Malcolm Sage, Detective/Chapter 14
CHAPTER XIV
MALCOLM SAGE PLAYS PATIENCE
I
MALCOLM SAGE was seated at a small green-covered table playing solitaire. A velvet smoking-jacket and a pair of wine-coloured morocco slippers suggested that the day's work was done.
Patience, chess, and the cinema were his unfailing sources of inspiration when engaged upon a more than usually difficult case. He had once told Sir James Walton that they clarified his brain and coordinated his thoughts, the cinema in particular. The fact that in the surrounding darkness were hundreds of other brains, vital and active, appeared to stimulate his own imagination.
Puffing steadily at a gigantic meerschaum, he moved the cards with a deliberation which suggested that his attention rather than his thoughts was absorbed in the game.
Nearly a month had elapsed since he had agreed to take up the enquiry into the authorship of the series of anonymous letters with which Gylston and the neighbourhood had been flooded; yet still the matter remained a mystery.
A celebrated writer of detective stories had interested himself in the affair, with the result that the Press throughout the country had "stunted" Gylston as if it had been a heavy-weight championship, or a train murder.
For a fortnight Malcolm Sage had been on the Continent in connection with the theft of the Adair Diamonds. Two days previously, after having restored the famous jewels to Lady Adair, he had returned to London, to find that the Gylston affair had developed a new and dramatic phase. The curate had been arrested for an attempted assault upon Miss Crayne and, pleading "not guilty," had been committed for trial.
The incident that led up to this had taken place on the day that Malcolm Sage left London. Late that afternoon Miss Crayne had arrived at the vicarage in a state bordering on collapse. On becoming more collected, she stated that on returning from paying a call, and when half-way through a copse, known locally as "Gipsies Wood," Blade had sprung out upon her and violently protested his passion. He had gripped hold of her wrists, the mark of his fingers was to be seen on the delicate skin, and threatened to kill her and himself. She had been terrified, thinking he meant to kill her. The approach of a farm labourer had saved her, and the curate had disappeared through the copse.
This story was borne out by Joseph Higgins, the farm labourer in question. He had arrived to find Miss Crayne in a state of great alarm and agitation, and he had walked with her as far as the vicarage gate. He did not, however, actually see the curate.
On the strength of this statement the police had applied for a warrant, and had subsequently arrested the curate. Later he appeared before the magistrates, had been remanded, and finally committed for trial, bail being allowed.
Blade protested his innocence alike of the assault and the writing of the letters; but two hand-writing experts had testified to the similarity of the handwriting of the anonymous letters with that of the curate. Furthermore, they were all written upon "Olympic Script," the paper that Blade used for his sermons.
Malcolm Sage had just started a new deal when the door opened, and Rogers showed in Robert Freynes. With a nod, Malcolm Sage indicated the chair opposite. His visitor dropped into it and, taking a pipe from his pocket, proceeded to fill and light it.
Placing his meerschaum on the mantelpiece, Malcolm Sage produced a well-worn briar from his pocket, which, having got into commission, he proceeded once more with the game.
"It's looking pretty ugly for Blade," remarked Freynes, recognising by the substitution of the briar for the meerschaum that Malcolm Sage was ready for conversation.
"Tell me."
"It's those damned handwriting experts," growled Freynes. "They're the greatest anomaly of our legal system. The judge always warns the jury of the danger of accepting their evidence; yet each side continues to produce them. It's an insult to intelligence and justice."
"To hang a man because his 's' resembles that of an implicating document," remarked Malcolm Sage, as he placed a red queen on a black knave, "is about as sensible as to imprison him because he has the same accent as a foot-pad."
"Then there's Blade's astonishing apathy," continued Freynes. "He seems quite indifferent to the gravity of his position. Refuses to say a word. Anyone might think he knew the real culprit and was trying to shield him," and he sucked moodily at his pipe.
"The handwriting expert," continued Malcolm Sage imperturbably, "is too concerned with the crossing of a 't,' the dotting of an 'i,' or the tail of a 'g,' to give time and thought to the way in which the writer uses, for instance, the compound tenses of verbs. Blade was no more capable of writing those letters than our friend Murdy is of transliterating the Rosetta Stone."
