Some time ago, I read (and blogged) a western published by Muir-Watson, also published in 1949. This one is Revenge Rides the Range, by Will Frame; clearly, an alias, and clearly someone has a sense of humor. The actual identity is unknown to me, nor could I locate information online to unravel the mystery, however, I am certain of two things:
the author of this book also authored the other Muir-Watson western.
the cover artist is the same, too.
No copies are held by the British Library, the National Library of Scotland, nor anywhere on Worldcat or COPAC.
Bud Jackson, ex-Sergeant in the U.S. Marine Corps, formerly stationed at Honolulu and crack-shot, has been out riding the trails of the American West, hunting a man that framed his father back in Illinois. This man is known as Chicago Kelly, and, he made off with a ton of money from a forgery racket, leaving Bud’s dad to face the rap. His father subsequently died in prison, leaving Bud honor-bound to track down Chicago Kelly, and…
Bud awakens in the saddle under the blistering heat to the sound of gunshots. Galloping onward, he comes to a gorge. Down below, some men are shooting at a stagecoach. Realizing it must be a hold-up, Bud unlimbers his rifle, adjusts his sights, and knocks one of the assailants into the next life…if there is one.
Bud’s second shot knocked the hat off another of the fiends. Dismayed by his slightly inaccurate shot, he pops one final shot at the rocks nearest the would-be robbers, and is rewarded to see that the remaining pair have decided to clear out.
Re-mounting, Bud heads into the gorge and is rewarded himself with gunfire in his direction. Realizing that those below believe he to be another bandit, he brandishes a white handkerchief, waving it high. The driver finally relents, permitting Bud to traverse the remaining distance in peace, after asserting he is friendly.
Turns out the coach carries precious cargo, bullion, and some passengers, too. Removing the bullion from the top of the coach, they lever the boxes into the coach, freeing rooftop space for the dead robber to be placed atop. Inside, space is now a premium, and the passengers are cramped. They become further constricted when one passenger, a young girl, asks Bud if he is from Chicago.
Nonplussed, he acknowledges that YES, he is, looks at her, and finds himself shockingly looking into the face of a fellow Chicagoan, who he knows. Mary Shaw invites him to join them in the carriage and continue their conversation, illuminating several disturbing factors locally, mostly, cattle rustling. Tying his four-legged friend alongside the carriage, he hops in and they head off toward town.
In town, the body is unloaded in the sheriff’s care, and while assisting in shifting the cases of bullion out to the bank, a burly brute ambles over and demands to know if Bud killed the bandit. Turns out it was his brother, and he requires payback. Seeing that the man is a dirty fighter, Bud takes matters into his own hands, and knocks the fellow down fast. Realizing he overplayed his part, the ruffian draws his six-shooter, only to have the nimble-fingered Bud quick-draw and blast it away.
Bud gives the barn-sized menace the option of “fists or pistols.” The monster accepts “fists,” and we are given to nearly two full pages of gratuitous street-fighting, which ends with Bud getting the idiot to fall back into a horse’s watering trough, much to the onlooking crowd’s amusement.
The sheriff and a well-dressed man, who he immediately decides is the local Judge, breaks in on the scene. The “judge” is actually Hiram Wheeler, president of the local bank, and grateful for Bud’s assistance in protecting the shipment of bullion. But Bud is looking beyond current circumstances. He’s seeing before him a sharp, well-dressed, clean-cut man, but behind him, in an old black-and-white newspaper cut-out, he’s seeing a different man, a man he personally wants for the death of his father.
Bud Jackson has found Chicago Kelly, now established seemingly as a reputable banker.
The book is 128-pages in length, and all this action transpires with yet another 100 pages to go! How will Bud insert himself in the local goings-on, convince the authorities that Wheeler is Kelly, discover the rustling plot, unmask a series of murders, and win the girl? Well hell, partner, you’ll just have to find and buy a copy of this book!
Elizabeth Anthony wrote two murder novels, “Dramatic Murder” and “Made for Murder.” Both were published by Hodder & Stoughton (London). The former was published 1948 whilst the latter appeared in 1950. Oddly enough, it seems that Elizabeth Anthony would fail to render another story until her short “Seventh Murder of Henry’s Father” appears in Ellery Queen’s Mystery Magazine (Jan 1957). Then, inexplicably, she vanishes.
