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Death at the Dolphin
Ngaio Marsh
The restoration of a bombed-out London theatre ends in violent death – and one of Marsh’s most vivid and dramatic novels.When the bombed-out Dolphin Theatre is given to Peregrine Jay by a mysterious wealthy patron, he is overjoyed. And when the mysterious oil millionaire also gives him a glove that belonged to Shakespeare, Peregrine displays it in the dockside theatre and writes a successful play about it.But then a murder takes place, a boy is attacked, the glove is stolen. Could it be that oil and water don’t mix? Inspector Roderick Alleyn is determined to find out…
NGAIO MARSH
Death at the Dolphin
COPYRIGHT (#ulink_fd4a514c-017d-5639-9c37-7280bd9fb7fd)
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
HARPER
A division of HarperCollinsPublishers Ltd. 1 London Bridge Street London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
First published in Great Britain by HarperCollinsPublishers 1967
Copyright © Ngaio Marsh Ltd 1966
Ngaio Marsh asserts the moral right to be identified as the author of these works
A catalogue copy of this book is available from the British Library
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HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication
Source ISBN: 9780006167914
Ebook Edition © JANUARY 2010 ISBN: 9780007344772
Version: 2016–09–22
DEDICATION (#ulink_9f5684d6-379b-5a52-ad38-5f9adfe783d6)
For Edmund Cork in gratitude and with affection
CONTENTS
Cover (#uf025278b-9b40-52ee-8981-c36149546e57)
Title Page (#u57879292-7acb-5203-a676-9df52194c4cd)
Copyright (#uc93362f6-49da-590f-b3fd-a876a6699e2a)
Dedication (#ua82b6fdb-89ab-51e5-981f-3db66f153917)
Cast of Characters (#u9aed7df5-300a-570f-bb70-01e5319503e8)
1. Mr Conducis (#ua5e3826d-2f81-53ab-9158-9965848ba1db)
2. Mr Greenslade (#uac326c1e-84fb-5a9e-b2c1-351786eede00)
3. Party (#u10f1fba0-ad1d-5e84-a2eb-00e955c44396)
4. Rehearsal (#litres_trial_promo)
5. Climax (#litres_trial_promo)
6. Disaster (#litres_trial_promo)
7. Sunday Morning (#litres_trial_promo)
8. Sunday Afternoon (#litres_trial_promo)
9. Knight Rampant (#litres_trial_promo)
10. Monday (#litres_trial_promo)
11. The Show Will Go On (#litres_trial_promo)
Keep Reading (#litres_trial_promo)
About the Author (#litres_trial_promo)
Also by the Author (#litres_trial_promo)
About the Publisher (#litres_trial_promo)
CAST OF CHARACTERS (#ulink_aac975d3-03c8-5751-95ad-6d182ac6d758)
CHAPTER 1 (#ulink_23f36ccc-b224-56b6-b76c-c1728e557d76)
Mr Conducis (#ulink_23f36ccc-b224-56b6-b76c-c1728e557d76)
‘Dolphin?’ the clerk repeated. ‘Dolphin. Well, yerse. We hold the keys. Were you wanting to view?’
‘If I might, I was,’ Peregrine Jay mumbled, wondering why such conversations should always be conducted in the past tense. ‘I mean,’ he added boldly, ‘I did and I still do. I want to view, if you please.’
The clerk made a little face that might have been a sneer or an occupational tic. He glanced at Peregrine, who supposed his appearance was not glossy enough to make him a likely prospect.
‘It is for sale, I believe?’ Peregrine said.
‘Oh, it’s for sale, all right.’ The clerk agreed contemptuously. He re-examined some document that he had on his desk.
‘May I view?’
‘Now?’
‘If it’s possible.’
‘Well – I don’t know, really, if we’ve anybody free at the moment,’ said the clerk and frowned at the rain streaming dirtily down the windows of his office.
