The Mammoth Book of Perfect Crimes and Impossible Mysteries Part 48

"The single patrolman you left on guard."

Peake stepped over to the telephone, called Headquarters. After a few briet words he turned back to us, his incredulity at Tarrant's statement apparently confirmed.

"You must be mistaken, sir," he a.s.serted. "There have been no reports from Officer Weber. He would never leave the premises without reporting such an occasion."

Tarrant's answer was purely practical. "Come and see."

And when we reached the terrace on the building's roof, there was, in fact, no sign of the patrolman who should have been at his station. We entered the penthouse and, the lights having been turned on, Peake himself made a complete search of the premises. While Tarrant watched the proceedings in a grim silence, I walked over to the north window of the studio, grey in the early morning light, and sought for the nail hole he had mentioned as being in the floor. There it was, a small, clean indentation, about an inch or an inch and a half deep, in one of the hardwood planks. This, and everything else about the place, appeared just as Tarrant had described it to us some hours before, previous to my turning in. I was just in time to see Peake emerge from the enlarged opening in the lavatory floor, dusty and sorely puzzled.

"Our man is certainly not here," the inspector acknowledged. "I cannot understand it. This is a serious breach of discipline."

"h.e.l.l," said Tarrant sharply, speaking for the first time since we had come to the roof. "This is a serious breach of intelligence, not discipline."

"I shall broadcast an immediate order for the detention of Patrolman Weber." Peake stepped into the bedroom and approached the phone to carry out his intention.

"You needn't broadcast it. I have already spoken to the night operator in the lobby on the ground floor. He told me a policeman left the building in great haste about 3:30 this morning. If you will have the local precinct check up on the all-night lunch-rooms along Lexington Avenue in this vicinity, you will soon pick up the first step of the trail that man left . . . You will probably take my advice, now that it is too late."

Peake did so, putting the call through at once; but his bewilderment was no whit lessened. Nor was mine. As he put down the instrument, he said: "All right. But it doesn't make sense. Why should he leave his post without notifying us? And why should he go to a lunch-room?"

"Because he was hungry."

"But there has been a crazy murderer here already. And now Weber, an ordinary cop, if I ever saw one. Does this place make everybody mad?"

"Not as mad as you're going to be in a minute. But perhaps you weren't using the word in that sense?"

Peake let it pa.s.s. "Everything," he commented slowly, "is just as we left it yesterday evening. Except for Weber's disappearance."

"Is that so?" Tarrant led us to the entrance from the roof to the studio and pointed downwards. The light was now bright enough to disclose an unmistakable spattering of blood on one of the steps before the door. "That blood wasn't there when we left last night. I came up here about five-thirty, the moment I got on to this thing," he continued bitterly. "Of course I was too late . . . d.a.m.nation, let us make an end to this farce. I'll show you some more things that have altered during the night."

We followed him into the studio again as he strode over to the easel with its lewd picture, opposite the entrance. He pointed to the nail still protruding through the canvas. "I don't know how closely you observed the hole made in this painting by the nail yesterday. But it's a little larger now and the edges are more frayed. In other words the nail has been removed and once more inserted."

I turned about to find that Gleeb, somehow apprised of the excitement, had entered the penthouse and now stood a little behind us. Tarrant acknowledged his presence with a curt nod; and in the air of tension that his tenant was building up the manager ventured no questions.

"Now," Tarrant continued, pointing out the locations as he spoke, "possibly they have dried, but when I first got here this morning there was a trail of moist spots still leading from the entrance door way to the vicinity of the north window. You will find that they were places where a trail of blood had been wiped away with a wet cloth."

He turned to the picture beside him and withdrew the nail, pulling himself up as if for a repugnant job. He walked over to the north window and motioned us to take our places on either side of him. Then he bent down and inserted the nail, point first, into the indentation in the plank, as firmly as he could. He braced himself and apparently strove to pull the nail toward the south, away from the window.

I was struggling with an obvious doubt. I said, "But you told us the planks could not be lifted."

"Can't," Tarrant grunted. "But they can be slid."

