‘A séance?’
‘No, a conspiracy. They are in the dark that when arrested they may swear they never saw each other.’
‘They could swear that anyhow.’
‘Conspirators have consciences. Then there comes a red light shining between the door and the floor. Then the door breaks down under a hammer, the light floods the room. There is a man in it whom the others never saw enter.’
‘How did he get in?’
‘He was there before they came. Then the fighting begins. At the end of it where is the man?’
‘Well, where is he? What was he up to?’
‘I don’t know yet,’ said Miss Martin, ‘it just comes as I go on. It has just got to come. It is a fourteen hours a day business. All writing. I crib things from the French. Not whole stories. I take the opening situation; say the two men in a boat on the river who hook up a sack. I don’t read the rest of the Frenchman, I work on from the sack, and guess what was in it.’
‘What was in the sack?’
‘In the Sack! A name for a story! Anything, from the corpse of a freak (good idea, corpse of a freak with no arms and legs, or with too many) to a model of a submarine ship, or political papers. But I am tired of corpses. They pervade my works. They give “a bouquet, a fragrance,” as Mr. Talbot Twysden said about his cheap claret.’