Or, did she?
Fact is, there is no such person as Elizabeth Anthony….
Aside from all the clues on the Internet and reference books, the most readily available clue manifests on the dedication page of “Made for Murder,” stating “To my sister-in-crime, Shelley Smith.”
Shelley Smith is an alias, too. She in fact was born Nancy Courlander, and her sister’s real name is in fact Barbara Courlander. Under Barbara’s married name “Rubien,” she authored “An Island in Piccadilly” in Flying Colours Revue (1943) and the book “The Cup and the Song” in 1947, prior to her pair of murder novels.
But, I’m getting ahead of myself….
Our author was born Barbara Frances Courlander (16 April 1906) at 2 Douglas Mansions, Leux Road, Kilburn, London. She married writer Howard Rubien (I believe this to be Howard Nelson Rubien, whom also appeared in at least 6 films and television) and had one child, Elisabeth (note, not spelled exactly the same as Barbara’s alias). Barbara died 17 Feb 1996 at the Carisbrook Lodge Nursing Home, at Corrig Road, Steyning, Sussex, England.
Little is known about Barbara. I hope to one day be able to alter those minuscule facts, but, we’ll save that for another day. Daughter Elisabeth married (and divorced) Erik Hulsman, but not before giving birth to a son, Robert Hulsman. Robert would potentially be in this 60s or 70s right now, and last known whereabouts find him between jobs, potentially a truck-driver, residing in Canada. Robert, if you or any friends find this post, I would love to correspond and discuss these novels and their history, with you.
Now, on to the pair of mystery novels.
“Dramatic Murder” opens immediately with a doctor and a young journalist driving to a castle, invited for Christmas. On arriving, they find the castle empty and devoid of life and sound. Where are all the guests? Where is the host? Gruesomely, they discover Dimpsie above the Christmas tree, arms spread-eagle, up upon a ladder, literally shocked to death. The police arrive, an inquest is performed, and death noted as accidental, if not foolish. But, our intrepid journalist, Miss Katherine Mickey, feels that Dimpsie simply couldn’t have been foolish enough to work on the tree while the lights were plugged in, especially with wet moccasins. Could it have been foul play? Which of the guests, all seemingly innocent and with nothing to gain from the playwright’s dramatic exit, could possibly have set the scene to murder? It’s all very unclear, initially, as each chapter introduces us to the various guests, and systematically, further murders occur. The killer may well have gotten away with the original murder, but Inspector Smith, whom was at the inquest, doesn’t believe in coincidences.
NOTE: Sadly, my copy lacks a jacket.
Click on the title above, courtesy of the
Classic Crime Fiction website, for the image.
“Made for Murder” develops with an epileptic winning 10,000 Pounds betting on football matches. With her face and lucky winnings plastered across the English newspapers, and essentially a mental-moron, she abandons her job as housemaid and flees to London. Here, she naively falls for a conman. He takes her to Paris, marries her, convinces her to sign some documents, then murders the simpleton. Obtaining her banked funds from a safety deposit box, he returns to his own wife (a decent woman) and informs her that he has “made good” and come into a lot of money. The pair departs for Guatemala, where he plans to explore and rob archaeological sites. Meanwhile, a lady-friend to the maid’s ex-boss learns of the murder, and, learning that the police are disinterested, begins investigative work of her own. The ex-boss, a botanist, decides to pursue her hunt for a rare flower, in of all places, Guatemala! She injures her leg and meets the murderer and his wife, in a remotely located hacienda. The wife is a sweetheart, and lonely for contact. But, when the murderer learns that the lady is the maid’s ex-boss, and has a photo taken of him with his murdered wife, he determines to murder her and destroy this last superficial bit of evidence against him…
Hold on there, pard! This western novel is pure dynamite! Now, whereas many British westerns are not worthy of note, however, boy was I impressed by this novel.
Brothers of the Purple Plains was written under the alias Steve Watts, and published by Muir-Watson (Scotland) by arrangement with the publisher Sydney Pemberton and distributed by World Distributors, Inc., 1949. The artwork is unsigned, and the artist is clearly the same as that of another Muir-Watson western in my possession, “Revenge Rides the Range,” which I will be reading and blogging in the near future.