Under his efforts the plank was, in fact, sliding. Its end appeared from under the footboard at the base of the north wall below the window and continued to move over a s.p.a.ce of several feet. When this had been accomplished, he grasped the edges of the planks on both sides of the one already moved and slid them back also. An opening quite large enough to squeeze through was revealed.

But that was not all. The huddled body of a man lay just beneath; the man was clad only in underwear and was obviously dead from the beating in of his head.

As we bent over, gasping at the unexpectedly gory sight, Gleeb suddenly cried, "But that is not Michael Salti! What is this, a murder farm? I don't know this man."

Inspector Peake's voice was ominous with anger. "I do. That is the body of Officer Weber. But how could he-"

Tarrant had straightened up and was regarding us with a look that said plainly he was anxious to get an unpleasant piece of work finished. "It was simple enough," he ground out. "Salti cut out the planks beneath the bath-tub in the lavatory so that these planks in the studio could be slid back over the beam along the foundation under the south wall; their farther ends in this position will now be covering the hole in the lavatory floor. The floor here is well fitted and the planks are grooved, thus making the sliding possible. They can be moved back into their original position by someone in the s.p.a.ce below here; doubtless we shall find a small block nailed to the under portion of all three planks for that purpose.

"He murdered his model, set the scene and started his phonograph, which will run interminably on the electric current. Then he crawled into his hiding-place. The discovery of the crime could not be put off any later than the chambermaid's visit in the morning, and I have no doubt he took a s.a.d.i.s.tic pleasure in antic.i.p.ating her hysterics when she entered. By chance your radio man, Gleeb, caused us to enter first.

"When the place was searched and the murderer not discovered, his pursuit pa.s.sed elsewhere, while he himself lay concealed here all day. It was even better than doubling back upon his tracks, for he had never left the starting post. Eventually, of course, he had to get out, but by that time the vicinity of this building would be the last place in which he was being searched for.

"Early this morning he pushed back the planks from underneath and came forth. I don't know whether he had expected anyone to be left on guard, but that helped rather than hindered him. Creeping up upon the unsuspecting guard, he knocked him out doubtless with that mallet I can just see beside the body and beat him to death. Then he put his second victim in the hiding-place, returning the instrument that closes it from above, the nail, to its position in the painting. He had already stripped off his own clothes, which you will find down in that hole, and in the officer's uniform and coat he found no difficulty in leaving the building. His first action was to hurry to a lunch-room, naturally, since after a day and a night without food under the floor here, he must have been famished. I have no doubt that your men will get a report of him along Lexington Avenue, Peake; but, even so, he now has some hours' start on you."

"We'll get him," Peake a.s.sured us. "But if you knew all this, why in heaven's name didn't you have this place opened up last night, before he had any chance to commit a second murder? We should have taken him red-handed."

"Yes, but I didn't know it last night," Tarrant reminded him. "It was not until late yesterday afternoon that I had any proper opportunity to examine the penthouse. What I found was a sealed room and a sealed house. There was no exit that had not been blocked nor, after our search, could I understand how the man could still be in the penthouse. On the other hand, I could not understand how it was possible that he had left. As a precaution, in case he were still here in some manner I had not fathomed, I urged you to leave at least two men on guard, and it was my understanding that you agreed. I think it is obvious, although I was unable then to justify myself, that the precaution was called for."

Peake said, "It was."

"I have been up all night working this out. What puzzled me completely was the absence of any trap doors. Certainly we looked for them thoroughly. But it was there right in front of us all the time; we even investigated a portion of it, the aperture in the lavatory floor, which we supposed to be a trap-door itself, although actually it was only a part of the real arrangement. As usual the trick was based upon taking advantage of habits of thought, of our habitised notion of a trap-door as something that is lifted or swung back. I have never heard before of a trap-door that slides back. Nevertheless, that was the simple answer, and it took me until five-thirty to reach it."

Katoh, whom for the moment I had forgotten completely, stirred uneasily and spoke up. "I not see, Misster Tarrant, how you reach answer then."

"Four things," was the reply. "First of all, the logical a.s.sumption that, since there was no way out, the man was still here. As to the mechanism by which he managed to remain undiscovered, three things. We mentioned them last night. First, the nail hole in the plank; second, the position of the easel; third, the hole in the lavatory floor. I tried many ways to make them fit together, for I felt sure they must all fit.