"Yes; but can we prove it?" asked Freynes gloomily, as with the blade of a penknife he loosened the tobacco in the bowl of his pipe. "Can we prove it?" he repeated and, snapping the knife to, he replaced it in his pocket.
"Blade's sermons," Malcolm Sage continued, "and such letters of his as you have been able to collect, show that he adopted a very definite and precise system of punctuation. He frequently uses the colon and the semicolon, and always in the right place. In a parenthetical clause preceded by the conjunction 'and,' he uses a comma after the 'and,' not before it as most people do. Before such words as 'yet' and 'but,' he without exception uses a semicolon. The word 'only,' he always puts in its correct place. In short, he is so academic as to savour somewhat of the pomposity of the eighteenth century."
"Go on," said Freynes, as Malcolm Sage paused, as if to give the other a chance of questioning his reasoning.
"Turning to the anonymous letters," continued Malcolm Sage, "it must be admitted that the handwriting is very similar; but there all likeness to Blade's sermons and correspondence ends. Murdy has shown me nearly all the anonymous letters, and in the whole series there is not one instance of the colon or the semicolon being used. The punctuation is of the vaguest, consisting largely of the dash, which after all is a literary evasion.
"In these letters the word 'but' frequently appears without any punctuation mark before it. At other times it has a comma, a dash, or a full stop."
He paused and for the next two minutes devoted himself to the game before him. Then he continued:
"Such phrases as 'If only you knew,' 'I should have loved to have been,' 'different than,' which appear in these letters, would have been absolutely impossible to a man of Blade's meticulous literary temperament."
As Malcolm Sage spoke, Robert Freynes's brain had been working rapidly. Presently he brought his hand down with a smack upon his knee.
"By heavens, Sage!" he cried, "this is a new pill for the handwriting expert. I'll put you in the box. We've got a fighting chance after all."
"The most curious factor in the whole case," continued Malcolm Sage, "is the way in which the letters were delivered. One was thrown into a fly on to Miss Crayne's lap, she tells us, when she and her father were driving home after dining at the Hall. Another was discovered in the vicarage garden. A third was thrown through Miss Crayne's bedroom window. A few of the earlier group were posted in the neighbouring town of Whitchurch, some on days that Blade was certainly not there."
"That was going to be one of my strongest points," remarked Freynes.
"The letters always imply that there is some obstacle existing between the writer and the girl he desires. What possible object could Blade have in writing letters to various people suggesting an intrigue between his vicar's daughter and himself; yet these letters were clearly written by the same hand that addressed those to the girl, her father and her mother."
Freynes nodded his head comprehendingly.
"If Blade were in love with the girl," continued Malcolm Sage, "what was there to prevent him from pressing his suit along legitimate and accepted lines. Murdy frankly acknowledges that there has been nothing in Blade's outward demeanour to suggest that Miss Crayne was to him anything more than the daughter of his vicar."
"What do you make of the story of the assault?"
"As evidence it is worthless," replied Malcolm Sage, "being without corroboration. The farmhand did not actually see Blade."
Freynes nodded his agreement.
"Having convinced myself that Blade had nothing to do with the writing of the letters, I next tried to discover if there were anything throwing suspicion on others in the neighbourhood, who were known to use 'Olympic Script' as note-paper.
"The schoolmaster, John Gray, was one. He is an admirer of Miss Crayne, according to local gossip; but it was obvious from the first that he had nothing to do with the affair. One by one I eliminated all the others, until I came back once more to Blade.
"It was clear that the letters were written with a fountain-pen, and Blade always uses one. That, however, is not evidence, as millions of people use fountain-pens. By the way, what is your line of defence?" he enquired.
"Smashing the handwriting experts," was the reply. "I was calling four myself, on the principle that God is on the side of the big battalions; but now I shall depend entirely on your evidence."
"The assault?" queried Malcolm Sage.
"There I'm done," said Freynes, "for although Miss Crayne's evidence is not proof, it will be sufficient for a jury. Besides, she's a very pretty and charming girl. I suppose," he added, "Blade must have made some sort of declaration, which she, in the light of the anonymous letters, entirely misunderstood."
