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Inspector Alleyn 3-Book Collection 5: Died in the Wool, Final Curtain, Swing Brother Swing
Ngaio Marsh
Commemorating 75 years since the Empress of Crime’s first book, the second volume in a set of omnibus editions presenting the complete run of 32 Inspector Alleyn mysteries.DIED IN THE WOOLOne summer evening in 1942 Flossie Rubrick, MP, one of the most formidable women in New Zealand, goes to her husband's wool shed to rehearse a patriotic speech - and disappears. Three weeks later she turns up at an auction - packed inside one of her own bales of wool and very, very dead…FINAL CURTAINJust as Agatha Troy, the world famous painter, completes her portrait of Sir Henry Ancred, the Grand Old Man of the stage, the old actor dies. The dramatic circumstances of his death are such that Scotland Yard is called in - in the person of Troy's long-absent husband, Chief Detective Inspector Roderick Alleyn…SWING, BROTHER, SWINGThe music rises to a climax: Lord Pastern aims his revolver and fires. The figure in the spotlight falls - and the coup-de-théatre has become murder… Has the eccentric peer let hatred of his future son-in-law go too far? Or will a tangle of jealousies and blackmail reveal to Inspector Alleyn an altogether different murderer?
NGAIO MARSH
Ngaio Marsh Volume 5
Copyright (#ulink_038fa62a-c6e6-588e-88d4-14c65210168d)
HARPER
an imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Died in the Wool first published in Great Britain by Collins 1945 Final Curtain first published in Great Britain by Collins 1947 Swing, Brother, Swing first published in Great Britain by Collins 1949 I Can Find My Way Out first published Great Britain in Death on the Air and Other Stories by HarperCollinsPublishers 1995
Ngaio Marsh asserts the moral right to be identified as the author of these works
Copyright © Ngaio Marsh Ltd 1945, 1947, 1949
I Can Find My Way Out copyright © Ngaio Marsh (Jersey) Ltd 1989 Cover design © crushed.co.uk
A catalogue copy of this book is available from the British Library.
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.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.
Source ISBN: 9780007328734
Ebook Edition © October 2013 ISBN: 9780007531394
Version 2018-02-08
Contents
Cover (#u6844c36e-bafb-5337-a894-d6ae65c73f3f)
Title Page (#u755c7380-7867-555c-a929-93ce519ffca6)
Copyright (#u1c8d182a-fea2-5dee-87fb-4b5549636ec9)
Died in the Wool (#u96e17286-e9ea-5ea3-8267-dfd75e6e1e77)
Final Curtain (#u8797dd72-0abc-559b-a483-85154c1fda32)
Swing, Brother, Swing (#u47eac8f7-d4fa-59c3-8f67-2bd31d47bae6)
Excerpt from: I Can Find My Way Out (#u7b67b70a-5ab5-5aff-88d9-5abe33ab7a67)
Also by the Author (#ud079a9a1-d38a-55f6-9939-91914814744c)
About the Publisher (#u925cf01e-0f87-51b2-adb6-edfb3ae7ac17)
Died in the Wool (#ulink_7d5e57dd-44e1-5cad-8953-f62c8e06f7c7)
Contents
Title Page (#u96e17286-e9ea-5ea3-8267-dfd75e6e1e77)
Cast of Characters (#u8b0e151e-ebeb-5201-be7b-fcbe811128be)
Prologue – 1939–1942 (#ue9f6afa9-108c-5164-aed4-f1b1d6325d7a)
1 Alleyn at Mount Moon (#u3811c558-b71d-563a-9ff9-6090923a8cd3)
2 According to Ursula Harme (#ub081db79-68c9-5f0f-8675-996d8baefad0)
3 According to Douglas Grace (#u460bc118-0405-5aaf-a71e-01a5cab8c07b)
4 According to Fabian Losse (#u7fe43eed-89bb-5b6d-a370-1a9fd9547031)
5 According to Terence Lynne (#u1ac00a2b-fa17-5f27-bac1-918d6f8e8647)
6 According to the Files (#u8d257f99-a58f-5ad5-808b-10d9bea2c4cf)
7 According to Ben Wilson (#u3c124c05-b71d-51af-9800-050023d3671e)
8 According to Cliff Johns (#uf96e74fc-4908-5002-8be9-d46a3fb7eccb)
9 Attack (#udbd8edc9-7ecd-58e5-8efb-bf84aab9c42d)
10 Night Piece (#u7b295f98-f2f4-56b3-a8e6-a68f83e41f9c)
11 According to Arthur Rubrick (#ucf6f40ad-c463-5a45-8d7a-05ce108d6328)
Epilogue – According to Alleyn (#u4921cd46-6ad6-5597-88cf-cf5abe6fde1a)
PROLOGUE (#ulink_9426c93b-b92b-56a2-90ed-877fce51f037)
1939.
