did his successors at the point throughout the night.
In the morning, however, Mr. Cutler, the assistant, who arrived first, soon after nine o'clock, at once perceived that something unlooked-for had happened. The door, of which he had a key, was still fastened, and had not been touched; but in the room behind the shop Mr. Claridge's private desk had been broken open, and the contents turned out in confusion. The door leading on to the staircase had also been forced. Proceeding up the stairs, Mr. Cutler found another door open, leading from the top landing to a small room—this door had been opened by the simple expedient of unscrewing and taking off the lock, which had been on the inside. In the ceiling of this room was a trap-door, and this was six or eight inches open, the edge resting on the half-wrenched-off bolt, which had been torn away when the trap was levered open from the outside.
Plainly, then, this was the path of the thief or thieves. Entrance had been made through the trap-door, two more doors had been opened, and then the desk had been ransacked. Mr. Cutler afterwards explained that at this time he had no precise idea what had been stolen, and did not know where the cameo had been left on the previous evening. Mr. Claridge had himself undertaken the cleaning, and had been engaged on it, the assistant said, when he left.
There was no doubt, however, after Mr. Claridge's arrival at ten o'clock: the cameo was gone. Mr. Claridge, utterly confounded at his loss, explained incoherently, and with curses on his own carelessness, that he had locked the precious article in his desk on relinquishing work on it the previous evening, feeling rather tired and not taking the trouble to carry it as far as the safe in another part of the house.
The police were sent for at once, of course, and every investigation made, Mr. Claridge offering a reward of £500 for the recovery of the cameo. The affair was scribbled off at large in the earliest editions of the evening papers, and by noon all the world was aware of the extraordinary theft of the Stanway Cameo, and many people were discussing the probabilities of the case, with very indistinct ideas of what a sardonyx cameo precisely was.
It was in the afternoon of this day that Lord Stanway called on Martin Hewitt. The Marquis was a tall, upstanding man of spare figure and active habits, well known as a member of learned societies and a great patron of art. He hurried into Hewitt's private room as soon as his name had been announced, and, as soon as Hewitt had given him a chair, plunged into business.
"Probably you already guess my business with you, Mr. Hewitt—you have seen the early evening papers? Just so; then I needn't tell you again what you already know. My cameo is gone, and I badly want it back. Of course, the police are hard at work at Claridge's, but I'm not quite satisfied. I have been there myself for two or three hours, and can't see that they know any more about it than I do myself. Then, of course, the police, naturally and properly enough from their point of view, look first to find the criminal—regarding the recovery of the property almost as a secondary consideration. Now, from my point of view, the chief consideration is the property. Of course, I want the thief caught, if possible, and properly punished; but still more, I want the cameo."
"Certainly it is a considerable loss. Five thousand pounds—"
"Ah, but don't misunderstand me! It isn't the monetary value of the thing that I regret. As a matter of fact, I am indemnified for that already. Claridge has behaved most honorably—more than honorably. Indeed, the first intimation I had of the loss was a check from him for £5,000, with a letter assuring me that the restoration to me of the amount I had paid was the least he could do to repair the result of what he called his unpardonable carelessness. Legally, I'm not sure that I could demand anything of him, unless I could prove very flagrant neglect indeed to guard against theft."
"Then I take it, Lord Stanway,” Hewitt observed, “that you much prefer the cameo to the money?"
"Certainly. Else I should never have been willing to pay the money for the cameo. It was an enormous price—perhaps much above the market value, even for such a valuable thing; but I was particularly anxious that it should not go out of the country. Our public collections here are not so fortunate as they should be in the possession of the very finest examples of that class of work. In short, I had determined on the cameo, and, fortunately, happen to be able to carry out determinations of that sort without regarding an extra thousand pounds or so as an obstacle. So that, you see, what I want is not the value, but the thing itself. Indeed, I don't think I can possibly keep the money Claridge has sent me—the affair is more his misfortune than his fault. But I shall say nothing about returning it for a little while: it may possibly have the effect of sharpening everybody in the search."
"Just so. Do I understand that you would like me to look into the case independently, on your behalf?"
"Exactly. I want you, if you can, to approach the matter entirely from my point of view—your sole object being to find the cameo. Of course, if you happen on the thief as well, so much the better. Perhaps, after all, looking for the one is the same thing as looking for the other?"
"Not always; but usually it is, of course—even if they are not together, they certainly have been at one time, and to have one is a very long step towards having the other. Now, to begin with, is anybody suspected?"
"Well, the police are reserved, but I believe the fact is they've nothing to say. Claridge won't admit that he suspects any one, though he believes that whoever it was must have watched him yesterday evening through the back window of his room, and must have seen him put the cameo away in his desk; because the thief would seem to have gone straight to the place. But I half fancy that, in his inner mind, he is inclined to suspect one of two people. You see, a robbery of this sort is different from others. That cameo would never be stolen, I imagine, with the view of its being sold—it is much too famous a thing; a man might as well walk about offering to sell the Tower of London. There are only a very few people who buy such things, and every one of them knows all about it. No dealer would touch it—he could never even show it, much less sell it, without being called to account. So that it really seems more likely that it has been taken by somebody who wishes to keep it for mere love of the thing—a collector, in fact—who would then have to keep it secretly at home, and never let a soul beside himself see it, living in the consciousness that at his death it must be found and his theft known; unless, indeed, an ordinary vulgar burglar has taken it without knowing its value."