"What does he say?"
"Denies it absolutely, although he admits being in the neighbourhood of the 'Gipsies Wood,' and actually catching sight of Miss Crayne in the distance; but he says he did not speak to her."
"Is he going into the witness-box?"
"Certainly"; then after a pause he added, "Kelton is prosecuting, and he's as moral as a swan. He'll appeal to the jury as fathers of daughters, and brothers of sisters."
Malcolm Sage made no comment; but continued smoking mechanically, his attention apparently absorbed in the cards before him.
"If you can smash the handwriting experts," continued the K.C., "I may be able to manage the girl's testimony."
"It will not be necessary," said Malcolm Sage, carefully placing a nine of clubs upon an eight of diamonds.
"Not necessary?"
"I have asked Murdy to come round," continued Malcolm Sage, still intent upon his game. "I think that was his ring."
A minute later the door opened to admit the burly inspector, more blue-eyed and genial than ever, and obviously in the best of spirits.
"Good evening, Mr. Sage," he cried cheerfully. "Congratulations on the Adair business. Good evening, sir," he added, as he shook hands with Freynes.
He dropped heavily into a seat, and taking a cigar from the box on the table, which Malcolm Sage had indicated with a nod, he proceeded to light it. No man enjoyed a good cigar more than Inspector Murdy.
"Well, what do you think of it?" he enquired, looking from Malcolm Sage to Freynes. "It's a clear case now, I think." He slightly stressed the word "now."
"You mean it's Blade?" enquired Malcolm Sage, as he proceeded to gather up the cards.
"Who else?" enquired the inspector, through a cloud of smoke.
"That is the question which involves your being here now, Murdy," said Malcolm Sage dryly.
"We've got three handwriting experts behind us," said the inspector complacently.
"That is precisely where they should be," retorted Malcolm Sage quietly. "In the biblical sense," he added.
Freynes laughed, whilst Inspector Murdy looked from one to the other. He did not quite catch the allusion.
"You have done as I suggested?" enquired Malcolm Sage, when he had placed the cards in their box and removed the card-table.
"Here are all the letters received up to a fortnight ago," said the inspector, holding out a bulky packet. "Those received since have each been sealed up separately by the vicar, who is keeping half of them, whilst I have the other half; but really, Mr. Sage, I don't understand"
"Thank you, Murdy," said Malcolm Sage, as he took the packet. "It is always a pleasure to work with Scotland Yard, It is so thorough."
The inspector beamed; for he knew the compliment was sincere.
Without a word Malcolm Sage left the room, taking the packet with him.
"A bit quaint at times, ain't he, sir?" remarked Inspector Murdy to Freynes; "but one of the best. I'd trust him with anything."
Freynes nodded encouragingly.
"There are some of them down at the Yard that don't like him," he continued. "They call him 'Sage and Onions'; but most of us who have worked with him swear by Mr. Sage. He's never out for the limelight himself, and he's always willing to give another fellow a leg-up. After all, it's our living," he added, a little inconsequently.
Freynes appreciated the inspector's delicacy in refraining from any mention of the Gylston case during Malcolm Sage's absence. After all, they represented respectively the prosecution and the defence. For nearly half an hour the two talked together upon unprofessional subjects. When Malcolm Sage returned, he found them discussing the prospects of Dempsey against Carpentier.
Handing back the packet of letters to Inspector Murdy, Malcolm Sage resumed his seat, and proceeded to re-light his pipe.
"Spotted the culprit, Mr. Sage?" enquired the inspector, with something that was very much like a wink in the direction of Freynes.
"I think so," was the quiet reply. "You might meet me at Gylston Vicarage to-morrow at three. I'll telegraph to Blade to be there too. You had better bring the schoolmaster also."
"You mean" began the inspector, rising.
"Exactly," said Malcolm Sage. "It's past eleven, and we all require sleep."
II
The next afternoon the study of the vicar of Gylston presented a strange appearance.
Seated at Mr. Crayne's writing-table was Malcolm Sage, a small attaché-case at his side, whilst before him were several piles of sealed packets. Grouped about the room were Inspector Murdy, Robert Freynes, Mr. Gray, and the vicar.