The title recalls to mind Zane Grey’s classic “Riders of the Purple Sage.”
There are no plot similarities.
From the opening salvo of pages right to the end, I was hooked. It’s pretty damn good stuff, and I’d love to know true identity of the actual writer. Well-written and competent, the only weak point is the dialogue, which at times gets to be a bit cheesy with the heroes uttering “Gee” or exclaiming “Oh” or “Aw.” But hell, people do make such utterances in real life, so, why not here?
Three boys are orphaned after their wagon train is butchered by Indians and they are taken in by a preacher, who is often drunk and belligerent. Fast forward, the preacher is dead by the time the eldest boy is sixteen. They hit the trail and cover great extents of the West. Their current ages are not known.
The leader is Al Cummings. He’s described as “tall, well-built, fair-haired.”
His boyhood friends and lifetime mates include Mex Caliente, closest to Al in age, and “handsome in the dark fashion of his race, and the lightest hearted member of the trio.” Finally comes Jesse Hudson, “not as tall as the other two, but thick-set and strong as a stallion…quieter…than the others…a dour earnestness about him which seemed to come from his Scots ancestry.”
Having abandoned a prospective interest in a gold mine, they ride away from their fruitless earnings in search of work. In the horizon, Jesse, the more aloof member, spots what appears to be smoke rising in the distance. Riding closer, they find a house on fire.
Applying the horses to beat the trail north, they arrive in time to face a blazing inferno. Is anyone around? Inside? Alive? An accident, or…murder?
The trio hear something, and Al busts inside to rescue a woman and her baby. The latter is clearly dead, in the lady’s arms, a death-grip about it. Not bothering to remove the corpse from her arms, they find that the mother has been shot and left to die. And die, she does, but not before uttering the name BARTLETT.
Who is he? Her husband? A helper? A killer? All of the above?
Chapter two doesn’t drag things out either. Arriving eventually in an isolated town, the unimaginatively named Star City, the boys hit the local saloon, sidle up to the bar, and place their liquor orders. By the second page, we have another murder, a shooting out in the dark street, and the dying man staggers into the saloon, collapses, and utters BARTLETT before expiring.
The novel becomes mildly hectic when an awesome array of characters are introduced, including a saloon girl, whom Mex’s heart beats hard for (its beats hard for ANY girl, actually). While attempting to win her affections, she warns Mex to take his friends and leave town, quick, because they’re asking questions about Bartlett. Those questions aren’t healthy. Mex finds himself suddenly the focus and ire of her self-appointed boyfriend, who ambles in and decides to mix words and fists with Mex. The brute thinks he’s got Mex’s measure, but boy is he wrong. Fast with women he may be, but faster with fists and gun! After drenching his fist deep into the others gut, the brute makes for his hardware, only, Mex is pure lightning, wielding a pair of .38 revolvers.
While asking the brute his business, a gun is fired! Al and Jesse are behind the brute, facing Mex, Al with one of his guns smoking. One of the brute’s friends had tried to plug Mex from behind! Giving both men the boot, they ask the girl what the ruckus was all about, but she begs them to leave, flee for their own lives. But Mex is soft on the girl because he is soft in the head and assures her they aren’t going anywhere.
Rooming together in their hotel room, Al, the brains, is thinking over the death of the mother and baby, the murder at the saloon, the name BARTLETT, and the bruisers that caused a scene. Were they all connected? How? and, Why? Too many questions, no answers, he finally falls asleep…scarcely, only to hit the ground rolling, along with his friends, as a hail of bullets rip through the window. Taking turns, they maintain a guard on the room and window, all night, when a brick is hurtled through the window. A note is attached, with blocky words stating: GET OUT OF TOWN…QUICK, and signed “B.”
Talking with the sheriff the next morning, they are met by a local rancher, Vane Carson, who is frustrated by the sheriff’s inability to clean out the area of rustlers, led by Bartlett. Carson is the biggest rancher in the area, maintaining a huge spread, in the interests of the future owner, when she comes of age (not for about another year or so). Liking what he (Vane) sees, he asks the men to work for him, not as ranchers, but, as border-rangers, riding his borders, looking for clues as to the rustlers whereabouts, etc. Fresh faces that the rustlers won’t know.
