The Thief (42 page)

“This is for pictures,” said Semmler. “What captures the sound?”

Lynds nodded mutely at a carbon microphone on a tall wooden box.

Semmler said, “Lastly, where is the machine for imprinting the sounds on the film?”

Clyde Lynds sagged in Semmler’s grip. The monster knew everything. It was as if he had been watching over his shoulder. Pain bored through his arm as Semmler shook him like a terrier. “Where?”

“Upstairs in the lab.”

Semmler was relentless. Squeezing harder, grinding Lynds’s flesh agonizingly against bone, he asked, “Where are your plans?”

Clyde Lynds realized with a sinking heart that, having been outfoxed in the past, the German was too suspicious to be fooled again. “There!” he gasped, indicating a satchel full of drawings and schematics. That seemed to appease the Acrobat, Lynds thought, but he soon realized he was wrong.

“Let’s go!” Semmler dragged him toward the opening that had appeared so suddenly in the wall.

“Where?”

“Up to the laboratory for your imprinting machine, then home to Germany.”

“Germany’s not my home,” Lynds protested.

“It will be your home until your machine is made absolutely perfect.”

The Gopher gangsters back in New York had taught Clyde Lynds their favorite fighting trick. They had done it as a joke, thinking he was an overeducated sissy boy, but, craving their respect, he had learned it anyhow. With nothing to lose, he tried it now, so unexpectedly that he startled even the Acrobat. Springing off his toes he butted his forehead against the big German’s massive jaw. In the split second that the grip on his arm eased, Lynds wrenched free and ran. He stumbled over Larry Saunders’s body, arrested his fall with one hand, and scooped up a fallen pistol.

Clyde Lynds heard a shot.

The sound seemed to come from a great distance, and he heard it long after he realized that his legs had stopped moving and that the shot had hammered him to the floor. He tried to sit up. He saw the man who had shot him, a yellow-bearded Dutchman in a slouch hat, still holding the gun and violently shaking his head. The Acrobat was standing close behind the man, his face contorted with rage and stupendous effort as he yanked a garrote around the Dutchman’s neck so tightly that it sawed through flesh.

“T
AKE EVERYTHING TO THE TRAIN,”
Semmler ordered his remaining men. “I’ll go up to the laboratory.” He threw the Boer’s body out of his way and knelt to pick up Clyde Lynds to have him identify the correct imprinting machine. The scientist had lost consciousness. Air bubbled bloodily from his chest, and Semmler could see that he was mortally wounded.

Again cursing the trigger-happy fool who had shot Lynds and remembering how Lynds had tricked him in the past, Christian Semmler searched the dying scientist’s clothing. He found tucked beneath his shirt a flat object carefully folded in a wrapping of oilskin. He opened it and found a single sheet of heavy parchment paper. To his joy, written on it in a fine, clear, miniature hand were diagrams and schematic drawings annotated with mathematical formulas.

Semmler rewrapped it with reverent care in the waterproof oilskin. Surely this was the cagey Lynds’s true plan for the Talking Pictures machine. Why else would he have wrapped it so carefully? Why else would he hide it? Semmler slipped it inside his own shirt. He would take it, along with the satchel full of plans and the machine itself, back to Germany and let the scientists determine which was real.

I
SAAC
B
ELL SPOTTED
I
RINA
V
IORETS
standing just at the edge of the light drifting down from a streetlamp. She was craning her neck, staring up at the top of the Imperial Building. Her coat was too heavy for the mild climate. At her feet was a carpetbag.

“You look,” said Bell as he came up behind her, “like a woman leaving town.”

She turned to the sound of his voice. Her eyes were bright with tears. Her voice trembled. “Do not speak,” she said. “I will speak.”

Bell listened with some skepticism and then growing sympathy as she told him how her fiancé was locked in Semmler’s Army prison in Prussia. “Semmler says he’s a fool. But his cause is right. His dreams are just. I know, now, that he was not meant to survive in the world in which he chooses to fight. I am his only hope.”

“Irina, why are you telling me this?”

“Because maybe if you kill Semmler, perhaps, just perhaps, there will be no one else to order them to kill my prince.”

“I’m a private detective, Irina. I’m not a murderer.”

“I know that, Isaac. But if you confront Christian Semmler, only one will survive. Call it what you want. Self-defense. I don’t care. You are my only hope.”

“To confront him, I have to find him.”

“I will tell you how to find him. There is a secret stairwell that rises from the basement to the penthouse. He roams it. He spies from it. On the ninth floor he has his own hidden quarters. Now you can find him.”

“Where is the basement entrance?”

“Do you recall the life net that I showed you behind the building? For the actors to jump in?”

“Yes.”

“There is a trapdoor directly under it.”

“Why tonight?” Bell asked. “Why did you tell me tonight?”

“Because I have done a terrible thing, and only you can save me from it.”

“What?”

“Semmler asked me to make sure that Marion is in the building tonight.”

“She’s here? She can’t be. She’s home.”

