Star Trap

by Simon Brett

  ‘Congratulations. That’s marvellous.’

  ‘Yes, it is rather good, isn’t it? I must dash. The cow on the phone wanted me to wait till the morning. God, I should take her something.’ He started frantically scanning the room. ‘I don’t know what – grapes or . . . where would I get grapes at three in the morning? Oh, I’d better just –’

  ‘Julian, I’m sorry, but who was in that company?’

  ‘What?’

  ‘In Cheltenham.’

  ‘Oh look, Charles, I’ve got to rush. I –’

  ‘Please.’

  ‘Well, I can’t remember all of them.’ He spoke as he was leaving the room. Charles followed him through the hall and out of the front door to the car. ‘There was Miriam Packer, and Freddie Wort . . . and Terry Hatton and . . . oh, what’s the name of that terrible piss-artist?’

  Charles knew the answer as he spoke. ‘Everard Austick?’

  ‘Yes.’

  ‘And was there a pianist called Frederick Wooland?’

  ‘Good Lord, yes. I’d never have remembered his name. How did you know? Look, I’ve got to dash.’

  Julian’s car roared off, leaving the road empty. And Charles feeling emptier.

  It was with a feeling of nausea, but not surprise, that he heard next day that Mark Spelthorne had been found hanged in his digs.

  PART IV

  Brighton

  CHAPTER THIRTEEN

  IT SEEMED STRANGE to continue working with Christopher Milton after that. Or perhaps the strangeness lay in how easy it was, how much of the time it was possible to forget the grotesque suspicions which had now hardened in Charles’ mind. And they were busy. Lumpkin! was scheduled to open at the King’s Theatre on November 27th and the problems of re-rehearsing great chunks of the show were now exacerbated by extra rehearsals for Mark Spelthorne’s understudy. (The management were dithering in London as to whether they should leave the part in the understudy’s hands or bring someone else with a bit more name value. The boy who’d taken over wasn’t bad . . . and he was cheaper than his predecessor . . . but was his name big enough . . .? Or with Christopher Milton above the title, did one perhaps not need any name value in the supports . . .? And after the cuts Young Marlow wasn’t much of a part anyway . . . The usual impersonal management decisions continued to be made a long way from the people they concerned.)

  There was not much fuss over the death. Police were round asking about Mark’s state of mind before the incident and there were rumours that some representatives of the company might have to attend the inquest, but the assumption of suicide was general. The coincidence of the failure of the radio pilot, the demise of the Fighter Pilots and troubles over Lumpkin! were thought to be sufficient motive. To a character like Mark Spelthorne, whose life was driven by ambitions of stardom, this sequence of blows, with the implication that he was never going to make it in the way he visualised, could be enough to push him over the edge.

  Even Charles found the explanation fairly convincing and tried to make himself find it very convincing. But other thoughts gatecrashed his mind.

  An unwelcome logical sequence was forming there. What he had heard from Julian provided the thread which pulled all the wayward strands of the case together into a neat little bundle. Christopher Milton’s history of mental illness was just the sort of thing that he would fight to keep from his adoring public. The mass audiences for popular entertainment are not the most liberal and broad-minded section of the population and they would not sympathise with anything ‘odd’.

  Everard Austick and the pianist Frederick Wooland had passed unnoticed through Dickie Peck’s Approval of Cast net and Christopher Milton must have recoiled in shock when he saw them at rehearsals. They were links with the one episode in his past he was determined to keep quiet and so far as he was concerned, they had to be removed. Not killed or even badly injured but kept out of Lumpkin! Hence the airgun pellet and the shove which sent poor, pissed Everard downstairs. Charles kicked himself for being so blinkered about the evidence he had found in the Corniche. He had been looking for something to incriminate the driver and had found what he wanted, without considering that its location could be equally damning to the car’s owner.