"It was the position of the easel that finally gave me the truth. You remember we agreed that it was wrong, that the murderer had never intended to leave it facing away from the room. But if the murderer had left it as he intended, if no one had entered until we did, and still its position was wrong, what could have moved it in the meantime? Except for the phonograph, which could scarcely be responsible, the room held nothing but motionless objects. But if the floor under one of its legs had moved, the easel would have been slid around. That fitted with the other two items, the nail hole in the plank, the opening under the bath-tub.

"The moment it clicked, I got an automatic and ran up here. I was too late. As I said, I've been up all night. I'm tired; and I'm going to bed."

He walked off without another word, scarcely with a parting nod. Tarrant, as know now, did not often fail. He was a man who offered few excuses for himself and he was humiliated.

It was a week or so later when I had an opportunity to ask him if Salti had been captured. I had seen nothing of it in the newspapers, and the case had now pa.s.sed to the back pages with the usual celerity of sensations.

Tarrant said, "I don't know."

"But haven't you followed it up with that man, Peake?"

"I'm not interested. It's nothing but a straight police chase now. This part of it might make a good film for a Hollywood audience, but there isn't the slightest intellectual interest left."

He stopped and added after an appreciable pause, "d.a.m.n it, Jerry, I don't like to think of it even now. I've blamed the stupidity of the police all I can; their throwing me out when I might have made a real investigation in the morning, that delay; their the negligence in overlooking my suggestion for a pair of guards, which I made as emphatic as I could. But it's no use. I should have solved it in time, even so. There could only be that one answer and I took too long to find it.

"The human brain works too slowly, Jerry, even when it works straight . . . it works too slowly."

The Impossible Murder of Dr Sata.n.u.s William Krohn William Krohn (b. 1945) has the distinction of being the youngest writer represented in this collection. Youngest, that is, at the time he wrote the following story: he was eighteen when he submitted it to Ellery Queen's Mystery Magazine where it appeared a little over a year later. Krohn had read his first detective novel a couple of years earlier: John d.i.c.kson's Carr's masterpiece of the impossible The Three Coffins, and he was hooked. Needless to say the following story is heavily influenced by Carr, but you might as well learn from the best. Krohn wrote a second similar story which was rejected as too complex, and he moved on to other fields. He has since become a noted film critic and an expert on the work of Alfred Hitchc.o.c.k, including the study Hitchc.o.c.k at Work (2003). He is also Director of Creative Services for the Commercial Film Division of New Galaxy Enterprises and the editor of the online webzine RocketsAway. The following is where it all started.

The policeman was thinking about magic.

It was a strange thought for a policeman to have, but even his superiors might have forgiven him on an evening like this. It was late August, and a velvet-dark midsummer night had descended on the streets of the city. On this particular street, with its big comfortable homes and airy lawns turning from green to black in the smoky twilight, the darkness seemed to sing with a kind of summer magic that even a policeman can feel.

But Lieutenant-Detective Jerry Doran was thinking of another kind of magic the kind which involves playing cards and white rabbits, bouquets of flowers that burst from nowhere and beautiful ladies who vanish at the wave of a silver wand. This kind of magic had somehow got loose from the safe confines of the stage and was causing Lieutenant Doran a severe occupational headache; and now he was ringing the doorbell of the one man who might help him a man who did not believe in magic at all.

"Sometimes I think," said Richard Sheilan as he ushered his guest into the living room, "that it takes a murder to make you come visiting. Your soul is Machiavellian, Jerry. You should have been a politician."

"I should have been an astronaut," Doran said feelingly, "or a short-order cook. Anything but a policeman."

"Tch-tch," said Sheilan. He stepped over to the liquor cabinet and extracted a bottle and two gla.s.ses. "Those were sympathetic noises," he explained, "the kind I reserve for my un-retired friends. But I take it from what you said over the phone that you want more than commiseration." He handed Doran a gla.s.s. "What is it this time, Jerry? Murder, of course."

It had been a number of years since Sheilan had retired from police work and moved into his new home. He seemed quite at ease here in this large cream-colored room, as he hunched a little in his monstrous black armchair.

