The Big Book of Sherlock Holmes Stories

by Otto Penzler

  A few lines were scrawled on the cutting in Dr. Watson’s hand, which ran, “I think it was obvious that Colonel Phillimore was murdered as soon as he reentered the house. I have come to believe that the truth did lie in a dark recess of my old friend’s mind which he refused to admit was the grotesque and terrible truth of the affair. Patricide, even at the instigation of a lover with whom one is besotted, is the most hideous crime of all. Could it be that Holmes had come to regard the young woman herself as representing the powers of darkness?” The last sentence was heavily underscored.

  The Adventure of the Agitated Actress

  DANIEL STASHOWER

  ALREADY ESTABLISHED AS a writer of excellent mystery fiction, Daniel Meyer Stashower (1960– ) has enjoyed even greater success in recent years with his nonfiction works.

  After winning a Raymond Chandler Fulbright Fellowship in Detective Fiction to work at Oxford University for a year, Stashower produced his first novel, The Adventure of the Ectoplasmic Man (1985), which featured Sherlock Holmes and Harry Houdini, the fictional mystery novel blending with the author’s real-life fascination with magic and conjuring; it was nominated for an Edgar Award for best first novel.

  Houdini became a favorite protagonist and appeared in several of Stashower’s subsequent novels: The Dime Museum Murders (1999), The Floating Lady Murder (2000), and The Houdini Specter (2001).

  Having turned to nonfiction, but continuing to focus on the late nineteenth and early twentieth centuries, he wrote Teller of Tales: The Life of Arthur Conan Doyle (1999), for which he won his first Edgar. He followed this with additional critically acclaimed works on a variety of subjects, including such highly readable tomes as The Beautiful Cigar Girl: Mary Rogers, Edgar Allan Poe, and the Invention of Murder (2006), which narrates the true story of the brutal murder on which Poe based his second C. Auguste Dupin story, “The Mystery of Marie Roget”; and the Edgar-winning The Hour of Peril: The Secret Plot to Murder Lincoln Before the Civil War (2013), which recounts the Pinkertons’ tireless efforts to thwart an assassination plot during Lincoln’s journey to Washington, a plan that could have forever divided the nation.

  “The Adventure of the Agitated Actress” was first published in Murder, My Dear Watson, edited by Martin H. Greenberg, Jon Lellenberg, and Daniel Stashower (New York, Carroll & Graf, 2002).

  THE ADVENTURE OF THE AGITATED ACTRESS

  Daniel Stashower

  “WE’VE ALL HEARD stories of your wonderful methods, Mr. Holmes,” said James Larrabee, drawing a cigarette from a silver box on the table. “There have been countless tales of your marvelous insight, your ingenuity in picking up and following clues, and the astonishing manner in which you gain information from the most trifling details. You and I have never met before today, but I dare say that in this brief moment or two you’ve discovered any number of things about me.”

  Sherlock Holmes set down the newspaper he had been reading and gazed languidly at the ceiling. “Nothing of consequence, Mr. Larrabee,” he said. “I have scarcely more than asked myself why you rushed off and sent a telegram in such a frightened hurry, what possible excuse you could have had for gulping down a tumbler of raw brandy at the Lion’s Head on the way back, why your friend with the auburn hair left so suddenly by the terrace window, and what there can possibly be about the safe in the lower part of that desk to cause you such painful anxiety.” The detective took up the newspaper and idly turned the pages. “Beyond that,” he said, “I know nothing.”

  “Holmes!” I cried. “This is uncanny! How could you have possibly deduced all of that? We arrived in this room not more than five minutes ago!”

  My companion glanced at me with an air of strained abstraction, as though he had never seen me before. For a moment he seemed to hesitate, apparently wavering between competing impulses. Then he rose from his chair and crossed down to a row of blazing footlights. “I’m sorry, Frohman,” he called. “This isn’t working out as I’d hoped. We really don’t need Watson in this scene after all.”