‘I am Mrs Rubrick of Mount Moon,’ said the golden-headed lady. ‘And I should like to come in.’
The man at the stage-door looked down into her face. Its nose and eyes thrust out at him, pale, all of them, and flecked with brown. Seen at close quarters these features appeared to be slightly out of perspective. The rest of the face receded from them, fell away to insignificance. Even the mouth with its slightly projecting, its never quite hidden teeth, was forgotten in favour of that acquisitive nose, those protuberant exacting eyes. ‘I should like to come in,’ Flossie Rubrick repeated.
The man glanced over his shoulder into the hall. ‘There are seats at the back,’ he said. ‘Behind the buyers’ benches.’
‘I know there are. But I don’t want to see the backs of the buyers. I want to watch their faces. I’m Mrs Rubrick of Mount Moon and my wool clip should be coming up in the next half-hour. I want to sit up here somewhere.’ She looked beyond the man at the door, through a pair of scenic book-wings to the stage where an auctioneer in shirt-sleeves sat at a high rostrum, gabbling. ‘Just there,’ said Flossie Rubrick, ‘on that chair by those painted things. That will do quite well.’ She moved past the man at the door. ‘How do you do?’ she said piercingly as she came face-to-face with a second figure. ‘You don’t mind if I come in, do you? I’m Mrs Arthur Rubrick. May I sit down?’
She settled herself on a chair she had chosen, pulling it forward until she could look through an open door in the proscenium and down into the front of the house. She was a tiny creature and it was a tall chair. Her feet scarcely reached the floor. The auctioneer’s clerks who sat below his rostrum, glanced up curiously from their papers.
‘Lot one seven six,’ gabbled the auctioneer. ‘Mount Silver.’
‘Eleven,’ a voice shouted.
In the auditorium two men, their arms stretched rigid, sprang to their feet and screamed. ‘Three!’ Flossie settled her furs and looked at them with interest. ‘Eleven-three,’ said the auctioneer.
The chairs proper to the front of the hall had been replaced by rows of desks, each of which was labelled with the name of its occupant’s firm. Van Huys. Riven Bros. Dubois. Yen. Steiner. James Ogden. Hartz. Ormerod. Rhodes. Markino. James Barnett. Dressed in business men’s suits woven from good wool, the buyers had come in from the four corners of the world for the summer wool sales. They might have been carefully selected types, so eloquently did they display their nationality. Van Huys’s buyer with his round wooden head and soft hat, Dubois’s, sleek, with a thin moustache and heavy grooves running from his nostrils to the corners of his mouth, old Jimmy Ormerod who bought for himself, screamed like a stallion, and turned purple in the face, Hartz with horn-rimmed glasses who barked, and Mr Kurata Kan of Markino’s with his falsetto yelp. Each buyer held printed lists before him, and from time to time, like a well-trained chorus-ensemble, they would all turn a page. The auctioneer’s recital was uninflected, and monotonous; yet, as if the buyers were marionettes and he their puppet-master, they would twitch into violent action and as suddenly return to their nervously intent immobility. Some holding the papers before their eyes, stood waiting for a particular wool clip to come up. Others wrote at their desks. Each had trained himself to jerk in a flash from watchful relaxation into spreadeagled yelling urgency. Many of them smoked continuously and Flossie Rubrick saw them through drifts of blue tobacco clouds.
In the open doorways and under the gallery stood groups of men whose faces and hands were raddled and creased by the sun and whose clothes were those of the country man in town. They were the wool-growers, the run-holders, the sheep-cockies, the back-countrymen. Upon the behaviour of the buyers their manner of living for the next twelve months would depend. The wool sale was what it all amounted to; long musters over high country, nights spent by shepherds in tin huts on mountain sides, late snows that came down into lambing paddocks, noisy rituals of dipping, crutching, shearing; the final down-country journey of the wool bales – this was the brief and final comment on the sheep man’s working year.
Flossie saw her husband, Arthur Rubrick, standing in a doorway. She waved vigorously. The men who were with Arthur pointed her out. He gave her a dubious nod and began to make his way along a side aisle towards her. As soon as he reached the steps that led from the auditorium up to her doorway she called out in a sprightly manner. ‘Look where I’ve got to! Come up and join me!’ He did so but without enthusiasm.
‘What are you doing up here, Floss?’ he said. ‘You ought to have gone down below.’