The boys, short on cash, accept the generous offer. They ride out to the Bar Z ranch and meet Nance Greenley, future heir. All three boys take to mentally fawning and drooling over her beauty. Mex is the typical stud in asserting his affections. Jesse is perturbed to find himself attracted to her. Al, who previously shunned girls, is baffled by his own sudden interest in the young lady.
Brought to the bunk house, the trio are introduced to Carson’s foreman, Jeff Simpson. None of the boys like his looks. Desiring to make good fast work of their current occupations, Mex requests the locations of the other ranches and homesteads raided, but Carson refuses. He’s not interested in them, only his own ranch.
Splitting up, the boys cover ground fast and Mex wanders over to the corral, spotting Nance sitting on the posts, watching a ranch-hand trying to break in a horse, but he is constantly thrown. Mex laughs, and in an effort to impress Nance, saunters up to the dude and requests a try at the bucking monster. The horse is extremely intelligent and gives Mex the ride of his life, before eventually hauling off and hurtling him into space.
Out riding and inspecting the range the next day, the trio are taken by the wonderful country and beauty, only to return “home” and find the frowning foreman reprimanding them, and spit out that Carson is enraged. While they were off gallivanting, Bartlett’s crowd had stolen another fifty head that night.
All this action takes place in the first 35 pages, and the full book is 128 pages. I won’t ruin the rest of the plot, but I’ll spoil some of it now. One of the boys dies during a shootout at Bartlett’s secret lair, to be buried by the surviving member. We see a new side to this person, in mourning their friend’s death, and any past flaws are wiped out and replaced by the newly-molded character. The novel features a solid, credible plot with a mystery villain that any regular reader will see coming long before the conclusion, but how the whole fracas is wound up makes for damned good reading.
I won’t lie. The crudely-executed cover art drew me in… I’ve read many short stories and novels that deal with artist and murder, so expected not too much from this one.
Death Stills the Brush was written by F. W. Gumley (better known for his children’s / juvenile stories) and published by the Mitre Press, 1946. It is a small side-stapled 32-page pamphlet, typical of the war and early postwar years. Mitre Press’s fiction division flourished during the war years, but didn’t last long.
The story is fairly simple. A young lady is modeling for an artist, whom is working on a sculpture. While he is using one lady for her body, he desires the other girl for her head and face. The former is jealous and we are led to believe that she later destroys the piece while it as yet not unveiled at a museum. The guard shits a brick when he sees the defacement, realizing his career is over.
The girl’s father discovers her daughter is modeling for the artist. Turns out he despises the man, for some “past” reason. Angered, he orders the girl to desist. He personally visits the artist and threatens the man’s life.
In typical fiction-fashion, the man is found dead, murdered. Witnesses heard the threat and of course, her father is investigated.
However, there is more wrongdoing occurring behind the scenes, as a man of mystery surfaces early, claiming to an once-popular artist whom was railroaded into prison. Having lost the ability to work with his hands, he wishes to exact his own vengeance.
So, who killed the artist? The jealous girl? The other girl’s father? The imprisoned artist? Or, someone else???
Lucky for you, if you remotely care, I own a spare copy of this title….
Chicago Ledger(1901-1923) Illustrated Story Weekly (1923-1924) Weekly Ledger (1924-1925) Blade and Ledger (1925-1938)
I am interested in the following years:
1901, 1902, 1903, 1904, 1905, 1906, 1907, 1908, 1909,
1910, 1911, 1912, 1913, 1914, 1915, 1916, 1917, 1918, 1919,
1920, 1921, 1922, 1923, 1924, 1925, 1926, 1927, 1928,
1929, 1930, 1931, 1932, 1933, 1935, 1936, 1937, 1938
Quote all issues.
I often buy spare copies as upgrades.
Please feel free to contact me anytime at: email@example.com
These are permanent wants I’ve been collecting for many years.
I also collect regional papers, such as the Toronto Star Weekly Complete Novel supplements, the Magazine Sections, too. If you own fiction novel sections for papers from New Jersey, Long Island, or Bangor (Maine), please contact me.
Once more I return to the 1930’s with publisher Sharman Ellis Ltd. (Click on the publisher name in the TAGS section).
The cover art (cropped along the right edge in error by the printer) is simply signed as “S.E.C.” The cover closely adheres to a closing scene in the story. One wonders if the artist read the story or if the editor supplied the artist with the idea.