“I put her to work, last minute, taking pictures in the roof studio. She’s up there now. Where he wanted her. I am so sorry, Isaac, but my—”

Bell whirled away and ran full tilt down the block and around the corner. He saw an International truck pulling away from the gate in the wooden fence that surrounded the vacant lot behind the building. One of the uniformed lobby doormen was standing guard at the gate and moved to stop him.

“Where the hell you think you’re going?”

Bell hit him twice, continued through the gate, and ran past the temporary outdoor studio stages. He saw the life net in the light of a nearby window. The canvas was stretched between springy ropes, five feet above the ground. Bell ducked under it and found the trapdoor. Oddly, it was open.

Isaac Bell climbed into the hole and down a steel ladder affixed to a concrete wall. At the bottom, he saw light at the end of a narrow hall and ran toward it, drawing his Browning. The hall ended at a dimly lit narrow stairwell. Steps spiraled tightly upward into the highest reaches of the building. Bell bounded up them, the sound of his boots muffled by rubber tile.

At an abbreviated landing at the top of the first flight, he saw several twelve-inch-square doors set in the walls at head height. He jerked one open. It covered the judas he had suspected was there. The spy hole took in the lobby. He saw four doormen blocking the front door, the stairs, and the steps to the theater. The elevators were open, their lights off, out of service.

Bell opened the judas hole cover on the opposite wall. The film exchange was empty at this late hour, and a steel scissors gate was closed across the motorcycle messengers’ entrance. Irina had given him the only way to breach the building’s defenses.

He climbed another flight and ran face-to-face into Detective Tim Holian. Holian shambled past him, bleeding from bullet wounds in his arms and legs, white with shock, and muttering, “Hospital, hospital, gotta get to the hospital.”

Bell thought fleetingly that Holian had to be one of the luckiest men alive to survive a fusillade of gunfire with only flesh wounds.

“Where’s Saunders?”

“Dead. All dead.”

Bell pounded up the stairs. At the fourth flight, the wall had disappeared, having been slid aside into a pocket. He stepped through the opening and stared in horror. The recording studio was a slaughterhouse.

Larry Saunders lay dead on the floor. Two men Bell didn’t know lay dead, revolvers locked in their fists, slouch hats fallen beside them. A third man had been strangled and bore the bloody gouge around the throat that was the Acrobat’s signature. Then he saw Clyde Lynds sprawled on his back, his chest covered in blood, his face drained of color.

“Clyde?” Pistol in hand, Isaac Bell knelt beside him. He saw immediately that the brash young scientist was not long for this world, and he had a horrible feeling that he had let him down.

Clyde opened his eyes. “Say, Isaac,” he whispered. “You didn’t make the rescue this time.”

“I’m sorry I got you into this,” said Isaac Bell. “I wish I had insisted you take your chances with Edison.”

“At least Edison wouldn’t kill me.”

“Did they take your machine?”

Clyde answered slowly, in a whisper so faint that Bell had to move within inches to hear him. “They took a jury-rigged contraption I slapped together with baling wire. It will drive their scientists nuts. Joke’s on the Acrobat. I fooled him again. And I kept the new plans— Isaac!”

“What?”

“You have to take care of the plans.”

“I will.”

“You have to promise.”

“I promise. Where are they?” Bell asked.

“Right here.”

“Where?”

Clyde raised his hand as if to point at his head as Bell remembered he had on the
Mauretania
, claiming he held it in his mind and only needed time and money to finish Talking Pictures. A lot of good that would do. They would die with him this time. But instead Clyde was reaching to pat his chest, then hastily to cover his mouth. He coughed, a harsh sound that wracked his body head to toe. The cough ended abruptly with a sudden intake of breath and a long sigh, and before Clyde Lynds could tell Isaac Bell where he had put his plans, the young scientist was dead.

Bell closed Clyde’s eyelids and spread a handkerchief over his face. Mindful of his promise, he searched Clyde’s clothing.

“Looking for something, Detective?”

T
HE
A
CROBAT WAS SPEAKING DIRECTLY BE
hind him. His English was fluent, his accent light.

“Place your pistol on his chest.”

Isaac Bell laid the Browning on Clyde’s chest and raised both hands. As his right hand passed his head, he whipped his derringer from his hat, spun around, and fired both barrels in the direction of Semmler’s voice. The slugs clanged through a tin acoustical horn.

The Acrobat laughed.

Now Bell saw him on the far side of the room, a man with hair as gold as his and green eyes bright as emeralds. He was standing behind a disc microphone mounted on a wooden box, smiling the “Fritz Wunderlich” smile that the drummers had raved about. The sketch had failed to capture the magnetic power of his presence. Nor were his thick brow and massive jaw monkey-like. Isaac Bell thought that Semmler, the Acrobat, looked like the work of a brilliant sculptor more enchanted by the structure within his stone than by the surface. The word “mighty” sprang to Bell’s mind. There was a quality to the man of power that made him seem larger than life.

Semmler returned Bell’s inquiring gaze, and his smile broadened and his eyes brightened. Bell was reminded of Art Curtis—though six inches shorter than Semmler and round instead of rangy, Art had possessed a similarly compelling smile. Art had been a fighting man, too, and his eyes could turn cold. But Semmler’s eyes were of a different order, as cold and empty as the stars.