“Mrs. Chater. No information about her. Depressed, neurotic woman, probably suffering from acute repression. Probably, or possibly, one of Chater’s victims.
“Sir James Earnshaw, M.P. Public character in terror of his past. Succeeded Chater in his father’s business, forged his employer’s signature on cheque, was not prosecuted, but Chater in due course discovered this, using the knowledge for blackmailing purposes. Arranged Chater’s invitation to Bragley Court, under pressure, but in a mood to rebel.
“Zena Wilding. Actress. Believed herself to be Mrs. Mark Turner. Met Turner three years ago on tour, had affair with him, and as result went through form of marriage. Hated him, and left him immediately, never acknowledging marriage publicly, and trying to shake him off.
“Mark Turner. Actor. Unsuccessful. Failure due to wine, women, and natural lack of talent. Never told Zena Wilding he was married, and after his affair with her, he married her in the hope that his real wife would never turn up. She did not, but Chater did, Turner’s real wife being Chater’s sister. This explains Chater’s knowledge. Mrs. Turner died soon afterwards, but this did not make the marriage with Zena Wilding valid. Chater threatened Turner that he would expose true position to Zena Wilding, and bled Turner, who in his turn sponged on Zena Wilding. She gave him money to keep him out of the way. This was one reason why Turner wanted the truth kept from her—she would never have married him a second time, and he would have lost his hold over her. Another reason was that he continued to desire her, and retained his hope that one day she would return to him. Chater increased pressure and threatened to expose him to Zena Wilding at Bragley Court. Turner made counter-threat of following Chater to Bragley Court. Chater wrote again, explaining Turner’s delicate position to him, conveying further threats, making further demands, and telling him not to be a fool. (See correspondence found in Turner’s bag.)
“Leicester Pratt. Artist. Painting picture of Lord Aveling’s daughter, Anne. Made suggestions to a maid, Bessie (q.v.), that she would make a good artist’s model.
“Bessie Hill. Maid at Bragley Court. Definitely attractive, and engaged to Thomas Newson (q.v.).
“Thomas Newson. Butler. Mad with jealousy. No brains. Weak, impulsive, acting on the moment, and regretting afterwards. Angry with Pratt for suggesting Bessie should be a model. Angry with anybody who looks at Bessie.
“Leng. Chinese cook. Kept poison in cupboard over his bed, to put himself to permanent sleep should he ever desire it.”
Kendall paused in his writing. He had come across trouble of most kinds; had watched men suffer mentally and physically; had seen their edifices crumble to the ground. “Do any of us know what lies ahead of us?” he reflected. “Even the most confident? Shall I mark this Chinaman down a wise fellow?”
He resisted the temptation, stretched, and resumed:
“In the following reconstruction, I shall confine myself as far as possible to matter bearing directly or indirectly on the five mysteries which succeeded each other in this order: (1) the ruining of Pratt’s picture; (2) the death of the dog, Haig; (3) the death of Mark Turner; (4) the death of Henry Chater; and (5) the disappearance of Mrs. Chater. Where times are mentioned, it will be understood that in most cases these are approximate.
“It is interesting to note that the particular form assumed by the tragedies moving towards Bragley Court were largely dictated by nothing more than a spasm of jealousy that had nothing whatever to do with them, but we must begin the reconstruction at just over four and a half hours before this spasm occurred, when the 12.10 train from London drew in at Flensham station. Four guests were on this train—the Rowes and Harold Taverley—but our attention concentrates on a fifth passenger who alighted. Mark Turner.
“He was not concerned with the four guests. He may have seen them leave by car for Bragley Court, but the guests he was interested in, and who he knew were due to arrive that day, were not on this particular train.
“So he waited for the next, filling in the time by taking strolls (never without the black bag he had brought with him), and having lunch at the inn by the station—the Black Stag. When at the inn he sat by the window overlooking the platform. He was in a highly-strung condition.
“But the next train, arriving at 3.28, gave him another disappointment. It brought two more guests—Mrs. Leveridge and John Foss, the latter an accidental one—but not the guests he was watching for.
