On Miss Allingham’s knee rested a copy of the Medico-Legal Society’s quarterly report (c), containing an article on “Psychiatry and Degrees of Murder.” Miss Allingham was in need of a short-story plot and had intended to read the article during the railway journey, in the hope of picking up a psychological gimmick. But Medico-Legal journal remained unopened and unread. Instead, to occupy her thoughts, were (a) the sardine-packed scene, (b) the helter-skelter dramatis personæ, and (c) the swinging, swaying silver string.
And then came the catalyst (d). Just before the train arrived at its London terminus, which is dark and sooty and approached by many bridges, Miss Allingham, from her cramped and uncomfortable position, heard someone in the compartment say, softly but distinctly: “You ought to get that watch photographed.”
She saw neither the speaker nor the person addressed, but the words themselves were so odd, so cryptic, so elusively difficult to pin a meaning to — well, they took hold of her imagination and they held on with a bloodhound grip.
As a matter of fact, Miss Allingham simply had to write a story combining (a) the train, (b) the occupants of the railway carriage, and (c) the chain “charms” — simply to free herself from the haunting image of (d) a watch that had to be photographed. And as a matter of further fact, the essential plot worked itself out in her mind by the time a taxicab bounced her from the railway terminus to her London flat.
Thus was born Chippy Wager, the camera criminologist, the photographic private-eye — a hands-across-the-sea blood-brother to George Harmon Coxe’s Flashgun Casey, Crime Photographer.
Evidence in Camera
by Margery Allingham
Margery Allingham remembers clearly the circumstances under which “Evidence in Camera” was born. There were {a) the place; (b) the people; (c) the props — and (d) the put-together-er... The original idea sprang into her head in a railway train (a). She was traveling to London in an overcrowded railway carriage — the English train, Miss Allingham reminds us, is a series of little compartments, like the the cartridge wallets on the shoulder belt of what Miss Allingham calls the “War of Independence” uniform. She found herself so wedged in among elbows, handbags, and the more intimate sections of her fellow travelers (b) that she could scarcely move her head. She was sitting on something — to this day she does not know what, although it was certainly alive, at least in the beginning of the trip. At any rate, all Miss Allingham could see was someone’s limp gray vest, which quivered not more than six inches from her nose. Across the vest hung a silver chain from which various small objects (c) depended — four medals, a disc which proclaimed the wearer to be a “Tail Wagger,” a tiny metal tassel — all oscillating hypnotically before Miss Allingham’s eyes as the train (a) rocked toward London.
On Miss Allingham’s knee rested a copy of the Medico-Legal Society’s quarterly report (c), containing an article on “Psychiatry and Degrees of Murder.” Miss Allingham was in need of a short-story plot and had intended to read the article during the railway journey, in the hope of picking up a psychological gimmick. But Medico-Legal journal remained unopened and unread. Instead, to occupy her thoughts, were (a) the sardine-packed scene, (b) the helter-skelter dramatis personæ, and (c) the swinging, swaying silver string.
And then came the catalyst (d). Just before the train arrived at its London terminus, which is dark and sooty and approached by many bridges, Miss Allingham, from her cramped and uncomfortable position, heard someone in the compartment say, softly but distinctly: “You ought to get that watch photographed.”
She saw neither the speaker nor the person addressed, but the words themselves were so odd, so cryptic, so elusively difficult to pin a meaning to — well, they took hold of her imagination and they held on with a bloodhound grip.
As a matter of fact, Miss Allingham simply had to write a story combining (a) the train, (b) the occupants of the railway carriage, and (c) the chain “charms” — simply to free herself from the haunting image of (d) a watch that had to be photographed. And as a matter of further fact, the essential plot worked itself out in her mind by the time a taxicab bounced her from the railway terminus to her London flat.
Thus was born Chippy Wager, the camera criminologist, the photographic private-eye — a hands-across-the-sea blood-brother to George Harmon Coxe’s Flashgun Casey, Crime Photographer.
There are people who might consider Chippy Wager unethical, and others who go a great deal further. At the time I am telling you about, he was on the Cormorant, which is not that paper’s real name, but why make enemies if you don’t have to? He was, and still is of course, a photographer — one of those boys who shoot through a cop’s legs and jump onto the running-board of the limousine so that you can see the Society bride in tears as she takes her first cold look at the man she’s got. They pay those lads plenty, but Chippy had uses for money, mainly liquid, and he made another income on the side by taking photographs privately of practically everything from the Mayor and Corporation to the local beauty queen. He made time for these activities when there was none, and used the Cormorants excellent equipment, but, as he said, he had to drink.
We both went down to St. Piers for the fifth murder. I was on the old Post at the time, and when I say “we” went, I mean among others. The Southern Railway put on one excursion train for the Press and another for the police when the body of Mrs. Lily Clarke was found.
The story was simple and, if you like that sort of thing, good. You probably remember it. It rated about as much space as an election and by the time the body of the fifth victim, Mrs. Lily Clarke, was found at St. Piers, it was practically the one subject of conversation in the bars. Briefly, someone was killing off middle-aged redheads in seaside towns. There had been a summer of it. In May Mrs. Wild was killed in Whichborne, in June Mrs. Garrard at Turnhill Bay, and by July the murderer had got round to Southwharf and had attended to a Mrs. Jelf. In August he chose a fashionable resort and strangled Mrs. Ginger Hollis just outside the polo ground at Prinny’s Plage, and in September there was this latest affair at St. Piers.
In all five instances the details were astonishingly similar. Each victim was respectable, homely in appearance, in the habit of letting rooms to visitors, and either naturally or artificially auburn-haired. Each woman was found strangled in a secluded place in the open air, with her untouched handbag beside her. Each woman lost some trifling ornament, such as a cheap earring, a gold clasp from a chain bracelet, a locket containing edelweiss, and once — in Mrs. Hollis’s case — a small silver button with a regimental crest on it.
Not once was any trace of the murderer seen either before or after the crime, and by the time the St. Piers news came through, the police were savage, while the press were on the verge of being bored. There was still plenty to write about but nothing new. The Cormorant and its sisters, who had worked themselves up to screaming hysterics in July, were showing signs of exhaustion, and even the heavies, like ourselves and the World, were falling back on such items as the slayer’s preference for the new moon.