In pursuance of this arrangement, Ainslie left first for the scene of
action in Chessel’s Court, carrying with him the coulter, and, having
taken up his position within the “palisadoes,” saw the porter come out
with a light and lock the outer door behind him. Shortly thereafter
Smith arrived. On hearing that the coast was clear, he lost no time in
opening the front door with his false key and went into the office. He
was followed five minutes later by Deacon Brodie, who, learning that
Smith was within, but that Brown had not yet put in an appearance, went
back up the court to look for him. They met in the entry and returned
together, Brown explaining that, on his arrival, he had seen the old man
who usually locked up the office leaving the court, and had dogged him
home as a precautionary measure. Brown then inquired of Ainslie “whether
or not he had ‘Great Samuel’?”--by which playful appellation he referred
to the coulter--and Ainslie handed it to him through the railings. The
Deacon and Brown then entered the office, leaving the outer door on the
latch, behind which the former ensconced himself.
Smith had meanwhile opened the spring catch of the inner door with a
pair of curling irons or “toupee tongs” which he had prepared for that
purpose, and was awaiting Brown in the hall. By means of the coulter and
an iron crow--“Little Samuel,” in Brown’s humorous phraseology--the two
burglars at length succeeded in forcing the door of the cashier’s room,
and by the light of the Deacon’s lantern they proceeded to prize open
every desk and press which it contained. In the cashier’s desk they
found and appropriated two five-pound notes, six guinea notes, and some
odd silver; but after half-an-hour’s diligent searching their utmost
efforts failed to discover the accumulated riches which they had
confidently expected to secure.
In the hurry of the search, by a curious chance, a secret drawer,
concealed beneath the cashier’s desk, containing no less than £600
sterling, escaped their notice.
Public-domain text, read in full here on John Shaqi.
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