“Turner did not give up. Nothing would have induced him to. He was a man with a fixed purpose from which it would have been impossible to divert him. He found that the next train would not arrive till 5.56, took another stroll (still keeping his bag with him), returned to the inn at five, and had tea. He left the inn just before the 5.56 drew in, and he saw Zena Wilding, the Chaters and Bultin alight.
“He was standing near the car that was waiting to take them to Bragley Court. He intruded himself in front of the woman who believed she was his wife—Zena Wilding. Confused and terrified (not only because she hated the man, but because his presence might interfere with her plans and Lord Aveling’s interest in her), she pretended not to know him and entered the car. Chater, with sang-froid, pretended similar ignorance, and coolly offered a light to the fellow he was blackmailing. But he uttered a quiet warning and then entered the car himself. The car drove off.
“What Turner’s exact intention was at the station is not quite clear. He may merely have wished, at this point, to ascertain the arrival of the Chaters and his alleged wife, or some scheme may have gone awry through accidental circumstances or the momentary loss of nerve. I am inclined to think, however, that up till now Turner’s purpose was more fixed than his plan, and that he followed blind impulse when he started running after the car.
“But he did not have to run far, and it is possible that he had already noted the woman’s bicycle against the gate in his previous strolls. In any case, he stole it, and probably rode it faster than it had ever been ridden before.
“He reached Bragley Court about twenty minutes after the car. Avoiding the front entrance, he found his way round to the back, and hid the cycle in a shed. The cycle was placed on a pile of straw in a dark corner, and the bag was concealed beneath the straw. Later he would need both, but for the moment he wanted to be free to reconnoitre.
“He began to approach the house from the back, passing near the studio.
“Physical passion and physical desire are at the root of countless tragedies. Nearly two hours previously it had driven another man to commit a crime (though not so great a crime as Turner contemplated), and this other man was already repenting his action. Let us at this point consider the case of Thomas, the butler.
“Pratt had twice suggested to Bessie, Thomas’s fiancée, that she would make a good artist’s model. Pratt may not have meant it seriously, but Thomas, the inflamed, jealous lover, took it seriously. His jealousy and possessiveness swept over his judgment, drowning it. He followed Bessie, quarrelled with her, and acting upon a sudden, uncontrollable impulse when accident gave him the opportunity, he entered Pratt’s studio at a time when it was inadvertently unlocked, and ruined the picture Pratt was painting.
“He had committed this act at about ten minutes to five, while Turner was returning to the Black Stag for his tea, but the act had not yet been discovered. And now Thomas was back in the studio, wondering whether he could find any means of remedying his vandalism.
“It so happened that, also at about this time, Harold Taverley was returning from a stroll.
“Time now becomes an important element in the sequence of events, and the following time-table will explain how the clock now played its part in joining separate stories and weaving them into a tangled whole. While the exact times given below could not be sworn to in a court of law, they may be taken as sufficiently accurate to cover present purposes:
“6.33 p.m.—Turner leaves cycle in shed, concealing his bag in the straw.
&n
bsp; “6.35 p.m.—Thomas enters the studio, and wonders whether he can get rid of the blemish he has made on the picture.
“6.38 p.m.—Turner, making his way towards the back of the house, finds himself by the studio. He hears some one behind him. This is Harold Taverley, returning from a short stroll in the wood. He dives into the studio. Thomas, terrified, imagines it is Pratt, and exclaims (with characteristic lack of intelligence), “I didn’t do it!” Turner claps his hand over Thomas’s mouth. Taverley moves towards studio, to look at the picture of Anne (which he dislikes), but hearing sounds assumes that Pratt is there, so changes his mind and enters the house by the back door. Either then or earlier, he has dropped a cigarette-end near the studio door.
“6.40 p.m.—Taverley meets Mrs. Leveridge by back door and gives her a cigarette.
“6.43 p.m.—Taverley enters his bedroom just as Pratt is leaving his own bedroom to go to the studio.
