“Hullo,” said Alleyn, “you’ve come to life, have you? You’ve no business here at all. I must get back to the Yard.”
Nigel retreated, but he managed to slip innocently back into the car with Alleyn, who raised no objection. The chief inspector was rather silent. As they drew near Scotland Yard he turned to Nigel.
“Bathgate,” he said, “is your news of the arrest out by now?”
“Yes,” Nigel assured him. “I didn’t ring up to stop it — it will be all over London already. Wonderful, isn’t it?” he added modestly.
“All over London already. Yes. That’ll be it,” murmured Alleyn.
Nigel followed him, dog-like, into the Yard. The man who had seen Props was produced.
“Was he carrying a newspaper?”
“Yes, sir.”
“Notice which one?”
The constable had noticed and was eager to say so. Props had carried Nigel’s paper.
“You’re rather wasted at this job,” said Alleyn curtly. “You use your eyes.”
The constable flushed with pleasure, and produced a sheet of paper.
“He left this message, sir, and said that he’d call again.”
“Thank you.”
Nigel, still hopeful, followed Alleyn to his room. At the door Alleyn paused politely.
“May I come in?” he asked. “Or do you wish to be alone?”
Nigel assumed the frank and manly deportment of an eager young American in a crook film. He gazed raptly at Alleyn, wagged his head sideways, and said with emotion:
“Gee, Chief, you’re — you’re a regular guy.”
“Aw, hell, buddy,” snarled Alleyn. “C’m on in.”
Once in his room, he took out a file, opened it, and laid beside it the paper he had taken from Saint, and the one Props had left at the Yard.
“What’s that?” asked Nigel.
“With your passion for the word I think you would call it a dossier. It’s the file of the Unicorn murder.”
“And you’re going to add those fresh documents?” Nigel strolled up to the desk.
“Can you read from there?” asked Alleyn anxiously. “Or shall I put them closer?”
Nigel was silent
“The Saint exhibit is a second letter from Mortlake that lands St. Jacob with a crash at the bottom of his ladder. The note from Props—” Alleyn paused.
“Well?”
“Oh, there you are.”
Nigel read the following message, written in rather babyish characters:
“I know who done it and you got the wrong man. J. Saint never done it you did not ought to of arested an innocent man yrs respectfully A. Hickson.”
“What’s it mean?” asked Nigel. “It means Props will shortly pay a call on the murderer,” said Alleyn.
CHAPTER XIX
Nigel Warned Off
“Now, don’t start badgering me with questions,” begged Alleyn. “If you must stay, stay quiet. I’ve got work to do.” He pressed his bell, hung up his hat, and lit a cigarette. Then he took off the receiver of his telephone.
“Give me Inspector Boys. Hullo, is that you, Boys? Who’s shadowing that fellow Hickson? Oh, Thompson, is it? When is he relieved? That’s in about a quarter of an hour. Has he rung up? He has! Where is he? I see. Thank you very much.”
To the constable who answered the bell he said: “Ask the man who saw Hickson to come and speak to me.”
The man in question appeared in remarkably short time. He stood to attention like a private soldier. Nigel was reminded of Props.
“What’s your name?” Alleyn asked.
“Naseby, sir.”
“Well, Naseby, I’ve got a job for you. You know Thompson?”
“Yes, sir.”
“He’s shadowing Hickson — the man you saw this afternoon. At the moment they are both in an eating-house at the corner of Westbourne Street and the Pimlico Road. Go there in a taxi. Wait till Hickson comes out, and then run across him casually in the street. Recognize him and say you’re going off duty. Get into conversation, if you can, but don’t let him suspect you. Tell him you gave me his note and you don’t think it’s much use his coming back here. Say you overheard me remark to Mr. Bathgate here that I thought he was a bit touched and that we’ve got the right man. Say I told you to tell him I couldn’t see him if he came back. I want him to think I’m quite uninterested in him and his information. He’s only just gone in there — you may be in time to sit down by him and stand him a drink. Say, in your opinion, Saint will hang. Don’t try and pump him — treat the matter as settled. Then let him go. The detective who relieves Thompson must carry on, and tell him from me if he loses his man I’ll murder him. He’s not to come away until he’s certain Hickson is bedded down for the night. Then he can ring up, and we’ll relieve him. He is to note down most particularly the number of every house Props — I mean Hickson — goes to. The more information he can get the better I’ll be pleased. Now, do you understand?”
“Yes, sir. I’ll just go over it if I may, sir.”
“Right.”
Naseby repeated his instructions; quickly and accurately.
“That’s it,” said Alleyn. “Now, away you go. Come here when you return. He’s a smart fellow, that,” he added when Naseby had gone.
He next asked for a report from the district messenger offices that had been combed through that afternoon.
The anonymous letter to Gardener was traced to an office in Piccadilly. They had been particularly busy when the gentleman called and hadn’t much noticed him. He had worn an overcoat, a muffler, a soft hat, and gloves. He had put the letter on the counter and said: “See that’s delivered at once. The boy can keep the change. I’m in a hurry,” and had gone out. Height? Medium. Voice? Couldn’t really say. Clean-shaven? They thought so. Figure? Perhaps on the stout side. “Ugh?” said Alleyn. “Our old pal, the man in the street. Might be anybody.”
He sent for Detective-Sergeant Bailey, who came in looking puzzled.
“About that typewriter,” he said at once. “It’s a rum thing. There’s no doubt about it; the anonymous letter was written on the machine in the theatre. We tested that machine on the night of the affair, and found only Mr. Gardener’s and Prop’s prints. Mr. Gardener used it in the play, so that was all right. Well, according to your instructions, sir, we’ve tested it again, and it’s got no prints on the keyboard at all now, except on the letter Q, which still has Mr. Gardener’s. I couldn’t make it out at all, at first, but I reckon I’ve got an idea now.”
“Yes? What is it, Bailey?”
“Well, sir — after we’d tested the machine it was put into the property-room. All the actors, as you know, were in the wardrobe-room. But Jacob Saint wasn’t. He came in afterwards. Now, suppose he went into the property-room and rattled that off? The doors were shut. We wouldn’t hear him on the stage, and it would only take a second or two. The paper was in the machine. He could put it in his pocket — you’d already searched him — and go off comfortably. The letter Q is out at the side, and he’d miss it when he wiped his prints off the keys.”
“Where is the property-room?” asked Nigel.
“All down that passage to the stage door. It’s a dock really. Big double doors open on to the stage, and, beyond old Blair’s perch, there are other doors opening into the yard. See what I mean, sir? When Saint goes off with Miss Emerald he passes our man at the stage door, goes out into the yard, and slips into the dock by the pilot door that’s cut in the big ones. The double doors on to the stage are shut. He turns on one light, types his letter, wipes over the keys, and slips out. And that dame knows what he’s doing and keeps a look out.”
“Still after the Emerald, I see,” said Alleyn.
Nigel remembered his theory about Saint and the proscenium door. He advanced it modestly and was listened to by Detective Bailey with a kind of grudging respect peculiar to that official.