  Because now he had no doubt of Christopher Milton’s personal involvement. Apart from anything else, at the time of Mark’s death, Dickie Peck was in London and the driver was in hospital. And everything became quite logical if the star was considered as potentially unbalanced. In his morbid self-obsession he saw everyone who challenged him as a serious threat to his personality and as such someone who should be removed or punished. It wasn’t a case of Dickie Peck or the driver being overprotective; it was a paranoid man protecting himself. And it meant that Charles was dealing with a madman.

  Only a madman would believe that he could continue to behave like that without ultimate discovery and disgrace. Only someone totally locked in his own world, someone who had lost touch with everyday reality. Christopher Milton’s unshakable belief in his talent was matched by a belief in his immunity from discovery.

  And he had been skilful. All of the crimes had the appearance of accidents or unrelated acts of violence. Charles felt certain that no one else in the company saw any pattern in them. And because Lumpkin! was on the move, it was unlikely that the different police forces involved would be aware of a sequence of crimes.

  But now, with the death of Mark Spelthorne, the whole situation became more serious. Beating up people who get in your way is one thing; killing them puts you in a different league.

  And Charles was still left with the dilemma of what he should do about it. Gerald’s original instructions to him to protect the show and its star from sabotage now seemed grotesquely irrelevant. The situation had got beyond that. But he still did not have enough evidence to go to the police with a tale which must strain their credulity. The airgun pellets and the liquid paraffin were unsubstantiated evidence; he could have planted them, and anyway his own behaviour in snooping around the Holiday Inn car park could be liable to misinterpretation. He didn’t have any proof that Christopher Milton was at the scene of most of the incidents.

  He considered the possibility of talking directly to his suspect, but he couldn’t imagine what he would say. A quiet word in the ear may stop a schoolboy from smoking behind the cycle sheds, but in a case of murder it’s seriously inadequate. And if he was dealing with a potentially homicidal maniac, it was asking for trouble to draw attention to such suspicions. But the alternative was sitting and waiting for someone else to get hurt or even killed.

  He wanted to discuss it with someone, but Gerald Venables, who was the only suitable confidant, was too involved in the situation and might panic.

  So he would have to work it out on his own. He thought through the known facts and wished there were more of them. He made vague resolutions to find out as much as he could about Christopher Milton’s past and current activities. One useful idea did come into his head. He recollected that the first two crimes had been committed between nine and ten in the morning and suddenly tied this up with the unusual ‘no calls before ten-thirty’ clause in the star’s contract. It would be interesting to find out what he did in the mornings. Was it just that he liked a lie-in? That did not tally with the voracious appetite for work he demonstrated the rest of the day. He was prepared to stay up all night getting a new number together and yet the day never began until half past ten. That was worth investigating.

  But it was one stray positive thought in a scrambled mind. Everything else circled round uselessly, tangling with emotions and producing nothing.

  The Queen’s Theatre, Brighton, was one of the great old touring theatres of Britain. It had been built for more spacious times, in the 1870s, before the cinema had cheapened illusion by comparisons with the real thing. When the Queen’s was put up, people went to the theatre for spectacle and they got it. Entertainments were built round special effects – shipwrecks, fires and falling buildings, magic, ghosts and live animal
s. And the theatres were designed to cope.

  The original stage machinery had been built for the Rise and Sink method of set changing, whereby the stage was made up of separate narrow sections, which could be raised and lowered with different sets on them by an elaborate system of pulleys and counterweights. There was a cellar below the stage as deep as the proscenium was high and above the audience’s sight lines there was equivalent space in the flying gallery. The complex of girders and hawsers in the cellar was a feat of engineering comparable to one of the great Victorian railway bridges.

  When the stage was designed, it had been equipped with the full complement of trap doors which were written into many plays of the period. Downstage were the corner traps, small openings used for the appearance or disappearance of one actor. Often these would be used as Star Traps, so called because the aperture was covered with a circle made up of triangular wooden segments like cake slices, hinged with leather on the outside, which would open like a star to deliver the actor on to the stage and then fall back into place.