“6.45 p.m.—Pratt, having seen Taverley enter his room, reaches back door, and finds Mrs. Leveridge still there, smoking the cigarette given to her by Taverley. They chat for about five minutes—otherwise events would have taken a different course, and Pratt would have reached the studio before Turner had completed his business with Thomas. Mrs. Leveridge mentions that Taverley gave her the cigarette, and Pratt notices, later, the cigarette-end, of the same brand, outside the studio door. This makes Pratt at first suspect Taverley of having ruined his picture.
“6.50 p.m.—Pratt leaves Mrs. Leveridge, crosses the back lawn, and approaches the studio. By these times it will be seen that twelve minutes have elapsed since Turner and Thomas met, and during these twelve minutes Turner has taken advantage of the position to make use of Thomas. He threatens to expose Thomas unless Thomas consents to deliver a note secretly to Zena Wilding. He scribbles the note, which says, ‘Open the back door to-night at 1 a.m., or there will be murder. I mean it. I’m desperate. I must see you.’ He puts the letter in an envelope, addresses it to Zena Wilding, and seals it. Thomas leaves just before Pratt arrives. Turner has no time to escape, and hides behind a big canvas. Pratt enters studio. Discovers the outrage on his picture. Does not discover Turner.
“6.55 p.m.—Pratt leaves studio, locking it and pocketing key. Finds Taverley’s cigarette-end.
“6.56 p.m.—Thomas has been hovering nearby, wondering what will happen if Pratt finds Turner. Pratt now sees Thomas, and makes a grab at him, but Thomas hits him and runs. It is too dark where the encounter takes place for Pratt to identify Thomas.
“6.58 p.m.—Mrs. Leveridge has left the back door and gone inside, but Pratt now finds Chater there, talks to him, and leaves him. Chater, scenting trouble, spots Thomas, and watches him.
“7.15 p.m.—Thomas gives Zena Wilding the note as she is about to go up to change for dinner. Chater, who has spied on Thomas, suddenly appears, and contrives to see the writing on the envelope before Miss Wilding can escape with it. He recognises the writing.
“This incident had far-reaching results. Chater was designedly late for dinner, because he wanted an opportunity to search Miss Wilding’s room for the note. He did not find it, for Miss Wilding burnt it. He may have found the ashes. But before taking his place at the dinner-table, he heard voices while passing through the hall, and listened to a conversation between Thomas and the Chinese cook, Leng. Thomas, in his morbid mood, was asking Leng how he would commit suicide if he ever decided to, and Leng replied that he had some painless, quick-working poison in a locked wall-cupboard over his bed.
“Whether the idea of securing the poison occurred to Chater then or afterwards is a moot point, but he did not act upon it at once. He went to the dining-room, and I incline to the theory that it was not until his encounter with Thomas at 1 a.m. that the idea came to him, or at any rate crystallised. His motive in securing the poison is also a matter for conjecture. He may have wanted it for a particular person. He may have considered that some particular person, such as Thomas, might want it for him. Or he may have considered that it would be useful to possess the poison, in case the need for it should ever arise.
“One thing we do know. When he stole the poison he left his visiting-card behind him in the form of a fingerprint.
“Before reconstructing the events of that night, let us ask why Turner, who all this while had been a prisoner in the studio, apparently made no effort to escape. He remained in the studio from the time Pratt locked him in till 1 a.m.
“The answer to this, I think, is simple. He may have contemplated the idea of an immediate escape. He may have attempted it. But the only method of escape was by the small window, and to break the glass while people were about was to take a big risk; and, even if he effected his escape, he had to find somewhere else to hide till 1 a.m. The minutes went by, and no one came. Gradually the sense of security gained on him—or, at least, of the best security he could obtain. He may have spent some time crouching by the door, to deal quickly with anybody who came. His revolver was in his bag under the straw in the shed, but he had his knife on him. Or he may have kept close to the large canvas which had concealed him once, and which might conceal him again.
“But no one came, and, as we know, he did not break the window and escape till 1 a.m. His misfortune then was the dog, Haig.
“Now let us revert to our time-table and note how events followed and dovetailed into each other, culminating in the second and third tragedies. The death of a dog may not by some be regarded as a tragedy, but some dogs are more worthy than some men, and can be more justly mourned.