Sheilan was a very big man not tall and wiry like Doran but built on a huge scale. He stood well over six feet, on disproportionately long legs; he was big-boned and slender, with ropy-veined wrists and impressively broad shoulders. He had a ruddy complexion and what might be called ruddy hair red-tinted where it had not already silvered with age. For all his quietness of manner he cut an imposing figure, and small people with loud voices rarely felt comfortable in his presence. He was quiet now, and the hazel eyes watched his friend's face attentively.

"It's murder," Doran affirmed. "I'm surprised you haven't read about it in the papers. It's been getting front-page coverage ever since it broke this morning."

"I don't read the papers," Sheilan said simply. "What sort of case do you mean?"

"A screwy one. The kind," Doran said with a trace of malice, "that we save for our un-retired friends." Sheilan snorted as Doran went on, "Mr Charles Kimball was killed early this morning in a downtown hotel. During the few seconds that the murder must have taken place, he was alone in an elevator car where no living soul could have come near him. And yet he was murdered."

Sheilan sighed. "You've hooked me, Jerry," he said. "Now I suggest that you begin at the beginning, omit the melodrama, and tell a straight story." Doran looked belligerent. "Suppose you begin with the victim Mr Kimball."

"All right," said Doran. "Mr Charles Kimball. What do you think Mr Charles Kimball was?"

Sheilan shut his eyes. "A sorcerer," he intoned. "A student of occult mysteries who tampered with forces beyond his control-"

"Bingo!" said Doran. "Got it the first guess. Charles Kimball was a professional magician, a stage illusionist and a d.a.m.n good one, from what I hear."

Settling back in his chair, the policeman began to tell the story . . .

Standing in the arctic glare of the blue spotlight, draped like a statue in the black robes of his profession, the magician looked for all the world like the lanky personification of some ancient plague. The skin of his hands was the color of snow, and a madman's shock of white hair, tied with a thin ribbon, crowned his skull; his mouth was like a black sore.

Earlier in the evening the stage had been crowded with gaudy apparatus coffin-like boxes for sawing a woman in half and cabinets for making her vanish like a puff of smoke. Now the magician stood alone under the spotlight. With a creative gesture of his cupped hands he produced a single white dove which perched for a moment on his arm and then flew away. Then another appeared, and another and another until it seemed as if there were a hundred of them fluttering around the weirdly lit stage.

The magician was billed as Dr Sata.n.u.s; he was, of course, none other than Mr Charles Kimball, an entertainer whose checkered career had embraced everything from tightrope acrobatics to cardsharping, from juggling to escape artistry. Somewhere along the line he had married a chorus girl named Margaret Linden and incorporated her into the act as his a.s.sistant. Now, after more hard work and disappointment than he cared to remember, Charles Kimball was at the peak of his career.

Backstage, the Dr Sata.n.u.s troupe was getting ready to go home home tonight being three scattered rooms in the Hotel Bowman, a second-rate theatrical establishment just off Broadway. Leo Gurney, a wiry little man with a head of curly black hair and a monkey-ugly face, was leaning against a pile of flats and tinkering with an obscure bit of machinery; in addition to his duties as stage manager, Gurney was Kimball's right-hand man, the mechanical genius who designed and built all the illusions in the show.

There was also Dave Hooker, promotion manager and Jack-of-all-trades presently off somewhere picking up coffee and sandwiches for a late-night snack. And, of course, there was Margaret Kimball, a still-young woman with a face and figure which could only be described in metaphors of fruit, flowers, and heavenly beings. Still dressed in her Satanic red costume, she stood in the wings and watched the finish of the dove illusion. The curtain came down to a good round of applause, and Charles Kimball swept past, gleamingly spectral in his stage trappings.

It had been a routine performance. However, one thing happened a little later that was out of the ordinary. A few minutes after the curtain dropped, Dave Hooker reappeared, a fair-haired, innocuous young man with an armful of paper bags from some nearby diner, which he quickly distributed. With one bag left over, he went to the door of Kimball's dressing room, rapped once, and stuck in his head.

Charles Kimball started up out of his chair, his hand darting instinctively for something hidden in the dressing-table drawer. Seeing Hooker, he seemed to collect himself; he said something pleasant in reply to a question only half heard, but his hand still hovered over the drawer.