  Then there was the Grave Trap centre stage, which was always used for the Gravediggers’ scene in Hamlet. And originally the theatre had had the most elaborate trap of all, the Corsican Trap, or Ghost Glide. This had been developed for the 1852 play The Corsican Brothers and enabled a ghost to rise from the grave as he moved across the stage.

  Charles found it fascinating. He had always been intrigued by the mechanics of theatre and just being in the old building gave him that pleasantly painful feeling of hopeless nostalgia which always comes from the knowledge that, however much one exercises the imagination, however much one researches, it is never possible to know what earlier times were really like. He picked the brains of Len, the stage doorman, about the theatre’s history and tried to spend as much time as he could alone there, sensing the building’s past, hearing echoes of old triumphs, tantrums and love affairs.

  But it was not easy to indulge this sentimentality. For one thing, the theatre had undergone many changes. The divided stage had been replaced in the forties and now most of the old equipment was boarded over. Only the Star Trap on the fore-stage was still kept working for the annual pantomime appearances of the Demon King (complete no doubt with miscued puff of smoke).

  Then again the frantic re-rehearsal schedule for Lumpkin! was not conducive to luxuriating in nostalgia. But, most of all, the looming problem of what should be done about his knowledge of Christopher Milton’s criminal activities kept Charles’ mind naggingly full.

  As in the other towns of the tour, the local press greeted the arrival of Lumpkin! in Brighton with a big spread about the show’s star. There was a photograph of Christopher Milton in one of his lovable poses and the column was headed ‘BACK TO SCHOOLDAYS FOR LIONEL WILKINS’. Intrigued, Charles read on.

  Lovers of television’s Straight Up, Guv are in for a surprise this week at the Queen’s Theatre when they see the show’s lovable star Christopher Milton in a different rôle as an eighteenth-century rogue by the name of Tony Lumpkin.

  ‘Actually, he’s not that different from Lionel,’ confides boyish 34-year-old Christopher. ‘They’re both con-men. I think, if anything, Tony Lumpkin is slightly more successful than Lionel. Well, let’s face it – that wouldn’t be difficult.’

  Offstage, Christopher Milton is nothing like his bungling television counterpart. He is a hard-working performer with a great belief in the live theatre. ‘Television is strange,’ he muses. ‘It’s in one way the most intimate of the media, because everything you do on it is very small, you know, just for the camera, and because the viewers are just sitting in their living-rooms to watch. And yet in a strange way, for the performer, it’s a distant feeling playing to a camera, even when there’s a studio audience. It doesn’t bear comparison with the contact you can get with a live theatre audience. That’s electrifying, intoxicating, magic.’

  For Christopher, being in Brighton is almost like coming home. ‘I spent seven years of my life here at Ellen da Costa’s Stage School. I came when I was a very young ten-year-old and left when I went into full-time professional theatre. In many ways, Ellen taught me all I know. I think she’s retired now, but I certainly hope to see her while I’m in Brighton. I hope she’ll come and see the show – and no doubt rap me over the knuckles for sloppy enunciation! She used to be very hot on enunciation. I can’t think that she’d approve of Lionel Wilkins’ style of speech . . .’

  The article went on to complete the plug for Lumpkin! with information about Carl Anthony and Micky Gorton. It made no mention of Mark Spelthorne’s death. But then the whole thing read like an Identikit PR interview which had been prepared long in advance.

  Still, the information about the stage school was interesting. If the key to Christopher Milton’s behaviour lay deep in his past, then it might be worth paying a visit to Miss Ellen da Costa.

  The rehearsals were hard. They started with a ten-thirty call on the Monday morning and it was like working on a new show. Wally Wilson’s typewriter had been busy and few scenes had escaped ‘improvement’. The charming cadences of Goldsmith’s lines had now completely vanished and were replaced by the staccato banality of television comedy. There was more work for everyone. At enormous cost, the band had special rehearsals with Leon Schultz. The choreographer kept snaffling dancers away to learn new routines in the theatre bar. Actors were rarely seen without scripts in their hands as they tried to flush the old lines out with the new. Wherever there was a piano it was surrounded by a knot of actors struggling to pick up altered songs. The atmosphere was one of intense pressure.

