‘That shouldn’t be too difficult,’ said Mark. ‘We’re really getting somewhere at last, thank goodness. The stage doorkeeper is going to give one of the technicians a call to come and show us exactly how the trap door works.’
‘We must get cracking then,’ said Walter, ‘and find a slot in the book where an illusion with our double act can take place. If Giles can meet with the theatre technician and get all the information needed to operate the trap we should be ready to give it a go.’
‘Okay by me,’ said Giles. ‘I’ll rope Freddie in and when we’ve mastered this I promise you we’ll treat you to a vanish and return act that has confounded many a theatre audience. It’ll be slick and fast and totally unlike the vanish and return of Cyril after the shooting.’
Mark and Walter went into a huddle while Giles, Freddie and Laura went to the stage door to wait for the arrival of the theatre technician. They didn’t have to wait long. The technician was a burley man in his sixties and he arrived promptly and introduced himself. ‘My name is Harry, by the way. I understand you want some advice about the trap door on the stage,’ he said. ‘Awkward contraption. Need to know how to handle it. Takes two men to do it proper without doing yourself an injury. Seldom use it nowadays but it still works. Theatres are starting to do away with them but they can be of use for certain effects. Hear you’re a magician so I guess that’s where the trap door comes in.’
‘Not a magician as such,’ said Giles, ‘but a historian of stage magic.’
‘Been an admirer myself. Years ago I used to go to the Glasgow Pantechnicon when they had magic shows but it’s not quite the same now as it used to be. If you come with me I’ll show you how it all works.’ The technician paused and grinned. ‘But don’t make me disappear as I love working in this theatre and I’ve got a few more years in me yet.’
‘Don’t worry Harry,’ said Giles. ‘Getting rid of you is the last thing on our minds. We might have to call on you again if things go wrong.’
Below the stage near the back wall Harry explained that a heavy mattress was required if someone had to drop through the trap door quickly and that was usually accompanied by a sudden flash to make the disappearance more spectacular.
Once he had gone over all the necessary details for the operation of the trap, Harry got them to operate it several times to make absolutely sure how everything worked. After a number of attempts at operating the mechanism a mattress was placed underneath and Giles volunteered to make the first drop with Freddie in charge of operating the trap door.
Laura was very apprehensive as her work in training magicians’ assistants was usually with people, normally women, who were much younger and more agile. She needn’t have worried. Everything went smoothly though Laura could see that the usually imperturbable Giles was somewhat shaken when he climbed back on stage. She caught Freddie’s eye and they exchanged looks of relief and amusement. Giles made a show of dusting himself down as he informed Mark and Walter that things were in plan to perform the illusion.
With that piece of good news Mark had no hesitation in going to the Green Room to let Dicky and Cyril know that everything was ready for them to meet Giles who would instruct them about the new illusion. It wasn’t necessary for them to be exactly dressed in the same costumes as this wasn’t a dress rehearsal. All that was needed was to have the two actors in the correct positions to make sure the vanish and return worked.
Once the twins were on stage Giles showed Dicky what was required of him. He pointed out the trap door and told him about the drop to the heavy mattress below that would break his fall. Giles said he would show the trap door being opened as soon as he gave Cyril instructions about his exact position when Dicky disappeared. Giles then asked Cyril to go down to the auditorium and walk along the aisle beyond the curtained doorway below where the bust of Robbie Burns graced the right hand wall of the theatre. He told Cyril to go to the back door of the auditorium and out into the foyer. The moment Dicky vanished, and this would be made clear by a signal from the stage, Cyril should then enter from the foyer and make a sound alerting the audience of his dramatic entrance. He would then walk towards the stage as if he was miraculously reappearing after vanishing from the stage.
Cyril nodded and turned to leave the stage. Dicky watched him go then had a good look at the trap door. ‘Why me?’ he asked Giles. ‘Why have I been chosen for the drop? Wouldn’t it have been far better for my brother to perform instead of me?’
