Agatha Christie: Murder in the Making: More Stories and Secrets From Her Notebooks

by John Curran

  ‘But no-one had a green dress.’

  ‘No, Mr Le Juge, this fragment is a fragment torn from a green land armlet.’

  With a frown the judge turned to Sir Ernest.

  ‘Did anyone in that house wear an armlet?’

  ‘Yes, my lord. Mrs Cavendish, the prisoner’s wife.’

  There was a sudden exclamation and the judge commented sharply that unless there was absolute silence he would have the court cleared. He then leaned forward to the witness.

  ‘Am I to understand that you allege Mrs Cavendish to have entered the room?’

  ‘Yes, Mr Le Juge.’

  ‘But the door was bolted on the inside.’

  ‘Pardon, Mr Le Juge, we have only one person’s word for that – that of Mrs Cavendish herself. You will remember that it was Mrs Cavendish who had tried that door and found it locked.’

  ‘Was not her door locked when you examined the room?’

  ‘Yes, but during the afternoon she would have had ample opportunity to draw the bolt.’13

  ‘But Mr Lawrence Cavendish has claimed that he saw it.’

  There was a momentary hesitation on Poirot’s part before he replied.

  ‘Mr. Lawrence Cavendish was mistaken.’

  Poirot continued calmly:

  ‘I found, on the floor, a large splash of candle grease, which upon questioning the servants, I found had not been there the day before. The presence of the candle grease on the floor, the fact that the door opened quite noiselessly (a proof that it had recently been oiled) and the fragment of the green armlet in the door led me at once to the conclusion that the room had been entered through that door and that Mrs Cavendish was the person who had done so. Moreover, at the inquest Mrs Cavendish declared that she had heard the fall of the table in her own room. I took an early opportunity of testing that statement by stationing my friend Mr Hastings14 in the left wing just outside Mrs Cavendish’s door. I myself, in company with the police, went to [the] deceased’s room and whilst there I, apparently accidentally, knocked over the table in question but found, as I had suspected, that [it made] no sound at all. This confirmed my view that Mrs Cavendish was not speaking the truth when she declared that she had been in her room at the time of the tragedy. In fact, I was more than ever convinced that, far from being in her own room, Mrs Cavendish was actually in the deceased’s room when the table fell. I found that no one had actually seen her leave her room. The first that anyone could tell me was that she was in Miss Paton’s room shaking her awake. Everyone presumed that she had come from her own room – but I can find no one who saw her do so.’

  The judge was much interested. ‘I understand. Then your explanation is that it was Mrs Cavendish and not the prisoner who destroyed the will.’

  Poirot shook his head.

  ‘No,’ he said quickly, ‘That was not the reason for Mrs Cavendish’s presence. There is only one person who could have destroyed the will.’

  ‘And that is?’

  ‘Mrs Inglethorp herself.’

  ‘What? The will she had made that very afternoon?’

  ‘Yes – it must have been her. Because by no other means can you account for the fact that on the hottest day of the year [Mrs Inglethorp] ordered a fire to be lighted in her room.’

  The judge objected. ‘She was feeling ill . . .’

  ‘Mr Le Juge, the temperature that day was 86 in the shade. There was only one reason for which Mrs Inglethorp could want a fire – namely to destroy some document. You will remember that in consequence of the war economies practised at Styles, no waste paper was thrown away and that the kitchen fire was allowed to go out after lunch. There was, consequently, no means at hand for the destroying of bulky documents such as a will. This confirms to me at once that there was some paper which Mrs Inglethorp was anxious to destroy and it must necessarily be of a bulk which made it difficult to destroy by merely setting a match to it. The idea of a will had occurred to me before I set foot in the house, so papers burned in the grate did not surprise me. I did not, of course, at that time know that the will in question had only been made the previous afternoon and I will admit that when I learnt this fact, I fell into a grievous error. I deduced that Mrs Inglethorp’s determination to destroy this will came as a direct consequence of the quarrel and that consequently the quarrel took place, contrary to belief, after the making of the will.