  But surprisingly it was cheerful. The company seemed more united than ever. And this was almost solely due to Christopher Milton. His enthusiasm was infectious and he inspired everyone to greater and greater efforts, he made them think that they were working on the greatest show that had ever happened and that every change was only going to make it that much greater. Charles could not help admiring the Pied Piper strength of the man’s personality. The company was carried along on the wave of his vitality. Even the previous doubters, like Winifred Tuke, made no more comments on the evisceration of Oliver Goldsmith. The triumph of the Christopher Milton was total.

  He was everywhere. David Meldrum no longer even made a pretence of directing. He acted as a glorified messenger boy for the star, organising rehearsal schedules as instructed and fixing the details of the increasingly elaborate technical side of the show.

  Christopher Milton shared Charles’ fascination for the mechanics of theatre and seemed to feel the magic of the old building. But he didn’t just want to stand and dream while a sense of history seeped into him; he wanted to recapture that history and recreate the splendours of Victorian illusion. The Star Trap was quickly enlisted into the Chase sequence to fire Tony Lumpkin on to the stage from the bowels of the earth. (It was hoped to accompany this entrance with a flash from an electrically-fired maroon, but with the IRA bombers again in action, managements were nervous of sudden bangs in their theatres.) Moments later, Tony Lumpkin descended from the flies on a Kirby wire, then shot behind a tree only to reappear within seconds (thanks to the judicious use of a double) rising from the Grave Trap flanked by two eighteenth-century go-go dancers. The sequence was a far cry from She Stoops to Conquer, but it was moving towards the Chaplinesque quality the star wanted. Of course as the business got more and more detailed, so it expanded and yet more of the original plot had to be cut to accommodate it. At the current rate of progress, by the time the show got to London it would have no more substance than a half-hour episode of Straight Up, Guv. ‘This week lovable con-man Lionel Wilkins fools some supporting actors into believing that a private house is a pub – with hilarious consequences.’

  But Lumpkin! was beginning to work. Taking Christopher Milton’s advice and forgetting Goldsmith, Charles began to see what was emerging, and it was something with enormous potential. In his own strange way, Christopher Milton was a considerable artist. His instinct for the theatri
cal and particularly the comic was unerring. Charles began to see the situation as a Faustian one in which the star was achieving earthly success at the cost of his immortal soul. The dark side of madness and crime was a necessary complement to the genius of the public image.

  After a very hard day’s rehearsal on the Tuesday Charles was leaving the theatre to grab a quick bite before the evening performance when he met Suzanne Horst ‘Ah,’ she said accusingly, ‘there you are. Have you asked him yet?’

  ‘What?’ His mind was completely blank. He could only remember Suzanne drunk in his arms at the time of Pete Masters’ accident.

  ‘About the interview. You said you’d ask him.’

  ‘Oh, did I?’ He tried to sound ingenuous and squirm out of it. ‘Yes, and you didn’t do it in Bristol, which means I’ve lost some time. So look, I want to do the radio interview this week. It’s for Radio Brighton and I’ve promised them I’ll do it while he’s down here.’ The last sentence was not an appeal for help from a position of weakness; it was a reproof to Charles for failing to discharge a duty. Suzanne was a sharply efficient young lady once again; the warmth of their last encounter was only a product of the drink. Either she had forgotten it or was determined that it should be forgotten. ‘So look, when am I going to be able to do it?’

  ‘Well, I don’t know,’ he prevaricated. ‘We’re rehearsing very hard at the moment and –’

  ‘Have you asked him yet?’

  Faced with the point-blank question, Charles could only admit he hadn’t.

  Suzanne Horst gave a contemptuous grunt. ‘Do you realise, you’ve wasted a lot of my time. I thought you were asking him.’

  ‘I’m sorry,’ he mumbled inadequately, trying to remember how he’d got into the position of agreeing to help her. ‘Does that write off the magazine article as well?’