When Hooker had gone, Kimball reached inside and took out a worn-looking .32 automatic. He gripped it tightly, seeming to draw comfort from it. But his hand still shook, and when he looked at his face in the mirror he saw fear as plainly as if the word had been written there in phosph.o.r.escent letters . . .

The lobby of a hotel is seldom an inspiring sight. The lobby of the Hotel Bowman at seven o'clock on this particular morning was no exception. It was small, and it was dirty; the fake marble linoleum wasn't fooling anybody.

There were never many people loitering about, especially this early in the morning. Now there were only two: the sandy-haired, s.h.i.+rt-sleeved desk clerk and a fat well-dressed man who looked like a hog. The latter, it appeared, was waiting for someone. He had strolled in and plumped himself down a few minutes before, and now he sat quietly scanning his morning newspaper and eyeing the elevator.

As it happened, the desk clerk was also watching the elevator, which had gone up a few minutes before and was now presumably descending. He watched because he was curious about the hoggish gentleman, and because he had nothing else to do. This was important, because it meant that there were two witnesses to what happened next.

Both men heard the b.u.mp of the arriving car, and the hoggish gentleman rose from his seat, depositing the newspaper behind him like an egg. Then the elevator doors rolled open and they both saw that the only occupant of the car was lying down. Startled, the clerk moved around in front of his desk to get a closer look, and suddenly something turned over in his stomach. There was a ragged tear in the man's coat, and something dark staining the fabric.

The next thing he knew, the desk clerk was standing at the elevator doors watching dazedly as the hoggish gentleman lowered himself beside the body. He touched nothing, but he surveyed the scene as if fixing it in his mind. Then he rose with difficulty and turned to the white-faced clerk. His own face might have been stuffed with sawdust, for all the emotion it betrayed.

"My name is Bailey," the hoggish man said, flipping out some sort of identification. "I'm a private detective, I'll stay here while you call the police." The clerk's oyster eyes blinked. "Call the Homicide Squad," the fat man added ominously.

The body on the floor of the elevator was that of Charles Kimball, and let it be said now he was dead before the elevator doors opened . . .

"We'll begin," said Doran, "with the elevator." He leaned forward, folding his hands under his chin like a preacher meditating before a sermon.

"First, Mrs Kimball's testimony. She says that her husband was up early this morning, around six-thirty, and that he woke her up at about the same time. He shaved and showered and dressed, talking at some length about a mysterious appointment, but refusing to answer any of her questions. She says he looked worried, that he'd been acting a little odd all week-nervous and scared. Just before he left he said something that frightened her. He said, quote: 'I'm going to see a man who knows secrets. '"

Sheilan said nothing. Doran went on, "Kimball's appointment was for seven o'clock. He was already late when he left Mrs K. glanced at his watch, when he asked her for it and she handed it to him, and saw that it was just after seven.

"The elevator was directly across from the Kimb.a.l.l.s' room, which is on the eleventh floor. Mrs Kimball followed her husband to the elevator door and stood there watching him as he pushed the b.u.t.ton for the car, got in, and started down. Since she had her own reasons, which I'll get to in a minute, for being worried about this mysterious appointment, she watched the floor indicator over the door, and she swears that he went straight down to the lobby without making any stops.

"Fortunately for Mrs K., we have a second witness, a celebrity-conscious maid who was in the hall at the time and recognized Kimball. We have her corroborative testimony that he was alive when he got into the car, and that he went straight down to the lobby without making any stops."

Doran's voice became grim. "In the lobby," he said, "there was a man named Bailey, a licensed investigator for the Powell Detective Agency. Now, the Powell Agency is one of the finest in the city, and Bailey is one of their best men. He was in the lobby because he was waiting for Kimball; he had an appointment to meet him there at seven and turn over evidence which Kimball had hired him to collect. The evidence was to be used in divorce proceedings against Kimball's wife."

Sheilan smiled, but still said nothing, "There was also a desk clerk," Doran said, "a man named Boyd. Both men were watching when the elevator reached the lobby with Kimball, dead of a knife wound in the back. They both saw it; there cannot be the slightest doubt. The inevitable conclusion-"

" is that Kimball was killed between the time he got into the elevator on the eleventh floor and the time the car arrived in the lobby," said Sheilan. "I think you've established that. How long would it take the car to make the descent?"