Peregrine said, ‘Look. The Dolphin is an old theatre. I am a man of the theatre. Here is my card. If you care to telephone my agents or the management of my current production at The Unicorn they will tell you that I am honest, sober and industrious, a bloody good director and playwright and possessed of whatever further attributes may move you to lend me the keys of The Dolphin for an hour. I would like,’ he said, ‘to view it.’
The clerk’s face became inscrutable. ‘Oh, quite,’ he muttered and edged Peregrine’s card across his desk, looking sideways at it as if it might scuttle. He retired within himself and seemed to arrive at a guarded conclusion.
‘Yerse. Well, OK, Mr er. It’s not usually done but we try to oblige.’ He turned to a dirty-white board where keys hung like black tufts on a piece of disreputable ermine.
‘Dolphin,’ said the clerk, ‘Aeo, yerse. Here we are.’ He unhooked a bunch of keys and pushed them across the desk. ‘You may find them a bit hard to turn,’ he said. ‘We don’t keep on oiling the locks. There aren’t all that many inquiries.’ He made what seemed to be a kind of joke. ‘It’s quite a time since the blitz,’ he said.
‘Quarter of a century,’ said Peregrine, taking the keys.
‘That’s right. What a spectacle! I was a kid. Know your way I suppose, Mr – er – Jay?’
‘Thank you, yes.’
‘Thank you, sir,’ said the clerk suddenly plumping for deference, but establishing at the same time his utter disbelief in Peregrine as a client. ‘Terrible weather. You will return the keys?’
‘Indubitably,’ said Peregrine, aping, he knew not why, Mr Robertson Hare.
He had got as far as the door when the clerk said: ‘Oh, be-the-way, Mr – er – Jay. You will watch how you go. Underfoot. On stage particularly. There was considerable damage.’
‘Thank you. I’ll be careful.’
‘The hole was covered over but that was some time ago. Like a well,’ the clerk added, worrying his first finger. ‘Something of the sort. Just watch it.’
‘I will.’
‘I – er – I don’t answer for what you’ll find,’ the clerk said. ‘Tramps get in, you know. They will do it. One died a year or so back.’
‘Oh.’
‘Not that it’s likely to happen twice.’
‘I hope not.’
‘Well, we couldn’t help it,’ the clerk said crossly. ‘I don’t know how they effect an entrance, really. Broken window or something. You can’t be expected to attend to everything.’
‘No,’ Peregrine agreed and let himself out.
Rain drove up Wharfingers Lane in a slanting wall. It shot off the pavement, pattering against doors and windows and hit Peregrine’s umbrella so hard that he thought it would split. He lowered it in front of him and below its scalloped and beaded margin saw, as if at rise of curtain in a cinema, the Thames, rain-pocked and choppy on its ebb-tide.
There were not a great many people about. Vans passed him grinding uphill in low gear. The buildings were ambiguous: warehouses? Wharfingers offices? Farther down he saw the blue lamp of a River Police Station. He passed a doorway with a neat legend: ‘Port of London Authority’ and another with old-fashioned lettering ‘Camperdown and Carboys Rivercraft Company. Demurrage. Wharfage. Inquiries.’
The lane turned sharply to the left; it now ran parallel with the river. He lifted his umbrella. Up it went, like a curtain, on The Dolphin. At that moment, abruptly, there was no more rain.
There was even sunshine. It washed thinly across the stagehouse of The Dolphin and picked it out for Peregrine’s avid attention. There it stood: high, square and unbecoming, the object of his greed and deep desire. Intervening buildings hid the rest of the theatre except for the wrought-iron ornament at the top of a tower. He hurried on until, on his left, he came to a pub called The Wharfinger’s Friend and then the bomb site and then, fully displayed, the wounded Dolphin itself.