Tracks of the Turtle is the 7th title in the “Mystery Thrillers” series, and spans exactly 64 pages. The story features Clay (Oke) Oakley and his assistant, Archibald (Archie) Brixey. Oakley operates Secrets, Incorporated, a Hollywood detective firm that often-times works outside the law in the best interest of their Hollywood clients.
In this particular case, Oakley has received a call from a mansion, indicating that a murder has been performed. On arrival, a gorgeous lady and man accept their call, but assure the duo that no murder been committed, and, no such call had been made from the premises.
To their astonishment, a man is murdered out back near a shed, and wet prints are found near the corpse. Oakley suspects foul play on multiple fronts, and he and his partner immediately depart the scene in favor of their home base, rather than confront the police, whom are not very favorable toward them.
The next morning, the lady phones Oakley to return to the mansion. She explains that her father lives in the “shed,” which is more than it appears. She hires Oakley to unravel the case while protecting her father from a potential arrest and public humiliation. The family is afraid that the world would deem him insane.
The story becomes quite convoluted as we learn that she is an inept actress, that her father is rich and hell-bent on pushing all his monies towards her future in acting. The male that had opened the door earlier, with her, is her brother. Turns out that neither of them are actually the presumed insane man’s children. He adopted them as children, and reared them as his own.
The father suffers from a malady of the glands; they fail to sweat. He lives in the shed and copper pipes everywhere drip water and create an artificially damp environment. The shed is home to numerous turtles. The damp environment and pipes drip on the man even while he sleeps, to assist in his bodily functions. He fears that his malady is hereditary, so avoided having children of his own.
While investigating this shed, Brixey suffers from the dampness and contracts a cold, which while hardly noteworthy, introduces this somewhat bungling character as comic relief.
Further murders occur when the director of the girl’s first-ever feature film is being produced. He is found dead, after a gun is discharged. Wet footprints are at the scene of the crime, indicating the father was present. All clues point to him as the murderer, only, Oakley sees it differently.
Each murdered candidate was already dead! The shot(s) fired and that were heard never were the killing shots. They merely indicated a gun had gone off, and to draw someone to the dead bodies. The actual killer, while brilliantly leading the cops astray, hadn’t tricked Oakley one bit. The killer wanted the bodies to be found. But why? In all instances, wet footprints are present, and, each assassinated person had received a threatening note, signed with a turtle. Clearly the killer wanted the father to be accused of the crime.
But what was killer’s motive?
In this case, it’s simply MONEY.
The children each stood to inherit 50% of their father’s net worth upon death. And he is (or, was) worth millions. However, he has been pumping all his money into the movie, and the movie is an over-budgeted whale of a doomed project. Turns out the son is the murderer, of course. In the final scenes, at home, he shoots his sister in the leg, she faints (see the girl on the desk on the front cover). The other girl, gagged and bound to a wall post, is Oakley’s fiery red-headed secretary; she is given the author’s lazy treatment of quantitatively ejaculating that he should stay away from blondes. Cliche!
Before Oakley arrives to save the day, the father has arrived, and he attempts to get the drop on his son. He drops into the room and levers a round into his old gun, fires, and click! The gun fails to discharge. The son knocks him down, but, in the interval, Oakley jumps in (with the aid of a policeman) and they take care of the son. The policeman has a history and grudge against Oakley for interfering in past cases, and still believes that he ought to be arrested for (earlier) assaulting an officer (himself) and that the father is ultimately still guilty of murder.
Oakley works fast to prove his case and free the father from the clutches of what is clearly a policeman whom should be suspended from duties or re-assigned to another district. However, right or wrong, Oakley should be brought in on assault charges, which Davis (our author) blissfully overlooks.
All in all, a pleasing crime tale, and I can’t wait to tackle another Frederick C. Davis pulp story in the near future….
With much honor and respect to the late BBC man, Alan Whicker, whom died on 12 July 2013, exactly five years ago, I am posting this blog entry on his rare postwar crime novel. For those interested in reading about Mr. Whicker and his career, click on his name, above. For further information, check out the BBC Obituary and video.