‘Your brother has an injured arm and chest, hasn’t he? I thought it would be unwise for him to do it and aggravate his injuries but when he’s fit again you can always swop. As identical twins, wearing the same clothes, no one in an audience would be aware of the difference anyway. You can easily keep swopping when you eventually stage the play in a theatre before an audience.’
‘You seem to be very confident that this play will be staged in front of the public, Professor Dawson?’
‘Yes, I do,’ said Giles, deliberately. He took his time and raised both eyebrows in a questioning look before continuing. ‘I see no reason why this play couldn’t become one of the best murder-mystery plays to thrill an audience unless… ‘Giles paused, ‘… unless something goes badly wrong.’
‘I’m not sure what you’re driving at.’
‘I was wondering if you anticipate something going wrong?’ said Giles.
It was Dicky’s turn to raise his eyebrows and several lines appeared on his forehead. ‘So much has been happening in the short time we’ve had from the first reading to when we’re now about to do a read through,’ he said. ‘I was beginning to fear that if much more happened a lengthy postponement could prevent any of us remaining in the cast.’
‘Why don’t you just make the effort and step on the space outlining the trap door, Dicky? No point in worrying about a calamity that might never happen.’
Very reluctantly Dicky moved to the space on the floor of the stage. He stood on the trap door and looked exceptionally nervy.
‘Remember,’ said Giles, ‘you mustn’t show any nervousness and you mustn’t, whatever you do, lean to one side or you may come a cropper on the side of the door when it opens. I’d hate to think we’d end up having both twins with identical injuries.’
Dicky gave Giles a strange look. ‘I don’t think that’s very funny,’ he said. ‘Are you hinting that I may have an accident?’
‘No, I’m certainly not. Now there’s no time to waste,’ said Giles. ‘I’ve done the drop and it’s like riding a bike. Once you’ve done it you’ll never forget it.’
A tentative nod from Dicky and Giles gave the signal for Freddie to open the trap. This was done in a flash and as soon as Dicky disappeared and the trap closed again Cyril came out from the doorway at the rear of the stalls and advanced towards the stage waving his right arm. The effect was stunning and Giles could imagine how an audience would react. Both twins dressed alike would create an illusion par excellence.
When Dicky returned safely to the stage, a little shaken but uninjured, he was congratulated by Mark and Walter. ‘Well done both of you,’ Walter said. ‘It looked spectacular and we’ll keep that in the play. Won’t we Mark?’
‘Most certainly,’ said Mark. ‘Without question. Vanish and return I believe you said, Giles. But can things go wrong?’
‘In stage magic all things can go wrong,’ said Giles. ‘That’s why so many magicians’ assistants have accidents. But we’ll make sure that things don’t go wrong as long as you do precisely what I’ve told you. That’s vitally important.’
‘Not likely to do that am I?’ said Dicky. ‘Can’t afford to have an accident like my brother, can I?’
Giles’ head snapped up. ‘Do you think it was an accident your brother had?’
‘I’m not sure I know what you mean,’ said Dicky. ‘Didn’t you think that’s what it was?’
‘All depends on what you mean by an accident.’ said Giles.
‘You’re talking in riddles, Professor Dawson,’ sa
id Dicky. ‘I thought an accident was an unforeseen event with no apparent cause. Something that happens without being planned or organised. Something that’s not meant to happen but happens when something goes wrong. Is that not so?’
‘I think you’ve hit the nail on the head, Dicky. But you’re right. I’m often accused of talking in riddles, but I ask you once again. Do you think what happened to your brother when a gun was fired and he fell to the floor was an accident? Did something go wrong?’ Giles paused. ‘Or did something happen that was meant to happen?’
‘What are you inferring? What I think is that my brother was shot by someone in this play and he was lucky he wasn’t killed. And I want whoever fired that shot to be caught and punished.’
‘That makes two of us Dicky, and I can assure you I’ll do everything I can to discover the truth. When I find the person who fired the gun whoever that is will be punished.’
‘That might be more difficult than you think Giles,’ Mark chipped in. ‘We all know of your prowess as a detective but you may have to be a magician of the highest order and not just a clever illusionist, as well, if you want to get to the nitty-gritty of what exactly happened.’