  “Gillette!” came a shout from the darkened space across the bright line of lights. “I do wish you’d make up your mind! Need I remind you that we open tomorrow night?” We heard a brief clatter of footsteps as Charles Frohman—a short, solidly built gentleman in the casual attire of a country squire—came scrambling up the side access stairs. As he crossed the forward lip of the stage, Frohman brandished a printed handbill. It read: “William Gillette in his Smash Play! Sherlock Holmes! Fresh from a Triumphant New York Run!”

  “He throws off the balance of the scene,” Gillette was saying. “The situation doesn’t call for an admiring Watson.” He turned to me. “No offense, my dear Lyndal. You have clearly immersed yourself in the role. That gesture of yours—with your arm at the side—it suggests a man favoring an old wound. Splendid!”

  I pressed my lips together and let my hand fall to my side. “Actually, Gillette,” I said, “I am endeavoring to keep my trousers from falling down.”

  “Pardon?”

  I opened my jacket and gathered up a fold of loose fabric around my waist. “There hasn’t been time for my final costume fitting,” I explained.

  “I’m afraid I’m having the same difficulty,” said Arthur Creeson, who had been engaged to play the villainous James Larrabee. “If I’m not careful, I’ll find my trousers down at my ankles.”

  Gillette gave a heavy sigh. “Quinn!” he called.

  Young Henry Quinn, the boy playing the role of Billy, the Baker Street page, appeared from the wings. “Yes, Mr. Gillette?”

  “Would you be so good as to fetch the wardrobe mistress? Or at least bring us some extra straight pins?” The boy nodded and darted backstage.

  Charles Frohman, whose harried expression and lined forehead told of the rigors of his role as Gillette’s producer, folded the handbill and replaced it in his pocket. “I don’t see why you feel the need to tinker with the script at this late stage,” he insisted. “The play was an enormous success in New York. As far as America is concerned, you are Sherlock Holmes. Surely the London audiences will look on the play with equal favor?”

  Gillette threw himself down in a chair and reached for his prompt book. “The London audience bears little relation to its American counterpart,” he said, flipping rapidly through the pages. “British tastes have been refined over centuries of Shakespeare and Marlowe. America has only lately weaned itself off of Uncle Tom’s Cabin.”

  “Gillette,” said Frohman heavily, “you are being ridiculous.”

  The actor reached for a pen and began scrawling over a page of script. “I am an American actor essaying an English part. I must take every precaution and make every possible refinement before submitting myself to the fine raking fire of the London critics. They will seize on a single false note as an excuse to send us packing.” He turned back to Arthur Creeson. “Now, then. Let us continue from the point at which Larrabee is endeavoring to cover his deception. Instead of Watson’s expression of incredulity, we shall restore Larrabee’s evasions. Do you recall the speech, Creeson?”

  The actor nodded.

  “Excellent. Let us resume.”

  I withdrew to the wings as Gillette and Creeson took their places. A mask of impassive self-possession slipped over Gillette’s features as he stepped back into the character of Sherlock Holmes. “Why your friend with the auburn hair left so suddenly by the terrace window,” he said, picking up the dialogue in midsentence, “and what there can possibly be about the safe in the lower part of that desk to cause you such painful anxiety.”

  “Ha! Very good!” cried Creeson, taking up his role as the devious James Larrabee. “Very good indeed! If those things were only true, I’d be wonderfully impressed. It would be absolutely marvelous!”

  Gillette regarded him with an expression of weary impatience. “It won’t do, sir,” said he. “I have come to see Miss Alice Faulkner and will not leave until I have done so. I have reason to believe that the young lady is being held against her will. You sha
ll have to give way, sir, or face the consequences.”

  Creeson’s hands flew to his chest. “Against her will? This is outrageous! I will not tolerate—”

  A high, trilling scream from backstage interrupted the line. Creeson held his expression and attempted to continue. “I will not tolerate such an accusation in my own—”

  A second scream issued from backstage. Gillette gave a heavy sigh and rose from his chair as he reached for the prompt book. “Will that woman never learn her cue?” Shielding his eyes against the glare of the footlights, he stepped again to the lip of the stage and sought out Frohman. “This is what comes of engaging the company locally,” he said in an exasperated tone. “We have a mob of players in ill-fitting costumes who don’t know their scripts. We should have brought the New York company across, hang the expense.” He turned to the wings. “Quinn!”

