The Big Book of Sherlock Holmes Stories (105 page)

“In the wine cellar, she told me, she had heard and seen nothing. Moriarty volunteered to search the cellar just to make the examination of the house complete. I told Phillimore to look after his sister and accompanied Moriarty. While I disliked the man, there was no doubt that Moriarty could hardly have engineered the colonel's disappearance as he had left the house with us and remained with us outside the house. Naturally, our search of the cellars proved futile. They were large, and one could probably have hidden a whole army in them if one so desired. But the entrance from the hall led to the area used for wine storage, and no one could have descended into the cellar without passing this area and thus being seen by Agnes. No answer to Colonel James Phillimore's disappearance presented itself to me.

“I spent a week at Tullyfane attempting to form some conclusion. The local RIC eventually gave up the search. I had to return to Oxford, and it became obvious to me that neither Agnes nor Moriarty required my company further. After that, I had but one letter from Jack Phillimore, and this several months later and postmarked at Marseille.

“Apparently, at the end of two weeks, a suicide note was found in the colonel's desk stating that he could not stand the strange hauntings in Tullyfane Abbey. Rather than await the terrible death on his fiftieth birthday, he proposed to put an end to it himself. There was attached a new will, giving the estate to Agnes in acknowledgment of her forthcoming marriage and the house in Stephen's Green to Jack. Phillimore wrote that although the will was bizarre, and there was no proof of his father's death, he nevertheless had refused to contest it. I heard later that this was against the advice of Phillimore's solicitor. But it seemed that Jack Phillimore wanted no part of the curse or the estate. He wished his sister joy of it and then took himself to Africa as a missionary where, two years later, I heard that he had been killed in some native uprising in British East Africa. It was not even on his fiftieth birthday. So much for curses.

“And Agnes Phillimore? She married James Moriarty and the property passed to him. She was dead within six months. She drowned in a boating accident when Moriarty was taking her to Beginish, just off the Kerry coast, to show her the columnar basaltic formations similar to those of the Giant's Causeway. Moriarty was the only survivor of the tragedy.

“He sold Tullyfane Abbey and its estate to an American and moved to London to become a gentleman of leisure, although his money was soon squandered due to his dissipated lifestyle.
He resorted to more overt illegal activities to replenish his wealth. I have not called him the ‘Napoleon of crime' without cause.

“As for Tullyfane, the American tried to run the estate, but fell foul of the Land Wars of a few years ago when the Land Leaguers forced radical changes in the way the great estates in Ireland were run. That was when a new word was added to the language—boycott—when the Land Leaguers ostracized Charles Boycott, the estate agent of Lord Erne at Lough Mask. The American pulled out of Tullyfane Abbey, which fell into ruin and became derelict.

“Without being able to find out what happened when James Phillimore stepped back beyond his front door to retrieve his umbrella, I was unable to bring the blame to where, I believed with every fiber in my body, it lay; namely, to James Moriarty. I believe that it was Moriarty who planned the whole dastardly scheme of obtaining the estate which he presumed would set him up for life. He was not in love with poor Agnes. He saw her as the quick means of becoming rich and, not content to wait for her marriage portion, I believe he forged the suicide note and will and then found an ingenious way to dispatch the colonel, having failed to drive him insane by playing on the curse. Once he had secured the estate, poor Agnes became dispensable.

“How he worked the curse, I was not sure until a singular event was reported to me some years later.

“It was in London, only a few years ago, that I happened to encounter Bram Stoker's younger brother, George. Like most of the Stoker brothers, with the exception of Bram, George had gone into medicine and was a Licentiate of the Royal College of Surgeons in Dublin. George had just married a lady from County Kerry, actually the sister of the McGillycuddy of the Reeks, one of the old Gaelic nobility.

“It was George who supplied me with an important piece of the jigsaw. He was actually informed of the occurrence by none other than his brother-in-law, Dennis McGillycuddy, who had been a witness to the event.