‘But if you’re successful as a sleuth we’ll no doubt be the first to congratulate you.’ added Walter.
‘I’ll look forward to that,’ said Giles. ‘Now then Dicky are you ready to have another go at this illusion or do you feel able to go straight to the run-through of the play without another rehearsal?’
‘Another go at the trap door escape wouldn’t go amiss,’ said Dicky. ‘At least that would settle my nerves and if we don’t have any problems I‘ll be ready for a run-through.’
‘That’s the spirit,’ said Giles, ‘and once that goes without a hitch you can tell Mark and Walter that you’re ready for the run-through.’
‘Suits me,’ said Dicky as he went over to his brother to tell him to go back behind the door. Once Cyril was in place and the door closed Dicky went over to the trap door. ‘Ready when you are,’ he said to Giles who waited until the two playwrights were back in their seats in the auditorium.
Giles looked towards Mark and Walter. ‘Are you all ready?’ he enquired.
‘Just give us a moment,’ said Mark. ‘We don’t want to miss anything.’ There was a brief wait as the two men got themselves settled in their seats before Mark called out. ‘Thanks Giles. We’re both prepared for your illusion.’
Giles nodded and gave the signal to Freddie. Quick as a flash Dicky was no longer on the stage as he disappeared through the trap door. It was so sudden that the two playwrights were slow to turn their heads to look towards the back of the auditorium and the doorway where the figure of Cyril was expected to appear with a yell that would complete the brilliant illusion.
A moment’s deadly silence was broken by Walter screaming at the top of his voice. ‘Is he doing a Brigadier who at least made an entrance even though he forgot his bloody lines?’
‘Calm yourself Walter,’ said Mark. ‘There must be a simple explanation. You can come out now Cyril.’ he shouted.
There was no movement from the door and the two playwrights, followed by Giles and Laura set off in a rush to find out what had happened. It was Giles who reached the door first. The door was partly ajar when he opened it. What he saw startled him. It was the inert body of Cyril lying face down on the floor. Giles bent down to feel a pulse. Cyril was still breathing. ‘Don’t panic. He’s only fainted. Give me a hand Walter. I think he’s coming round.’ Together they helped Cyril to sit up.
‘What happened,’ Walter urged.
Walter helped Giles to assist Cyril on to his back. ‘What happened?’ Walter asked as he eased Cyril to sit up.
‘I don’t know,’ said Cyril. ‘One moment I was through the door then I felt a hard blow on my head. Must have blacked out. I didn’t see who’d hit me but whoever it was made a good job of it. Everything was a blur. Who the blazes would want to hit me? And why?’
‘I’m afraid the only persons who had the opportunity were Cindy, the Brigadier, Grizelda and the Fairy Godmother.’ said Mark. ‘It had to be one of them as Dicky was on the stage with Giles. Walter and I were sitting in the front row of the auditorium along with Laura so it could only have been either one of the three women or the Brigadier. Could you tell if it was a man or a woman who struck you?’
‘Sorry. I can’t. It happened so quickly, and I was hit from behind.’ Cyril looked bemused. ‘Ouch,’ he yelped as he moved his head. ‘Whoever it was packed a mean punch I can tell you.’
‘I can think of one more person who had the opportunity,’ said Giles.
‘How do you make that out?’ asked Walter. ‘The only other person in the building is Robbie at the stage door.’
‘I have no doubt that what you say is true,’ said Giles. ‘But I know for a fact that he can be eliminated as a suspect because…’
‘You’re not suggesting that someone belonging to this theatre would want to hurt a member of my cast?’ interrupted Mark, throwing Giles an astonished look.
‘No I’m not,’ said Giles. ‘I repeat what I’ve just said. ‘I have no doubt that what Walter said is true. I’m positive that no members associated with the theatre would even dream of hurting any member of your cast but I think you should get Cyril to the Green Room and give him a moment to rest.’
‘You’re absolutely right,’ Mark said giving Giles a nod. ‘But you haven’t explained what you meant by saying you could think of one more person who had the opportunity.’