  The young actor stepped forward. “Yes, sir?”

  “Will you kindly inform—”

  Gillette’s instructions were cut short by the sudden appearance of Miss Maude Fenton, the actress playing the role of Alice Faulkner, who rushed from the wings in a state of obvious agitation. Her chestnut hair fell loosely about her shoulders and her velvet shirtwaist was imperfectly buttoned. “Gone!” she cried. “Missing! Taken from me!”

  Gillette drummed his fingers across the prompt book. “My dear Miss Fenton,” he said, “you have dropped approximately seventeen pages from the script.”

  “Hang the script!” she wailed. “I’m not playing a role! My brooch is missing! My beautiful, beautiful brooch! Oh, for heaven’s sake, Mr. Gillette, someone must have stolen it!”

  Selma Kendall, the kindly, auburn-haired actress who had been engaged to play Madge Larrabee, hurried to Miss Fenton’s side. “It can’t be!” she cried. “He only just gave it—that is to say, you’ve only just acquired it! Are you certain you haven’t simply mislaid it?”

  Miss Fenton accepted the linen pocket square I offered and dabbed at her streaming eyes. “I couldn’t possibly have mislaid it,” she said between sobs. “One doesn’t mislay something of that sort! How could such a thing have happened?”

  Gillette, who had cast an impatient glance at his pocket watch during this exchange, now stepped forward to take command of the situation. “There, there, Miss Fenton,” he said, in the cautious, faltering tone of a man not used to dealing with female emotions. “I’m sure this is all very distressing. As soon as we have completed our run-through, we will conduct a most thorough search of the dressing areas. I’m sure your missing bauble will be discovered presently.”

  “Gillette!” I cried. “You don’t mean to continue with the rehearsal? Can’t you see that Miss Fenton is too distraught to carry on?”

  “But she must,” the actor declared. “As Mr. Frohman has been at pains to remind us, our little play has its London opening tomorrow evening. We shall complete the rehearsal, and then—after I have given a few notes—we shall locate the missing brooch. Miss Fenton is a fine actress, and I have every confidence in her ability to conceal her distress in the interim.” He patted the weeping actress on the back of her hand. “Will that do, my dear?”

  At this, Miss Fenton’s distress appeared to gather momentum by steady degrees. First her lips began to tremble, then her shoulders commenced heaving, and lastly a strange caterwauling sound emerged from behind the handkerchief. After a moment or two of this, she threw herself into Gillette’s arms and began sobbing lustily upon his shoulder.

  “Gillette,” called Frohman, straining to make himself heard above the lamentations, “perhaps it would be best to take a short pause.”

  Gillette, seemingly unnerved by the wailing figure in his arms, gave a strained assent. “Very well. We shall repair to the dressing area. No doubt the missing object has simply slipped between the cushions of a settee.”

  With Mr. Frohman in the lead, our small party made its way through the wings and along the backstage corridors to the ladies’ dressing area. As we wound past the scenery flats and crated property trunks, I found myself reflecting on how little I knew of the other members of our troupe. Although Gillette’s play had been a great success in America, only a handful of actors and crewmen had transferred to the London production. A great many members of the cast and technical staff, myself included, had been engaged locally after a brief open call. Up to this point, the rehearsals and staging had been a rushed affair, allowing for little of the easy camaraderie that usually develops among actors during the rehearsal period.

  As a result, I knew little about my fellow players apart from the usual backstage gossip. Miss Fenton, in the role of the young heroine Alice Faulkner, was considered to be a promising ingenue. Reviewers frequently commented on her striking beauty, if not her talent. Selma Kendall, in the role of the conniving Madge Larrabee, had established herself in the provinces as a dependable support player, and was regarded as something of a mother hen by the younger actresses. Arthur Creeson, as the wicked James Larrabee, had been a promising romantic lead in his day, but excessive drink and gambling had marred his looks and scotched his reputation. William Allerford, whose high, domed forehead and startling white hair helped to make him so effective as the nefarious Professor Moriarty, was in fact the most gentle of men, with a great passion for tending the rosebushes at his cottage in Hove. As for myself, I had set out to become an opera singer in my younger days, but my talent had not matched my ambition, and over time I had evolved into a reliable, if unremarkable, second lead.