All had their eyes fixed upon Malcolm Sage; but with varying expressions. Those of the schoolmaster were frankly cynical. The inspector and Freynes looked as if they expected to see produced from the attaché-case a guinea-pig or a white rabbit, pink-eyed and kicking; whilst the vicar had obviously not yet recovered from his surprise at discovering that the stranger, who had shown such a remarkable knowledge of monumental brasses and Norman architecture, was none other than the famous investigator about whom he had read so much in the newspapers.
With quiet deliberation Malcolm Sage opened the attaché-case and produced a spirit lamp, which he lighted. He then placed a metal plate upon a rest above the flame. On this he imposed a thicker plate of a similar metal that looked like steel; but it had a handle across the middle, rather resembling that of a tool used by plasterers.
He then glanced up, apparently unconscious of the almost feverish interest with which his every movement was being watched.
"I should like Miss Crayne to be present," he said.
As he spoke the door opened and the curate entered, his dark, handsome face lined and careworn. It was obvious that he had suffered. He bowed, and then looked about him, without any suggestion of embarrassment.
Malcolm Sage rose and held out his hand; Freynes followed suit.
"Ask Miss Muriel to come here," said the vicar to the maid as she was closing the door.
The curate took the seat that Malcolm Sage indicated beside him. Silently the six men waited.
A few minutes later Miss Crayne entered, pale but self-possessed. She closed the door behind her. Suddenly she caught sight of the curate. Her eyes widened, and her paleness seemed to become accentuated. A moment later it was followed by a crimson flush. She hesitated, her hands clenched at her side, then with a manifest effort she appeared to control herself and, with a slight smile and inclination of her head, took the chair the schoolmaster moved towards her. Instinctively she turned her eyes toward Malcolm Sage.
"Inspector Murdy," he said, without raising his eyes, "will you please open two of those packets?" He indicated the pile upon his left. "I should explain," he continued, "that each of these contains one of the most recent of the series of letters with which we are concerned. Each was sealed up by Mr. Crayne immediately it reached him, in accordance with Inspector Murdy's request. Therefore, only the writer, the recipient and the vicar have had access to these letters."
Malcolm Sage turned his eyes interrogatingly upon Mr. Crayne, who bowed.
Meanwhile the inspector had cut open the two top envelopes, unfolded the sheets of paper they contained, and handed them to Malcolm Sage.
All eyes were fixed upon his long, shapely fingers as he smoothed out one of the sheets of paper upon the vicar's blotting-pad. Then, lifting the steel plate by the handle, he placed it upon the upturned sheet of paper.
The tension was almost unendurable. The heavy breathing of Inspector Murdy seemed like the blowing of a grampus. Mr. Gray glanced across at him irritably. The vicar coughed slightly, then looked startled that he had made so much noise.
Everyone bent forward, eagerly expecting something; yet without quite knowing what. Malcolm Sage lifted the metal plate from the letter. There in the centre of the page, in bluish-coloured letters, which had not been there when the paper was smoothed out upon the blotting-pad, appeared the words:——
Malcolm Sage,
August 12th, 1919.
No. 138.
For some moments they all gazed at the paper as if the mysterious blue letters exercised upon them some hypnotic influence.
"Secret ink!"
It was Robert Freynes who spoke. Accustomed as he was to dramatic moments, he was conscious of a strange dryness at the back of his throat, and a consequent huskiness of voice.
His remark seemed to break the spell. Instinctively everyone turned to him. The significance of the bluish-coloured characters was slowly dawning upon the inspector; but the others still seemed puzzled to account for their presence.
Immediately he had lifted the plate from the letter, Malcolm Sage had drawn a sheet of plain sermon paper from the rack before him. This he subjected to the same treatment as the letter. When a few seconds later he exposed it, there in the centre appeared the same words:—
Malcolm Sage,
August 12th, 1919.
but on this sheet the number was 203.
Then the true significance of the two sheets of paper seemed to dawn upon the onlookers.
Suddenly there was a scream, and Muriel Crayne fell forward on to the floor.
"Oh! father, father, forgive me!" she cried, and the next moment she was beating the floor with her hands in violent hysterics.