  ‘When, however, I was forced to reluctantly abandon this hypothesis – since the various interviews were absolutely steady on the question of time – I was obliged to cast around for another. And I found it in the form of the letter which Dorcas describes her mistress as holding in her hand. Also you will notice the difference of attitude. At 3.30 Dorcas overhears her mistress saying angrily that “scandal will not deter her.” “You have brought it on yourself” were her words. But at 4.30, when Dorcas brings in the tea, although the actual words she used were almost the same, the meaning is quite different. Mrs Inglethorp is now in a clearly distressed condition. She is wondering what to do. She speaks with dread of the scandal and publicity. Her outlook is quite different. We can only explain this psychologically by presuming [that] her first sentiments applied to the scandal between John Cavendish and his wife and did not in any way touch herself – but that in the second case the scandal affected herself.

  ‘This, then, is the position: At 3.30 she quarrels with her son and threatens to denounce him to his wife who, although they neither of them realise it, overhears part of the conversation. At 4 o’clock, in consequence of a conversation at lunch time on the making of wills by marriage, Mrs Inglethorp makes a will in favour of her husband, witnessed by her gardener. At 4.30 Dorcas finds her mistress in a terrible state, a slip of paper in her hand. And she then orders the fire in her room to be lighted in order that she can destroy the will she only made half an hour ago. Later she writes to Mr Wells, her lawyer, asking him to call on her tomorrow as she has some important business to transact.

  Now what occurred between 4 o’clock and 4.3015 to cause such a complete revolution of sentiments? As far as we know, she was quite alone during the time. Nobody entered or left the boudoir. What happened then? One can only guess but I have an idea that my guess is fairly correct.

  ‘Late in the evening Mrs Inglethorp asked Dorcas for some stamps and my thinking is this. Finding she had no stamps in her desk she went along to that of her husband which stood at the opposite corner. The desk was locked but one of the keys on her bunch fitted it. She accordingly opened the desk and searched for stamps – it was then she found the slip of paper which wreaked such havoc! On the other hand Mrs Cavendish believed that the slip of paper to which her mother [in-law] clung so tenaciously was a written proof of her husband’s infidelity. She demanded it. These were Mrs Inglethorp’s words in reply:

  ‘“No, [it is out of the] question.” We know that she was speaking the truth. Mrs Cavendish however, believed she was merely shielding her step-son. She is a very resolute woman and she was wildly jealous of her husband and she determined to get hold of that paper at all costs and made her plans accordingly. She had chanced to find the key of Mrs Inglethorp’s dispatch case which had been lost that morning. She had meant to return it but it had probably slipped her memory. Now, however, she deliberately retained it since she knew Mrs Inglethorp kept all important papers in that particular case. Therefore, rising about 4 o’clock she made her way through Miss Paton’s room, which she had previously unlocked on the other side.’

  ‘But Miss Paton would surely have been awakened by anyone passing through her room.’

  ‘Not if she were drugged.’

  ‘Drugged?’

  ‘Yes – for Miss Paton to have slept through all the turmoil in that next room was incredible. Two things were possible: either she was lying (which I did not believe) or her sleep was not a natural one. With this idea in view I examined all the coffee cups most carefully, taking a sample from each and analysing. But, to my disappointment, they yielded no result. Six persons
had taken coffee and six cups were found. But I had been guilty of a very grave oversight. I had overlooked the fact that Dr Bauerstein had been there that night. That changed the face of the whole affair. Seven, not six people had taken coffee. There was, then, a cup missing. The servants would not observe this since it was the housemaid Annie who had taken the coffee tray in and she had brought in seven cups, unaware that Mr Inglethorp never took coffee. Dorcas who cleared them away found five cups and she suspected the sixth [of] being Mrs Inglethorp’s. One cup, then, had disappeared and it was Mademoiselle Cynthia’s, I knew, because she did not take sugar in her coffee, whereas all the others did and the cups I had found had all contained sugar. My attention was attracted by the maid Annie’s story about some “salt” on the cocoa tray which she took nightly into Mrs Inglethorp’s room. I accordingly took a sample of that cocoa and sent it to be analysed.’

  ‘But,’ objected the judge, ‘this has already been done by Dr Bauerstein – with a negative result – and the analysis reported no strychnine present.’

  ‘There was no strychnine present. The analysts were simply asked to report whether the contents showed if there were or were not strychnine present and they reported accordingly. But I had it tested for a narcotic.’

  ‘For a narcotic?’

  ‘Yes, Mr Le Juge. You will remember that Dr Bauerstein was unable to account for the delay before the symptoms manifested themselves. But a narcotic, taken with strychnine, will delay the symptoms some hours. Here is the analyst’s report proving beyond a doubt that a narcotic was present.’