"About forty-five seconds. The timing checks. Mrs Kimball says it was a little after seven when her husband left their room. Bailey noted the time on the clock in the lobby when the car arrived; it was exactly 7:03.

"Now there were two ways for someone to get into that car while it was traveling between floors-through the inner car-doors or through the escape panel in the ceiling. But both ways have been definitely ruled out.

"The inner doors of the car are solid steel. As long as the car is in motion, those doors are automatically held locked in place: the car can move only so long as the inner doors remain closed. Since the car never stopped, no one could have gotten through them; for all practical purposes they were welded shut.

"The second means of entrance is also eliminated. The escape panel is a simple trap door installed at the top of most elevators as an emergency exit. Normally, it would have been possible for someone to drop through there, catch Kimball by surprise, and kill him before he had a chance to resist. But about a year ago one of the hotel's younger guests went climbing up through this hatch and nearly got himself squashed in the elevator mechanism. The management decided on the lesser of two evils and had the trap door padlocked from the inside.

"So you see where that leaves us. No one could have gotten through the trap door to kill Kimball; and even if he did, he couldn't have gotten out again and left the hatch as it was found, padlocked on the inside. Unless we postulate a kind of Dr Fu Manchu elevator containing a secret pa.s.sage, there was no way in and no way out. It's an absolutely impossible crime!"

"I suppose," said Sheilan, "that you've ruled out the possibility of suicide?"

"Unquestionably. For one thing, no weapon was found in the car. For another, the nature of the wounds was such that they could not have been self-inflicted. There were actually three wounds two shallow gashes on the left arm and one deep stab wound under the left shoulder blade, penetrating straight to the heart. The blade that was used was over six inches long and about half an inch wide. Very sharp."

Reaching into his pocket, the policeman pulled out a gun, nickel-plated with a yellowed ivory grip. He said, "We found this gun lying on the floor by the body. It's a Colt .32 automatic, equipped with a hair-trigger and" he produced a stubby black cylinder and clipped it on the muzzle." a Maxim silencer. Not the sort of thing I'd care to come up against in an enclosed s.p.a.ce as small as an elevator car." He handed the gun over for Sheilan's inspection.

"I suppose," said Sheilan, "this is Kimball's own gun."

"It's his, all right his wife identified it positively. She found it last week, hidden under a pile of underwear. He has a permit to own one, but he hasn't carried a gun in years. But from what we've heard from other members of the troupe, Kimball had been acting funny all week-nervous, as if he were afraid of his own shadow. And the gun, as I pointed out, was recently acquired. It all ties in with the theory that Kimball knew he was in danger and carried this to protect himself. And the gun was never fired he didn't even have time to pull the trigger."

"Hmm," said Sheilan. "Did this notion of impending doom have anything to do with the a.s.signment he gave to the private detective?"

"No. Kimball saw Bailey only once three weeks ago when the magic show first came to town. He hired Bailey to do some un.o.btrusive prying into Mrs Kimball's relations with Leo Gurney."

"Aha!" said Sheilan, twirling an imaginary mustache.

"Well, now," said Doran, "Margaret Kimball is no Lady Macbeth, but she's good-looking enough to stir up plenty of homicidal intentions in a close-knit little theatrical family like this one. What's more, Gurney is a first-rate mechanic with a good working knowledge of abracadabra and Hop-o-my-Thumb-modern style. And just to round things out, Gurney's got a record. Before joining up with Kimball he served time for armed robbery. Would he commit murder to get a troublesome husband out of the way? He'd naturally be cautious, with his record, but I still wouldn't put it past him."

"Undeniable possibility," said Sheilan. "I wonder that he isn't locked up in a cell already."

"Two reasons," said Doran. "One: I'm not arresting anyone until I know how that elevator trick was worked. Two: I've been building a case against a straw dummy. Gurney had no more motive to kill Kimball than I do. Private eye Bailey dropped a bombsh.e.l.l it seems that Kimball was barking up the wrong tree. His wife was playing around but not with Gurney."