"That isn't likely,” Hewitt replied. “An ordinary burglar, ignorant of its value, wouldn't have gone straight to the cameo and have taken it in preference to many other things of more apparent worth, which must be lying near in such a place as Claridge's."
"True—I suppose he wouldn't. Although the police seem to think that the breaking in is clearly the work of a regular criminal—from the jimmy marks, you know, and so on."
"Well, but what of the two people you think Mr. Claridge suspects?"
"Of course, I can't say that he does suspect them—I only fancied from his tone that it might be possible; he himself insists that he can't in justice suspect anybody. One of these men is Hahn, the traveling agent who sold him the cameo. This man's character does not appear to be absolutely irreproachable—no dealer trusts him very far. Of course, Claridge doesn't say what he paid him for the cameo—these dealers are very reticent about their profits, which I believe are as often something like five hundred per cent as not. But it seems Hahn bargained to have something extra, depending on the amount Claridge could sell the carving for. According to the appointment he should have turned up this morning, but he hasn't been seen, and nobody seems to know exactly where he is."
"Yes; and the other person?"
"Well, I scarcely like mentioning him, because he is certainly a gentleman, and I believe, in the ordinary way, quite incapable of anything in the least degree dishonorable; although, of course, they say a collector has no conscience in the matter of his own particular hobby, and certainly Mr. Woollett is as keen a collector as any man alive. He lives in chambers in the next turning past Claridge's premises—can, in fact, look into Claridge's back windows if he likes. He examined the cameo several times before I bought it, and made several high offers—appeared, in fact, very anxious indeed to get it. After I had bought it, he made, I understand, some rather strong remarks about people like myself, ‘spoiling the market’ by paying extravagant prices, and altogether cut up ‘crusty,’ as they say, at losing the specimen.” Lord Stanway paused for a few seconds, and then went on: “I'm not sure that I ought to mention Mr. Woollett's name for a moment in connection with such a matter—I am personally perfectly certain that he is as incapable of anything like theft as myself. But I am telling you all I know."
"Precisely. I can't know too much in a case like this. It can do no harm if I know all about fifty innocent people, and may save me from the risk of knowing nothing about the thief. Now, let me see: Mr. Woollett's rooms, you say, are near Mr. Claridge's place of business? Is there any means of communication between the roofs?"
"Yes, I am told that it is perfectly possible to get from one place to the other by walking along the leads."
"Very good. Then, unless you can think of any other information that may help me, I think, Lord Stanway, I will go at once and look at the place."
"Do, by all means. I think I'll come back with you. Somehow, I don't like to feel idle in the matter, though I suppose I can't do much. As to more information—I don't think there is any."
"In regard to Mr. Claridge's assistant, now: do you know anything of him?"
"Only that he has always seemed a very civil and decent sort of man. Honest, I should say, or Claridge wouldn't have kept him so many years—there are a good many valuable things about at Claridge's. Besides, the man has keys of the place himself, even if he were a thief he wouldn't need to go breaking in through the roof."
"So that,” said Hewitt, “we have, directly connected with this cameo, besides yourself, these people: Mr. Claridge, the dealer; Mr. Cutler, the assistant in Mr. Claridge's business; Hahn, who sold the article to Claridge; a
nd Mr. Woollett, who made bids for it. These are all?"
"All that I know of. Other gentlemen made bids, I believe, but I don't know them."
"Take these people in their order. Mr. Claridge is out of the question, as a dealer with a reputation to keep up would be, even if he hadn't immediately sent you this £5,000—more than the market value, I understand, of the cameo. The assistant is a reputable man, against whom nothing is known, who would never need to break in, and who must understand his business well enough to know that he could never attempt to sell the missing stone without instant detection. Hahn is a man of shady antecedents, probably clever enough to know as well as anybody how to dispose of such plunder—if it be possible to dispose of it at all; also, Hahn hasn't been to Claridge's today, although he had an appointment to take money. Lastly, Mr. Woollett is a gentleman of the most honorable record, but a perfectly rabid collector, who had made every effort to secure the cameo before you bought it; who, moreover, could have seen Mr. Claridge working in his back room, and who has perfectly easy access to Mr. Claridge's roof. If we find it can be none of these, then we must look where circumstances indicate."
There was unwonted excitement at Mr. Claridge's place when Hewitt and his client arrived. It was a dull old building, and in the windows there was never more show than an odd blue china vase or two, or, mayhap, a few old silver shoe-buckles and a curious small-sword. Nine men out of ten would have passed it without a glance; but the tenth at least would probably know it for a place famous through the world for the number and value of the old and curious objects of art that had passed through it.
AHMM, September 2007 Page 15