  The report was handed to the judge who read it with great interest and it was then passed on to the jury.

  ‘We congratulate you on your acumen. The case is becoming much clearer. The drugged cocoa, taken on top of the poisoned coffee, amply accounts for the delay which puzzled the doctor.’

  ‘Exactly, Mr Le Juge. Although you have made one little error; the coffee, to the best of my belief was not poisoned.’

  ‘What proof have you of that?’

  ‘None whatever. But I can prove this – that poisoned or not, Mrs Inglethorp never drank it.’

  ‘Explain yourself.’

  ‘You remember that I referred to a brown stain on the carpet near the window? It remained in my mind, that stain, for it was still damp. Something had been spilt there, therefore, not more than twelve hours ago. Moreover there was a distinct odour of coffee clinging to the nap of the carpet and I found there two long splinters of china. I later reconstructed what had happened perfectly, for, not two minutes before I had laid down my small despatch case on the little table by the window and, the top of the table being loose, the case had been toppled off onto the floor onto the exact spot where the stain was. This, then, was what had happened. Mrs Inglethorp, on coming up to bed had laid her untasted coffee down on the table – the table had tipped up and [precipitated] the coffee onto the floor – spilling it and smashing the cup. What had Mrs Inglethorp done? She had picked up the pieces and laid them on the table beside her bed and, feeling in need of a stimulant of some kind, had heated up her cocoa16 and drank it off before going to bed. Now, I was in a dilemma. The cocoa contained no strychnine. The coffee had not been drunk. Yet Mrs Inglethorp had been poisoned and the poison must have been administered sometime between the hours of seven and nine. But what else had Mrs Inglethorp taken which would have effectively masked the taste of the poison?’

  ‘Nothing.’

  ‘Yes – Mr Le Juge – she had taken her medicine.’

  ‘Her medicine – but . . .’

  ‘One moment – the medicine, by a [coincidence] already contained strychnine and had a bitter taste in consequence. The poison might have been introduced into the medicine. But I had my reasons for believing that it was done another way. I will recall to your memory that I also discovered a box which had at one time contained bromide powders. Also, if you will permit it, I will read out to you an extract – marked in pencil – out of a book on dispensing which I noticed at the dispensary of the Red Cross Hospital at Tadminster. The following is the extract . . .’17

  ‘But, surely a bromide was not prescribed with the tonic?’

  ‘No, Mr Le Juge. But you will recall that I mentioned an empty box of bromide powders. One of the powders introduced into the full bottle of medicine would effectively precipitate the strychnine and cause it to be taken in the last dose. You may observe that the “Shake the bottle” label always found on bottles containing poison has been removed. Now, the person who usually poured out the medicine was extremely careful to leave the sediment at the bottom undisturbed.’

  A fresh buzz of excitement broke out and was sternly silenced by the judge.

  ‘I can produce a rather important piece of evidence in support of that contention, because on reviewing the case, I came to the conclusion18 that the murder had been intended to take place the night before. For in the natural course of events Mrs I[nglethorp] would have taken the last dose on the previous evening but, being in a hurry to see to the Fashion Fete she was arranging, she omitted to do so. The following day she went out to luncheon, so that she took the actual last dose 24 hours later than had been anticipated by the murderer. As a proof that it was expected the night before, I will mention that the bell in Mrs Inglethorp’s room was found cut on Monday evening, this being when Miss Paton was spending the night with friends. Consequently Mrs Inglethorp would be quite cut off from the rest of the house and would have been unable to arouse them, thereby making sure that medical aid would not reach her until too late.’

  ‘Ingenious theory – but have you no proof?’

  Poirot smiled curiously.

  ‘Yes, Mr Le Juge – I have a proof. I admit that up to some hours ago, I merely knew what I have just said, without being able to prove it. But in the last few hours I have obtained a sure and certain proof, the missing link in the chain, a link in the murderer’s own hand, the one slip he made. You will remember the slip of paper held in Mrs Inglethorp’s hand? That slip of paper has been found. For on the morning of the tragedy the murderer entered the dead woman’s room and forced the lock of the despatch case. Its importance can be guessed at from the immense risks the murderer took. There was one risk he did not take – and that was the risk of keeping it on his own person – he had no time or opportunity to destroy it. There was only one thing left for him to do.’