“About a year after the occurrences at Tullyfane Abbey, the body of a young boy was found in an old mine working in the Reeks. I should explain that the Reeks are the mountains on the Iveragh Peninsula which are the highest peaks in Ireland and, of course, Tullyfane stands in their shadows. The boy's body had not badly decomposed, because it had lain in the ice-cold temperatures of the small lochs one gets in the area. It so happened that a well-known Dublin medical man, Dr. John MacDonnell, the first person to perform an operation under anesthetic in Ireland, was staying in Killarney. He agreed to perform the autopsy because the local coroner had noticed a peculiar aspect to the body; he observed that in the dark the corpse of the boy was glowing.

“MacDonnell found that the entire body of the boy had been coated in a waxy yellow substance; indeed, it was the cause of death, for it had so clogged the pores of his skin that the unfortunate child had simply been asphyxiated. Upon analysis, it was discerned that the substance was a form of natural phosphorus, found in the caves in the area. I immediately realized the significance of this.

“The child, so I presumed, was one of the hapless and miserable wretches doomed to wander the byways of Ireland, perhaps orphaned during the failure of the potato crops in 1871, which had spread starvation and typhus among the peasants. Moriarty had forced or persuaded him to act the part of the wailing child whom we had observed. This child was our specter, appearing now and then at Moriarty's command to scream and cry in certain places. The phosphorus would have emitted the ethereal glow.

“Having served his purpose, Moriarty, knowing well the properties of the waxy substance with which he had coated the child's body, left the child to suffocate and dumped the body in the mountains.”

I waited for some time after Holmes had finished the story, and then I ventured to ask the question
to which he had, so far, provided no answer. As I did so, I made the following preamble.

“Accepting that Moriarty had accomplished a fiendish scheme to enrich himself and that it was only in retrospect you realized how he managed to use the child to impersonate a specter—”

Holmes breathed out sharply as he interrupted. “It is a failure of my deductive capabilities that I have no wish to advertise, Watson.”

“Yet there is one thing—just how did Moriarty manage to spirit away the body of James Phillimore after he stepped back inside the door of the house to retrieve his umbrella? By your own statement, Moriarty, Jack Phillimore, and yourself were all together, waiting for the colonel, outside his house. The family retainer, old Malone, swore the colonel did not reenter the house. How was it done? Was Malone in the pay of Moriarty?”

“It was a thought that crossed my mind. The RIC likewise questioned old Malone very closely and came to the conclusion that he was part of no plot. In fact, Malone could not say one way or another if the colonel had returned, as he was in the kitchen with two housemaids as witnesses at the time.”

“And Agnes?…”

“Agnes was in the cellar. She saw nothing. When all is said and done, there is no logical answer. James Phillimore vanished the moment he stepped back over the threshold. I have thought about every conceivable explanation for the last twenty years and have come to no suitable explanation except one….”

“Which is?”

“The powers of darkness were exalted that day, and Moriarty had made a pact with the devil, selling his soul for his ambition.”

I stared at Holmes for a moment. I had never seen him admit to any explanation of events that was not in keeping with scientific logic. Was he correct that the answer lay with the supernatural, or was he merely covering up for the fact of his own lack of knowledge or, even more horrific to my susceptibilities, did the truth lie in some part of my old friend's mind which he refused to admit even to himself?

Pinned to John H. Watson's manuscript was a small yellowing cutting from the
Kerry Evening News;
alas the date had not been noted.

“During the recent building of an RIC Barracks on the ruins of Tullyfane Abbey, a well-preserved male skeleton was discovered. Sub-Inspector Dalton told our reporter that it could not be estimated how long the skeleton had lain there. The precise location was in a bricked-up area of the former cellars of the abbey.

“Doctor Simms-Taafe said that he adduced, from the condition of the skeleton, that it had belonged to a man in midlife who had met his demise within the last twenty or thirty years. The back of the skull had been smashed in due to a severe blow, which might account for the death.

“Sub-Inspector Dalton opined that the death might well be linked with the disappearance of Colonel Phillimore, then the owner of Tullyfane Abbey, some thirty years ago. As the next owner, Professor James Moriarty was reported to have met his death in Switzerland, the last owner having been an American who returned to his homeland, and the Phillimores being no longer domiciled in the country, the RIC are placing the matter in their file of unsolved suspicious deaths.”

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.

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).

“
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 shall 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.”