‘I suppose I’m talking in riddles again,’ said Giles. ‘It’s something I have a habit of doing. But take your time and have a good look at everything that happened you may well arrive at the truth of what I said. Who had the opportunity?’
Chapter 19
NOW DO YOU BELIEVE IN GHOSTS?
The Green Room of the Theatre Royal was exceptionally quiet as nobody wished to disturb Cyril who was resting in a chair. The subdued hush was broken as Mark and Walter explained to the cast what had happened to Cyril when the second attempt at the Double Illusion took place.
There were gasps of disbelief that Cyril had once again been the victim of assault and before anyone could quite believe what they had just heard Giles threw a spanner in the works.
‘I’m not exactly certain what is happening in this theatre at the moment,’ he said. ‘But of one thing I am certain…’ Giles paused giving himself time to scrutinise each face hoping to detect any glimmer of fear or guilt. Cyril had his eyes shut. ‘Whoever was responsible for causing Cyril to collapse on the floor is in this room.’
This time the gasps were much louder and were mingled with muttered statements of anger at such accusations.
‘I particularly resent what you’ve just said Professor Dawson,’ said the Brigadier jumping to his feet with an agility unlike the character he displays when on stage. ‘How dare you make such a statement? What proof have you got that one of us attacked our fellow actor?’
‘Simple,’ said Giles. ‘Whoever attacked Cyril had to be someone in this theatre at this very moment. Apart from Robbie the only ones in this theatre are in this room listening to me. I can understand your reaction to what I’ve just said but you must allow me to say what I think. And what I’ve just said I know to be true. One of you in here caused Cyril to collapse and I’ll go further.’ Giles paused to let his words sink in. ‘Yes I’ll go further, I believe I already know who that person is.’
A stunned silence was broken by Grizelda. ‘You can’t be serious,’ she said. ‘Why would any of us wish to hurt one of our own kind?’
‘That is something for which I don’t yet have an answer,’ said Giles. ‘But if I’m correct I’ll eventually know the reason why. And you’ll all be told in good time.’
Giles went over to Mark and Walter. ‘I must do something I should have done earlier,’ he said. ‘The police must be informed that Cyril is no longer a missing person. However I won’t mention what has just happened as I ha
ve my own reasons for keeping that under wraps.’
‘Do you think that’s wise?’ said Walter. ‘The DS won’t like it.’
‘Be assured, I have very good reason for keeping the matter under wraps at present,’ said Giles. ‘Do your best Walter. I’m sure you and Mark are more than able to get the cast together and return to some sort of normality.’
‘Well, we’ll try,’ said Walter eagerly. ‘Time is short and I think we should get back to rehearsals. I’m anxious to get on and put all these accidents behind us.’
Mark nodded in agreement. ‘With Walter taking the part of Cyril we can go over all the scenes, including that new illusion using the trap door, and when Cyril is fully recovered we’ll be ready to have a first run-through of the play. It’s an odd business, I must say. Chap shot at in the middle of a play. Won’t be easy just to carry on as usual though.’ Mark sighed with an exaggerated shrug of his shoulders. ‘Though I suppose you know what you’re doing. In a way,’ he added, ‘I’ll be glad to reach the stage when this play is ready to be performed before a live audience. It’s the only chance of getting it produced. It’s now or never.’
‘Absolutely,’ said Giles. ‘That’s the best thing to do. Get on with it and put all the problems behind you. But can I just make a correction to something you said?’
‘What would that be?’
‘Simply this,’ said Giles. ‘You wanted to put all these accidents behind you and that’s the wisest thing to do but you appear to believe that the incidents involving Cyril since we came here have been accidents.’
‘You don’t think they were accidents?’
‘I’m pretty sure they weren’t. I just wish I knew why.’
Mark frowned and his lips started to form a faint smile. ‘My turn to correct what you’ve just said, I think. I believe you once declared that when attempting to solve a crime you looked at who had the opportunity before thinking of a motive, Now Giles, you seem to be doing the opposite and looking for the motive. I wonder why?’
The Cinderella Murders Page 15