52 pages • 1 hour read
Michael CrichtonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
On the evening of May 21, Pierce is having a meal at home with Miriam when Agar comes in with Burgess, the guard. Burgess tells them that the railway company has initiated new procedures to prevent theft after a case of rare wine was found empty. Now, no one will be able to ride in the luggage car aside from Burgess, and the luggage car will be locked from the outside with a deadbolt while in transit. Burgess tells the team that there are two ventilation flaps on the luggage car. Pierce now plans to climb over the top of the railcars and drop in from the ventilation flap. Agar thinks this is a ridiculous plan, but Pierce reassures him that he was taught the technique by famous mountaineer Coolidge. Pierce also has a plan for getting Agar into the luggage car, but Agar needs to find some dead animals and a nice suit to pull it off. Then, Pierce tells Barlow to get some rope and other objects and instructs Miriam to wear a cheap black dress “to show [her] respect for the dead” (200).
On the morning of May 22 at London Bridge station, the Scottish guard, McPherson, arrives at work to find a black-clad servant woman crying next to the luggage car of the Folkestone train. With her is a wooden casket outfitted with a bell that rings if the corpse moves—a common Victorian practice so that people could avoid being buried alive. The narrative provides a brief history of these bells, calling them “Bateson’s belfries.” McPherson comforts the woman, who tells him that the guard, Burgess, will not let her load the coffin onto the train until McPherson has searched it. McPherson offers to see to the coffin, but before he can do anything, McPherson’s uncle (the train dispatcher) and the men from the bank arrive and load the gold onto the luggage car.
After the gold is loaded, the dispatcher tells McPherson that he must open and check the coffin before it is loaded onto the train. At that moment, the coffin’s bell rings. The servant woman goes wild trying to open the coffin, believing that her brother Richard may still be alive. When the coffin is open, though, all they see is a stinking, decaying cholera-ridden corpse. It is loaded onto the train, and the dispatcher locks the van, never noticing Pierce in the station.
After the commotion, Barlow, who is disguised as Pierce’s manservant, loads five heavy satchel bags onto the luggage car while the dispatcher is distracted. Then, Pierce asks the “servant woman” (Miriam) if she would like to join him on the train. At that moment, Henry Fowler arrives and announces, to Pierce’s chagrin, that they should all sit together on the train. Once everyone is on the train, Pierce begins smoking a cigarette, making the servant woman cough until Fowler escorts her to his first-class cabin. The train leaves the station.
In the luggage car, Burgess helps Agar out of the coffin. Agar opens the safe, replaces the gold with lead shot, and puts the gold in the five bags. He tells Burgess that Pierce will climb over the top of the train to unlock the outside padlock.
During the trial that takes place after the heist, Pierce admits that he has no knowledge of mountaineering. However, he says that he mistakenly thought the moving air over the tops of the cars would hold him down and prevent him from falling off—a principle known as Bernoulli’s Law. For this reason, he went ahead with his plan.
On the day of the heist, Pierce climbs out the window and onto the top of the train. He crawls to the luggage car, uses a rope to hang over the side and pick the padlock, and finally climbs through the ventilation flap into the luggage car.
Pierce is dirty from the coal smoke and exhausted. He makes Agar give him his clean clothes so that he can change. Then, they throw the satchels of gold out of the luggage car. As Pierce climbs out the ventilation flap and begins to make his way back, the train is slowing down for its approach to Ashford Station. He sprints across the tops of the cars and makes it back into his train cabin just as the train pulls into the station.
About half an hour later, the train pulls into Folkestone station. Pierce is smelly, dirty, and wearing Agar’s ill-fitting clothes. Fowler, now walking with the servant girl, sees Pierce on the platform and says that he looks terrible, but Fowler isn’t suspicious because he believes that Pierce gets trainsick. Pierce leaves the station while Miriam makes sure that her “brother’s” coffin is unloaded. She is picked up an hour later by a cab driven by a man with a scar (Barlow). They pick up Pierce at the end of the road.
