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“All except one, I think,” replied Fettle.
“In which case, the words came up on the screen if the actors spoke to each other.”
“Aye,” replied Fettle.
“You’ve no idea if a film script for these films still exists, have you?”
“You must be kidding,” said Fettle, finishing his tea. “Although I did hear talk once that there was a book about the reconstruction of the film.”
“A Blind Bargain?” asked Gardener.
“Aye,” said Fettle.
“Any idea who wrote it?”
“Haven’t a clue, sunshine.”
Gardener turned to Reilly. “Sean, make a note, see if we can find the book.”
“You reckon he’s using quotes from Chaney’s films?” asked Reilly.
“It’s looking that way,” replied Gardener.
“What quotes?” asked Fettle.
“I’m sorry, Mr Fettle, we’ve kept them from the public. You remember that day you took us into the cellars and we found a puzzle?”
“Oh aye.”
“They’re not the only ones he’s been leaving. We’ve found one-line quotes next to the bodies.”
“And you think they’re from the films?”
“Possibly,” replied Gardener.
“And if you could get film scripts you’d know for sure.”
“Maybe.”
“Do you have a copy of the quotes?”
Gardener passed over the evidence bag with the paper he’d shown to Corndell. After a couple of minutes of studying it, Fettle shook his head. “No, can’t help you there.”
“Do you know anyone who can?”
“No, afraid not. You see, most of Chaney’s films are missing, and I doubt there’s any records of the scripts lying around, they’re just too old.”
“Do you know if any of the films are available today?”
“Only way to find out is to use the internet. I dare say you might pick up The Phantom of the Opera, or The Hunchback of Notre Dame.”
“I’ll check that out,” said Reilly. “I’ll also ask Laura what she knows, or maybe who she knows. Her friend at the university might help.”
“Maybe Corndell could,” suggested Gardener.
“Who’s Corndell?” asked Fettle.
“William Henry Corndell. Do you know him?”