‘Down below wouldn’t suit me at all.’
‘Everyone’s looking at you.’
‘That doesn’t embarrass me,’ she said loudly. ‘When will he get to us, darling? Show me.’
‘Ssh!’ said her husband unhappily and handed her his catalogue. Flossie made play with her lorgnette. She flicked it open modishly with white-gloved hand and looked through it at the lists. There was a simultaneous flutter of white paper throughout the hall. ‘Over we go, I see,’ said Flossie and turned a page. ‘Now, where are we?’
Her husband grunted urgently and jerked up his head.
‘Lot one eighty,’ gabbled the auctioneer.
‘Thirteen.’
‘Half!’ yelled old Ormerod.
‘Three!’
‘Fourteen!’
The spectacled Mr Kurata Kan was on his feet, yelping, a fraction of a second quicker than Ormerod.
‘Top price,’ cried Flossie shrilly. ‘Top price! Isn’t it, darling? We’ve got top price, haven’t we? That dear little Jap!’
A ripple of laughter ran through the hall. The auctioneer grinned. The two men near the stage-door moved away, their hands over their mouths. Arthur Rubrick’s face, habitually cyanosed, deepened to a richer purple. Flossie clapped her white gloves together and rose excitedly. ‘Isn’t he too sweet,’ she demanded. ‘Arthur, isn’t he a pet?’
‘Flossie, for God’s sake,’ Arthur Rubrick muttered.
But Flossie made a series of crisp little nods in the direction of Mr Kurata Kan and at last succeeded in attracting his attention. His eyelids creased, his upper lip lifted in a crescent over his long teeth and he bowed.
‘There!’ said Flossie in triumph as she swept out at the stage-door, followed by her discomforted husband. ‘Isn’t that splendid?’
He piloted her into a narrow yard. ‘I wish you wouldn’t make me quite so conspicuous, my dear,’ he said. ‘I mean, waving to that Jap. We don’t know him or anything.’
‘No,’ cried Flossie. ‘But we’re going to. You’re going to call on him, darling, and we shall ask him to Mount Moon for the weekend.’
‘Oh, no, Flossie. Why? Why on earth?’
‘I’m all for promoting friendly relations. Besides he’s paid top price for my wool. He’s a sensible man. I want to meet him.’
‘Grinning little pip-squeak. I don’t like ’em, Floss. Do you in the eye for tuppence, the Japs would. Any day. They’re our natural enemies.’
‘Darling, you’re absolutely antediluvian. Before we know where we are you’ll be talking about The Yellow Peril.’
She tossed her head and a lock of hair dyed a brilliant gold slipped down her forehead. ‘Do remember this is 1939,’ said Flossie.
1942.
On a summer’s day in February 1942, Mr Sammy Joseph, buyer for Riven Brothers Textile Manufactory, was going through their wool stores with the storeman. The windows had been blacked out with paint, and the storeman, as they entered, switched on a solitary lamp. This had the effect of throwing into strong relief the square hessian bales immediately under the lamp. Farther down the store they dissolved in shadow. The lamp was high and encrusted with dust: the faces of the two men looked cadaverous. Their voices sounded stifled: there is no echo in a building lined with wool. The air was stuffy and smelt of hessian.
‘When did we start buying dead wool, Mr Joseph?’ asked the storeman.
‘We never buy dead wool,’ Joseph said sharply. ‘What are you talking about?’
‘There’s a bale of it down at the far end.’
‘Not in this store.’
‘I’m good for a bet on it.’
‘What’s biting you? Why d’you say it’s dead?’
‘Gawd, Mr Joseph, I’ve been in the game long enough, haven’t I? Don’t I know dead wool when I smell it? It pongs.’
‘Here!’ said Sammy Joseph. ‘Where is this bale?’
‘Come and see.’
They walked down the aisle between ranks of baled wool. The storeman at intervals switched on more lights and the aisle was extended before them. At the far end he paused and jerked his thumb at the last bale. ‘Take a sniff, Mr Joseph,’ he said.
Sammy Joseph bent towards the bale. His shadow was thrown up on the surface, across stencilled letters, a number and a rough crescent.
‘That’s from the Mount Moon clip,’ he said.
‘I know it is.’ The storeman’s voice rose nervously. ‘Stinks, doesn’t it?’
‘Yes,’ said Joseph. ‘It does.’
‘Dead wool.’
‘I’ve never bought dead wool in my life. Least of all from Mount Moon. And the smell of dead wool goes off after it’s plucked. You know that as well as I do. Dead rat, more likely. Have you looked?’