“The first of these events occurred at:
“12.55 a.m.—Miss Wilding slips down to the hall and opens the back door for Turner. She had not undressed, only having gone into her room some twenty minutes earlier, after concluding her interview (about her play) with Lord Aveling. She nearly decided not to open the door, but feared the threats in Turner’s note, and thought it would be best to see him and have it out with him.
“1 a.m.—While she is waiting inside the door, Turner breaks the glass of the window and escapes from the studio. Probably he escaped later than intended because of the dog’s growling or barking, which held him back. The dog is not chained. It is in a wire enclosure. Turner opens the door to the enclosure, to stop the barking, but the dog leaps out at him, and he runs. A running fight ensues, away from the house. Turner’s hand is bitten, and the mark of this remains, but he succeeds at last in stabbing the dog with his knife.
“1.1 a.m.—Thomas, on his way to Leng’s room to steal the poison, hears noises, and goes into the hall. Miss Wilding gasps and attempts to return to the stairs, but is too late, and dives behind a big arm-chair as Thomas enters the hall.
“1.2 a.m.—Chater comes down the stairs. He has heard some one moving, and has descended to investigate. Or, alternatively, he has descended to steal the poison; but this is less likely, for it would imply a time coincidence. Thomas’s time coincided with Miss Wilding’s because he was waiting till every one had gone up to bed, and allowed twenty minutes’ grace after Lord Aveling and Miss Wilding went up. Chater and Thomas meet, but neither sees Miss Wilding. Chater assumes he has caught Thomas in an affair with Bessie, finds back door unlocked, threatens Thomas, and cows him. Thomas, demoralised, returns to bed. He has no nerve now to steal the poison.
“1.8 a.m.—Chater goes out through the back door. Miss Wilding seizes the opportunity and flies back to her bedroom, too upset to leave it again. Probably Chater connects the unlocked door and the sounds outside with Turner, for, although he has not read the note, he knows that Turner is somewhere around. He crosses to the studio, sees broken glass, probably the open door to the dog-run also. He continues beyond, and comes upon Turner just as Turner is about to enter the shed for his bag, containing the revolver. (The revolver was a silent one, the knife merely being a second weapon. Turner may have hoped that some turn of events, such as a yielding on Miss Wilding’s part, would avert the necessity for the m
urder of Chater. His thwarted passion for Miss Wilding was the mainspring of all he did. But he had made every preparation for the murder, even to bringing a second suit to change to—a wig and make-up—to assist his get-away after the crime and reduce the chances of being identified.) Too late now to get the revolver, Turner flies. His encounter with the dog, and the bite he has received, have reduced his morale. Chater also is the stronger man. The chase takes them towards the quarry. Chater gains on Turner. Turner swings round and hurls his knife at Chater. The knife misses, and drops into a small pool. Almost on the edge of the quarry the race ends. Chater seizes Turner, the men close, and Chater gets his hands round Turner’s throat. He chokes Turner. Turner drops to the ground.
“1.19 a.m.—To create the appearance of an accident, Chater tips Turner over the edge. What Chater felt like, and what he did, immediately after this act can only be guessed. But we know he returned to the shed, and we know this for a curious reason. Next day Mrs. Chater left Bragley Court on the bicycle, and she could only have known where it was if Chater had seen it in the shed himself and had informed her. We may assume Chater went to the shed on his way back to find out what Turner was doing there, and that he discovered the bicycle, but not the bag beneath the straw. He might believe, on seeing the bicycle, that Turner was about to run away when they met.
“1.30 a.m.—Chater returns to the house, locking back door. He has committed murder. Suppose he is caught? Or suppose, if Turner’s death is traced to him, he escapes the rope but has to pay the penalty of manslaughter? He has had one term of imprisonment. He has sworn never to endure the experience again. His desire to possess the poison ‘that acts quickly and painlessly’ is now complete. Swiftly—in four minutes—he goes to Leng’s room (which, we may assume, he has already located), finds the key to the small wall cupboard in the pocket of Leng’s trousers (Leng mentioned he always kept the key on him), finds a little glass tube containing the poison, steals it, and makes the one mistake, in his hurry, of leaving a fingerprint behind.
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