  Notebook 37 showing the end of the deleted chapter from The Mysterious Affair at Styles. See Footnote 19.

  ‘What was that?’

  ‘To hide it. He did hide it and so cleverly that, though I have searched for two months it is not until today that I found it. Voila, ici le prize.’

  With a flourish Poirot drew out three long slips of paper.

  ‘It has been torn – but it can easily be pieced together. It is a complete and damning proof.19 Had it been a little clearer in its terms it is possible that Mrs Inglethorp would not have died. But as it was, while opening her eyes to who, it left her in the dark as to how. Read it, Mr Le Juge. For it is an unfinished letter from the murderer, Alfred Inglethorp, to his lover and accomplice, Evelyn Howard.’

  And there, like Alfred Inglethorp’s pieced-together letter at the end of Chapter 12, Notebook 37 breaks off, despite the fact that the following pages are blank. We know from the published version that Alfred Inglethorp and Evelyn Howard are subsequently arrested for the murder, John and Mary Cavendish are reconciled, Cynthia and Lawrence announce their engagement, while Dr Bauerstein is shown to be more interested in spying than in poisoning. The book closes with Poirot’s hope that this investigation will not be his last with ‘mon ami’ Hastings.

  The reviews on publication were as enthusiastic as the pre-publication reports for John Lane. The Times called it ‘a brilliant story’ and the Sunday Times found it ‘very well contrived’. The Daily News considered it ‘a skilful tale and a talented first book’, while the Evening News thought it ‘a wonderful triumph’ and described Christie as ‘a distinguishe
d addition to the list of writers in this [genre]’. ‘Well written, well proportioned and full of surprises’ was the verdict of The British Weekly.

  Poirot’s dramatic evidence in the course of the trial resembles a similar scene at the denouement of Leroux’s The Mystery of the Yellow Room (1907), where the detective, Rouletabille, gives his remarkable and conclusive evidence from the witness box. Had John Lane but known it, in demanding the alteration to the denouement of the novel he unwittingly paved the way for a half century of drawing-room elucidations stage-managed by both Poirot and Miss Marple. And although this explanation, in both courtroom and drawing room, is essentially the same, the unlikelihood of a witness being allowed to give evidence in this manner is self-evident. In other ways also The Mysterious Affair at Styles presaged what was to become typical Christie territory – an extended family, a country house, a poisoning drama, a twisting plot, and a dramatic and unexpected final revelation.

  It is not a very extended family, however. Of Mrs Inglethorp’s family, there is a husband, two stepsons, one daughter-in-law, a family friend, a companion and a visiting doctor; there is the usual domestic staff although none of them is ever a serious consideration as a suspect. In other words, there are only seven suspects, which makes the disclosure of a surprise murderer more difficult. This very limited circle makes Christie’s achievement in her first novel even more impressive. The usual clichéd view of Christie is that all of her novels are set in country houses and/or country villages. Statistically, this is inaccurate. Less than 30 (i.e. little over a third) of her titles are set in such surroundings, and the figure drops dramatically if you discount those set completely in a country house, as distinct from a village. But as Christie herself said, you have to set a book where people live.

  Some ideas that feature in The Mysterious Affair at Styles would appear again throughout Christie’s career. The dying Emily Inglethorp calls out the name of her husband, ‘Alfred . . . Alfred’, before she finally succumbs. Is the use of his name an accusation, an invocation, a plea, a farewell; or is it entirely meaningless? Similar situations occur in several novels over the next 30 years. One novel, Why Didn’t They Ask Evans?, is built entirely around the dying words of the man found at the foot of the cliffs. In Death Comes as the End, the dying Satipy calls the name of the earlier victim, ‘Nofret’; as John Christow lies dying at the edge of the Angkatells’ swimming pool, in The Hollow, he calls out the name of his lover, ‘Henrietta.’ An extended version of the idea is found in A Murder is Announced when the last words of the soon-to-be-murdered Amy Murgatroyd, ‘she wasn’t there’, contain a vital clue and are subjected to close examination by Miss Marple. Both Murder in Mesopotamia – ‘the window’ – and Ordeal by Innocence – ‘the cup was empty’ and ‘the dove on the mast’ – give clues to the method of murder. And the agent Carmichael utters the enigmatic ‘Lucifer . . . Basrah’ before he expires in Victoria’s room in They Came to Baghdad.