“Some Rise by Sin” was published in 1951 by Stanley Baker Publications Ltd. (16 The Green, Richmond, Surrey). The novel runs 90 pages, and the publishers priced the novel at 1/9 (in the year 2000, this converts to 5.1 Pounds). Most paper-bound novels of this era were traditionally asking 1/- to 1/6, especially for a book of this page length. How did they get away with asking a higher rate when other mushroom publishers were asking less?
For those out there avidly collecting “drug” novels, this one ought to be a dream.
After his good friend, Basil Moore (a top newspaperman) is found dead, floating down the river Tiber, Alan Whicker, of the News-Dispatch, is assigned to the international hush-hush assignment of uncovering the filthy £10,000,000 drug racket that has taken hold of Europe. He must discover and infiltrate the distributors and unveil the identity of the ruthlessly sinister leader, known as Nummer Eins (Number One).
While on assignment, Whicker ends up falling in love with socialite Margo, a dancer and singer at the Golden Monkey nightclub. Sadly, he learns that she has rooming with her another man (Martyn) and they end up getting into a physical altercation. Whicker takes his lumps and ends up badly battered and bloody, but, victor in this embittered battle. He departs the nightclub, and despite Margo chasing and swooning over him, he shoves her affections aside. He has little interest in playing middle man to her love affair.
Wandering the streets and drinking at an all-night eatery, he returns to his quarters to find his bed occupied. He decides to let whomever it is sleep it off, but, realizes something is amiss. Going over to check his health status, he discovers the man isn’t breathing. Furthermore, it is Martyn, shot dead! Realizing that he has been framed for murder, Whicker heaves the body upon his shoulders and removes the corpse from the premises. He drives all over the city and out to the river to dispose of the cadaverous Martyn. Whicker (as author) introduces his fictional self to a humorous episode while trying to ditch the body. He’s pulled over by an International Patrol, which comprises of one British M.P., an American, a Frenchman, and a Russian. He quickly douses Martyn with liquor (in typical cliché form) and the police think he is just another drunkard.
Escaping their clutches, Whicker finally disposes of Martyn. Before doing so, he searches Martyn’s pockets. He finds a secreted document, in German, that reads: “Whicker einrifft Montag abend. Liquidierre ihn. Nummer Eins.” The note also supplies a phone number and the name of a boat. He returns to the late-night eatery to establish an alibi for his whereabouts, and returns later to his room. It isn’t long before local police arrive on the scene to investigate an anonymous tip. Unveiling no hidden dead bodies on the premises, they depart.
The next day, he dials the mysterious number only to discover it belongs to Margo! Is this loving vivacious girl the sinister Nummer Eins? It hardly makes sense. (Nor does it make sense to frame Whicker for murder and leave a note from the secret villain on his person; intentional? or a goof on the part of the author?)
Whicker confesses the all-night episode to his close compatriot, Gerry, whom is a locally stationed high-ranking officer. Together, the two infiltrate a drug den. Realizing they can’t depart without raising some eyebrows, they succumb to drugs. Whicker, unable to control his anxiety, relinquishes control of the situation to Gerry. The story shifts mostly to Gerry’s viewpoint on drugs. Unable to escape, they are offered a choice of “hashish, opium, heroin, a little morphine….” Gerry opts for peyote, much to the proprietor’s surprise. Forking over a thousand shillings for ten grains each, the pair are left in an isolated room, and the attendant injects both men. At the final moment, Whicker panics and begs not to be under the influence. Too late….
While initially loopy, Gerry explains the drug mescaline to Whicker, and its properties. After regaining a semblance of control over their mental and physical properties, the duo sneak out of the room and investigate other rooms. They are startled to see raving lunatics gone-too-far under the influence of cocaine, opium, etc. One room offers maniacs bouncing about from hallucinations. The effects of the peyote begins to finally really take effect, and they stumble back to their room.
Whicker elaborates on the effects of the drug, what he sees, feels, etc, for a few pages. One almost wonders if our BBC man actually has any first-hand experiences with drugs or if he cooperated with contacts that could supply information.
Eventually escaping the drug den from hell, Gerry and Whicker part ways. Whicker intends to make for Vienna, to follow-up another lead. While en route, he is pulled over and beaten nearly unconscious by two assailants. While delirious, he hears that they are ordered to murder him, but the other person present stays his hand from murder. Whicker later learns that his jeep was used as a means to pass something concealed, across the border. He was used as an unwitting accomplice, and Nummer Eins was at the back of this plot!