  “Here we are,” Frohman was saying as we arrived at the end of a long corridor. “We shall make a thorough search.” After knocking on the unmarked door, he led us inside.

  As was the custom of the day, the female members of the cast shared a communal dressing area in a narrow, sparsely appointed chamber illuminated by a long row of electrical lights. Along one wall was a long mirror with a row of wooden makeup tables before it. A random cluster of coat racks, reclining sofas, and well-worn armchairs were arrayed along the wall opposite. Needless to say, I had never been in a ladies’ dressing room before, and I admit that I felt my cheeks redden at the sight of so many underthings and delicates thrown carelessly over the furniture. I turned to avert my eyes from a cambric corset cover thrown across a ladderback chair, only to find myself gazing upon a startling assortment of hosiery and lace-trimmed drawers laid out upon a nearby ottoman.

  “Gracious, Mr. Lyndal,” said Miss Kendall, taking a certain delight in my discomfiture. “One would almost think you’d never seen linens before.”

  “Well, I—perhaps not so many at once,” I admitted, gathering my composure. “Dr. Watson is said to have an experience of women which extends over many nations and three separate continents. My own experience, I regret to say, extends no further than Hatton Cross.”

  Gillette, it appeared, did not share my sense of consternation. No sooner had we entered the dressing area than he began making an energetic and somewhat indiscriminate examination of the premises, darting from one side of the room to the other, opening drawers and tossing aside cushions and pillows with careless abandon.

  “Well,” he announced, after five minutes’ effort, “I cannot find your brooch. However, in the interests of returning to our rehearsals as quickly as possible, I am prepared to buy you a new one.”

  Miss Fenton stared at the actor with an expression of disbelief. “I’m afraid you don’t understand, Mr. Gillette. This was not a common piece of rolled plate and crystalline. It was a large, flawless sapphire in a rose gold setting, with a circle of diamond accents.”

  Gillette’s eyes widened. “Was it, indeed? May I know how you came by such an item?”

  A flush spread across Miss Fenton’s cheek. “It was—it was a gift from an admirer,” she said, glancing away. “I would prefer to say no more.”

  “Be that as it may,” I said, “this is no small matter. We must notify the police at once!”

  Gillette pressed his fingers together. “I’m afraid I must agree. This is
most inconvenient.”

  A look of panic flashed across Miss Fenton’s eyes. “Please, Mr. Gillette! You must not involve the police! That wouldn’t do at all!”

  “But your sapphire—?”

  She tugged at the lace trimming of her sleeve. “The gentleman in question—the man who presented me with the brooch—he is of a certain social standing, Mr. Gillette. He—that is to say, I—would prefer to keep the matter private. It would be most embarrassing for him if his—if his attentions to me should become generally known.”

  Frohman gave a sudden cough. “It is not unknown for young actresses to form attachments with certain of their gentlemen admirers,” he said carefully. “Occasionally, however, when these matters become public knowledge, they are attended by a certain whiff of scandal. Especially if the gentleman concerned happens to be married.” He glanced at Miss Fenton, who held his gaze for a moment and then looked away. “Indeed,” said Frohman. “Well, we can’t have those whispers about the production, Gillette. Not before we’ve even opened.”

  “Quite so,” I ventured, “and there is Miss Fenton’s reputation to consider. We must discover what happened to the brooch without involving the authorities. We shall have to mount a private investigation.”

  All eyes turned to Gillette as a mood of keen expectation fell across the room. The actor did not appear to notice. Having caught sight of himself in the long mirror behind the dressing tables, he was making a meticulous adjustment to his waistcoat. At length, he became aware that the rest of us were staring intently at him.

  “What?” he said, turning away from the mirror. “Why is everyone looking at me?”

  —

  “I am not Sherlock Holmes,” Gillette said several moments later, as we settled ourselves in a pair of armchairs. “I am an actor playing Sherlock Holmes. There is a very considerable difference. If I did a turn as a pantomime horse, Lyndal, I trust you would not expect me to pull a dray wagon and dine on straw?”