III
"From the first I suspected the truth," remarked Malcolm Sage, as he, Robert Freynes and Inspector Murdy sat smoking in the car that Tims was taking back to London at its best pace. "Eighty-five years ago a somewhat similar case occurred in France, that of Marie de Morel, when an innocent man was sentenced to ten years' imprisonment, and actually served eight before the truth was discovered."
The inspector whistled under his breath.
"This suspicion was strengthened by the lengthy account of the affair written by Miss Crayne, which Murdy obtained from her. The punctuation, the phrasing, the inaccurate use of auxiliary verbs, were identical with that of the anonymous letters.
"Another point was that the similarity of the handwriting of the anonymous letters to Blade's became more pronounced as the letters themselves multiplied. The writer was becoming more expert as an imitator."
Freynes nodded his head several times.
"The difficulty, however, was to prove it," continued Malcolm Sage. "There was only one way; to substitute secretly marked paper for that in use at the vicarage.
"I accordingly went down to Gylston, and the vicar found me keenly interested in monumental brasses, his pet subject, and Norman architecture. He invited me to the vicarage. In his absence from his study I substituted a supply of marked Olympic Script in place of that in his letter-rack, and also in the drawer of his writing-table. As a further precaution, I arranged for my fountain-pen to run out of ink. He kindly supplied me with a bottle, obviously belonging to his daughter. I replenished my pen, which was full of a chemical that would enable me, if necessary, to identify any letter in the writing of which it had been used. When I placed my pen, which is a self-filler, in the ink, I forced this liquid into the bottle."
The inspector merely stared. Words had forsaken him for the moment.
"It was then necessary to wait until the ink in Miss Crayne's pen had become exhausted, and she had to replenish her supply of paper from her father's study. After that discovery was inevitable."
"But suppose she had denied it?" questioned the inspector.
"There was the ink which she alone used, and which I could identify," was the reply.
"Why did you ask Gray to be present?" enquired Freynes.
"As his name had been associated with the scandal it seemed only fair," remarked Malcolm Sage, then turning to Inspector Murdy he said, "I shall leave it to you, Murdy, to see that a proper confession is obtained. The case has had such publicity that Mr. Blade's innocence must be made equally public."
"You may trust me, Mr. Sage," said the inspector. "But why did the curate refuse to say anything?"
"Because he is a high-minded and chivalrous gentleman," was the quiet reply.
"He knew?" cried Freynes.
"Obviously," said Malcolm Sage. "It is the only explanation of his silence. I taxed him with it after the girl had been taken away, and he acknowledged that his suspicions amounted almost to certainty."
"Yet he stayed behind," murmured the inspector with the air of a man who does not understand. "I wonder why?"
"To minister to the afflicted, Murdy," said Malcolm Sage. "That is the mission of the Church."
"I suppose you meant that French case when you referred to the 'master-key,'" remarked the inspector, as if to change the subject.
Malcolm Sage nodded.
"But how do you account for Miss Crayne writing such letters about herself?" enquired the inspector, with a puzzled expression in his eyes. "Pretty funny letters some of them for a parson's daughter."
"I'm not a pathologist, Murdy," remarked Malcolm Sage drily, "but when you try to suppress hysteria in a young girl by sternness, it's about as effectual as putting ointment on a plague-spot."
"Sex-repression?" queried Freynes.
Malcolm Sage shrugged his shoulders; then after a pause, during which he lighted the pipe he had just re-filled, he added:
"When you are next in Great Russell Street, drop in at the British Museum and look at the bust of Faustina. You will see that her chin is similar in modelling to that of Miss Crayne. The girl was apparently very much attracted to Blade, and proceeded to weave what was no doubt to her a romance, later it became an obsession. It all goes to show the necessity for pathological consideration of certain crimes."
"But who was Faustina?" enquired the inspector, unable to follow the drift of the conversation.
"Faustina," remarked Malcolm Sage, "was the domestic fly in the philosophical ointment of an emperor," and Inspector Murdy laughed; for, knowing nothing of the marriage or the Meditations of Marcus Aurelius, it seemed to him the only thing to do.