Meanwhile, the safes are transported to Ostend, where authorities from the French bank of Louis Bonnard et Fils discover that they are full of lead shot, not gold. They send a telegraph the next morning (May 23 at 10 am) to inform the bank of Huddleston & Bradford of the theft.
The bankers at Huddleston & Bradford initially believe that the French are merely mistaken. By early afternoon, however, it becomes clear that the gold has indeed been replaced with lead shot. The various French and British authorities bicker via telegraph about who is responsible. That evening, the bankers decide to contact Scotland Yard. Over the next few days, a reward is offered for the arrest of anyone involved, and the public begins to speculate about what happened. On June 17, the safes are analyzed and show evidence of tampering. On June 19, a warrant is put out for the arrest of the guard, Burgess, but he has disappeared, along with his family. Throughout the summer, the papers breathlessly report on the Great Train Robbery. However, without further breaks in the case, public interest wanes by October.
In this section of the novel, Michael Crichton fabricates the “Bateson’s Belfry” that Pierce and his co-conspirators use as part of their heist plot. As described by Crichton, the Bateson’s Belfry was supposedly intended to signal when someone in a coffin was still alive by causing a bell to ring. Within the context of the novel, this device allows Agar to hide in a coffin to gain access to the luggage car, and then signal Burgess to be released. While Bateson’s Belfry is a fictional construction, Crichton’s decision to include this element reflects his interest in Examining the Nuances of Victorian Society, for the fear of being buried alive was a widespread concern throughout Europe in the 19th century. Indeed, a similar device was developed by German doctor Johann Gottfried Tarberger in 1829. Tarberger’s signaling device and similar constructions were known as “safety coffins” (“Safety Coffins.” Australian Museum, 22 Oct. 2020), and Crichton’s creation of the Bateson’s Belfry is loosely based on this historical detail. Thus, the Bateson’s Belfry represents a prime example of Crichton’s method of weaving historical elements almost seamlessly within a fictional narrative, blending the boundaries so that it is difficult to tell where history ends and fiction begins. Crichton’s strategic use of this technique has led some people to believe that the Bateson’s Belfry was real. As one researcher notes, the “story has made many appearances, continuing to feature in […] even the occasional news article” (Stern, Jeremy. “A Tale Worthy of Poe: The Myth of George Bateson and His Belfry.” History News Network, 28 Oct. 2013).
Another example of this technique can be found in the novel’s discussion of the mountaineer, Coolidge. Pierce and Agar discuss Mr. Coolidge, Pierce claims that he “climbed with [Coolidge] in Switzerland—three peaks in all—and […] learned what he knows” (199). Pierce then uses Coolidge’s mountaineering knowledge to hang over the side of the train car and unlock the door. However, the historical W. A. B. Coolidge would have been a mere six years old at the time of the heist; it wasn’t until 1870 that Coolidge made a name for himself as an alpinist. That said, there is an element of truth to the notion that mountaineering was often covered in the popular press in 1856, for the “Golden age of alpinism” is said to have begun in 1854 with the ascent of the Wetterhorn by Alfred Wills. As these examples indicate, it is difficult to sort fact from fiction in Crichton’s work because many other historical features that he describes are largely accurate, such as the discussion in Chapter 43 of Bernoulli’s principle of fluid dynamics.
Another key element of Examining the Nuances of Victorian Society that factors into the narrative is the use of clothing as a mark of class. When Mr. Fowler sees Pierce with Miriam at the train station, he immediately assumes that she is not his lover because “such a girl would certainly be dressed with gentility, which this girl was not” (214). Because she is wearing a plain black dress, Mr. Fowler assumes that she is a servant, and he finds it unusual that a gentleman like Pierce would be seen so publicly with someone of a lower class. This scene is just one of many in which clothing is shown to indicate a person’s class and station.
By Michael Crichton