Whicker plods on, and chasing the mysterious boat that is preparing soon to leave (the one mentioned on Martyn’s note) he boards the vessel. He meets the captain, and knocks the man out. While out cold, Whicker sifts through the captain’s papers and finds the “case” that had been secreted on his jeep! It is filled with loose gems (diamonds, gold, pearls, rubies, emeralds, sapphires) and jewelry. He shows his newfound worldly goods to Gerry, and the pair return to the Golden Monkey, the club where Margo sings. They are certain the proprietor might recognize some of the jewelry and know who they belonged to originally. Why their interest in this angle? Well, the jewelry would have been relinquished in order to pay for the illegal drugs! So, whomever did so, is on drugs, and should know their point-of-contact. At least, that’s Whicker’s line of thought.
The proprietor, Tibor, recognizes only one piece, as belonging to…Margo! Whicker is stunned and disheartened. He later dines with Margo, and then drops the jewelry before her eyes, upon the table. He confronts her, but she only breaks down and cries. We are left to wonder if she truly is Nummer Eins or only a blubbering wreck because she ultimately knows this person’s true identity, and is afraid to tell the truth.
Dull and beside himself with serious depression, Whicker returns to the Golden Monkey to get drunk. While there, a British soldier walks in and salutes him in passing, while walking to the back, toward Tibor’s offices. Whicker is baffled as to why this man saluted him! True, he himself is in military attire, but, only a new recruit or recent transfer into the Zone would salute him, and, he knows neither are due to this area. Intrigued, he walks in on Tibor and this false soldier, only to find Tibor equally dressed as a soldier!
Tibor draws a handgun on Whicker, and explains the situation. The drug gang are removing themselves from Europe, with all their millions earned, and fleeing before the local governments discover and converge upon them. Irked that Whicker has survived all their murderous attempts, Tibor informs him that he won’t survive this one. The situation becomes stickier when Margo inexplicably walks in. She is oblivious that Tibor intends to murder Whicker. Margo again proclaims her love for Whicker, whom tries to convince her to flee the scene, lest Tibor kills her too.
His whole world ultimately crumbles when she confesses that she isNummer Eins! However, she never ordered the kills. Tibor did all this behind her back. She was in charge purely for the money. After the war left her husbandless and destitute, she used her charms and allure to establish a foundation for illicit drug-trafficking throughout Europe. Margo never believed she would fall in love again until she met Whicker. Then, she didn’t care about her Nummer Eins identity any longer, or the money. Willing to abandon the whole lot to Tibor and his mad crew, she attempts to save Whicker’s life but is gut-shot for her efforts.
Tibor and the gang flee, but all of Europe are put on high alert. They are found, eventually. Tibor is gunned down and the rest arrested, along with many corrupt political figures, etc.
Margo dies on the floor from the gunshot wound, in Whicker’s arms, whom forgives her for her illegal transgressions. He buries under in her native Austrian lands, under a tall elm tree. Grim and despondent, he leaves her and the churchyard, to return back to England….
Alan Whicker writes a very serious exposé of the world’s ultra secret underworld and drug trafficking problems following the conclusion of the second world war, supplying raw data on various countries, a variety of drugs and their concerns, etc. As the hero of our tale, Whicker must face unscrupulous military men, bed down a variety of foreign ladies, succumb to drugs himself (twice) to maintain his secret assignment (even though everyone seems to already know his assignment), dodge assassination attempts, survive brutal beatings, and get liquored-up repetitively. Initially I was disgusted with the novel and its blasé attitude toward various ethnic groups and countries, but, we must understand that Whicker was writing, on one level, a formula novel, and on another level, a novel rich and colored by the natural biases of the reading public. It is an outstanding literary endeavor and well-worth my time spent reading it.
Inside, on the title page, it says he is also the author of the following:
Threat of the Future
Korea Man (in Men Only, March 1951)
I have found that Whicker was a regular contributor to Men Only, appearing in at least 20 issues, perhaps more. It is in all likelihood that all the above entries appeared in that publication. He also supplied at least one short crime tale to Courier (April 1950). I think it would be interesting to read all of his early literary output and perhaps have them collected (with the estates permission).