On a fine day, Peregrine thought, a hundred years ago, watermen and bargees, ship’s chandlers, business gents, deep-water sailors from foreign parts and riverside riffraff looked up and saw The Dolphin. They saw its flag snapping and admired its caryatids touched up on the ringlets and nipples with tasteful gilt. Mr Adolphus Ruby, your very own Mr Ruby, stood here in Wharfingers Lane with his thumbs in his armholes, his cigar at one angle and his hat at the other and feasted his pop eyes on his very own palace of refined and original entertainment. ‘Oh, Oh!’ thought Peregrine, ‘and here I stand but not, alas, in Mr Ruby’s lacquered high-lows. And the caryatids have the emptiest look in their blank eyes for me.’
They were still there, though, two on each side of the portico. They finished at their waists, petering out with grimy discretion in pastry-cook’s scrolls. They supported with their sooty heads and arms a lovely wrought-iron balcony and although there were occasional gaps in their plaster foliations they were still in pretty good trim. Peregrine’s doting fancy cleaned the soot from upper surfaces. It restored, too, the elegant sign: supported above the portico by two prancing cetaceous mammals, and regilded its lettering: ‘The Dolphin Theatre’.
For a minute or two he looked at it from the far side of the lane. The sun shone brightly now. River, shipping and wet roofs reflected it and the cobblestones in front of the theatre began to send up a thin vapour. A sweep of seagulls broke into atmospheric background noises and a barge honked.
Peregrine crossed the wet little street and entered the portico.
It was stuck over with old bills including the agents’ notice which had evidently been there for a very long time and was torn and discoloured. ‘This Valuable Commercial Site’, it said.
‘In that case,’ Peregrine wondered, ‘why hasn’t it been sold? Why had no forward-looking commercial enterprise snapped up the Valuable Site and sent the Dolphin Theatre crashing about its own ears?’
There were other moribund bills. ‘Sensational!’ one of them proclaimed but the remainder was gone and it was anybody’s guess what sensation it had once recommended. ‘Go home –’ was chalked across one of the doors but somebody had rubbed out the rest of the legend and substituted graffiti of a more or less predictable kind. It was all very dismal.
But as Peregrine approached the doors he found, on the frontage itself high up and well protected, the tatter of a playbill. It was the kind of thing that patrons of the Players Theatre cherish and Kensington Art shops turn into lampshades.
THE BEGGAR GIRL’S WEDDING
In response to
Overwhelming Solicitation!! –
Mr Adolphus Ruby
Presents
A Return Performa –
The rest was gone.
When, Peregrine speculated, could this overwhelming solicitation have moved Mr Ruby? In the eighties? He knew that Mr Ruby had lived to within ten years of the turn of the century and in his heyday had bought, altered, restored and embellished The Dolphin, adding his plaster and jute caryatids, his swags, his supporting marine mammals and cornucopia, his touches of gilt and lolly-pink to the older and more modest elegance of wrought iron and unmolested surfaces. When did he make all these changes? Did he, upon his decline, sell The Dolphin and, if so, to whom? It was reputed to have been in use at the outbreak of the Second World War as a ragdealer’s storehouse.
Who was the ground landlord now?
He confronted the main entrance and its great mortice lock for which he had no trouble in selecting the appropriate key. It was big enough to have hung at the girdle of one of Mr Ruby’s very own stage-gaolers. The key went home and engaged but refused to turn. Why had Peregrine not asked the clerk to lend him an oil-can? He struggled for some time and a voice at his back said:
‘Got it all on yer own, mate, aincher?’
Peregrine turned to discover a man wearing a peaked cap like a waterman’s and a shiny blue suit. He was a middle-aged man with a high colour, blue eyes and a look of cheeky equability.
‘You want a touch of the old free-in-one,’ he said. He had a gritty hoarseness in his voice. Peregrine gaped at him. ‘Oil, mate. Loobrication,’ the man explained.
‘Oh. Yes, indeed, I know I do.’
‘What’s the story, anyway? Casing the joint?’
‘I want to look at it,’ Peregrine grunted. ‘Ah, damn, I’d better try the stage-door.’
