by Rex Stout
And Four to Go
Rex Stout
Rex Stout
And Four To Go
Introduction
WHEN IT WAS FIRST suggested that I write an introduction to one of the volumes in this edition of Rex Stout’s Nero Wolfe novels, it never occurred to me that Bantam would come up with one I hadn’t even read. For one thing, I didn’t think there were any Nero Wolfe books I hadn’t read. Even if I hadn’t been married to one of the great Rex Stout fans of all time-and therefore living in a house more littered with Wolfian tributes than with cats-I would have been destined to encounter a good deal of the Wolfe canon in childhood. I was born and brought up in a small Connecticut town abutting the one in which Stout spent most of his life. My father’s law partner drew up Stout’s will and his estate, High Meadow, is legendary there. So is Stout himself, of course, and for more reasons than the simple fact that he produced a number of excellent light mysteries about the most eccentric master detective of them all. Like most other states, Connecticut prides herself on the accomplishments of the men and women she takes to be her own. Stout was an enormously successful banker long before he became a bestselling author. He was a respected public figure before he ever presented Nero Wolfe to the world. He was one of those people who seem to be successful by definition-not someone who tried but someone who accomplished, almost as a matter of course. These days, I know enough about writing to know that nothing about producing a successful book is “a matter of course,” but back then Stout seemed right up there with George Washington and Thomas Edison-one of those people so good at everything they simply couldn’t fail. After a while the images got confused. In my child’s mind, Rex Stout was perfect and Nero Wolfe was perfect and therefore Rex Stout was Nero Wolfe. (Even the names had similar rhythms and resonated against each other. Nero Wolfe was fat, and Rex’s last name was-well, Stout.) It came as quite a shock when, in my adulthood, I finally came across a good picture of the novelist himself. A man who looked less like his master detective could barely be imagined.
Someone looking for a chance to spend time with Wolfe and Archie at their most vivid could hardly pick a better volume than this one. Short detective fiction is often very frustrating. Restricted to a few thousand words, even the best of authors choke. Characters strongly drawn in the longer fictional forms become thin. Plots made intricate by twists and turns over the course of two hundred pages turn out to be obvious and feeble when confined to twenty. Maybe my third-grade teacher was right. Maybe Mr. Rex Stout was perfect. There are none of the weaknesses of your run-of-the-mill mystery story here.
What you will find are four very good stories, two of which have curious histories. “Easter Parade,” for instance, was originally published in Look magazine with color pictures to accompany the text. The fair-play clues to the puzzle were supposed to be in the photographs. Although I have not seen these photographs, I know from report that there is a hardcover edition of And Four to Go that includes them, but in black and white. Having read the story without them, I can say that they are not strictly necessary. Stout was too careful to leave all the responsibility for planting clues up to some camera.
Then there is “Murder Is No Joke,” the only one of these four stories not set during a holiday. A version of that one appears in Death Times Three-with a little difference. The difference is the female lead, Flora Gallant in both, who appears as an old and ugly woman in the book you are now holding, but as a young and beautiful one-and subplot romance for Archie-in the slightly longer version in the other volume. For those of you who like to play these games, I note that this change is a wonderfully demonstrative indication of the diverse socialization of men and women. My husband prefaced his explanation of the differences between the two versions by saying that, in lengthening the story, Stout had made “one minor change.” I’ve never met a woman yet who thought that change was minor.
Curiosities aside, however, both these stories are good solid mysteries more than worthy of the deductive efforts of their readers, and so are the other two. They are also fine vignettes of life in the brownstone on Thirty-fifth Street. When I read my first Nero Wolfe novel, I identified with Wolfe-the genius, the eccentric-who seemed to me to be all the things I wanted to grow up to be, except fat. Now I identify with Archie, who is most of the things I have actually grown up to be, meaning the mother hen to a lot of people who seem quite determined not to make any sense whatsoever (but often do). I know I’m not supposed to be able to do this-Nero and Archie are men; I am a woman-but I always have and I probably always will. Given the number of novels published each year by women whose female detectives take more than a little from the personality of Archie Goodwin, I suspect I am not alone. There is enough opportunity to empathize with Archie in these four stories to last a good long vacation, or more. It’s worse than usual because in this volume Nero Wolfe spends an unprecedented amount of time out of his house. It’s not safe.
Never mind. In the world of Nero Wolfe nothing is ever safe for very long. It’s time to stop reading this introduction by me and get what you came for. After all, I don’t write half as well or a tenth as humorously as Stout. I don’t live a life a quarter as crazy as Wolfe’s either, in spite of the fact that I once shared a very small house with eight kittens and a totally fed-up mother cat. Maybe that’s because nobody ever kills anybody around here.
They just think about it.
–Jane Haddam
CHRISTMAS PARTY
Chapter 1
I’M SORRY, SIR,” I said. I tried to sound sorry. “But I told you two days ago, Monday, that I had a date for Friday afternoon, and you said all right. So I’ll drive you to Long Island Saturday or Sunday.”
Nero Wolfe shook his head. “That won’t do. Mr. Thompson’s ship docks Friday morning, and he will be at Mr. Hewitt’s place only until Saturday noon, when he leaves for New Orleans. As you know, he is the best hybridizer in England, and I am grateful to Mr. Hewitt for inviting me to spend a few hours with him. As I remember, the drive takes about an hour and a half, so we should leave at twelve-thirty.”
I decided to count ten, and swiveled my chair, facing my desk, so as to have privacy for it. As usual when we have no important case going, we had been getting on each other’s nerves for a week, and I admit I was a little touchy, but his taking it for granted like that was a little too much. When I had finished the count I turned my head, to where he was perched on his throne behind his desk, and darned if he hadn’t gone back to his book, making it plain that he regarded it as settled. That was much too much. I swiveled my chair to confront him.
“I really am sorry,” I said, not trying to sound sorry, “but I have to keep that date Friday afternoon. It’s a Christmas party at the office of Kurt Bottweill-you remember him, we did a job for him a few months ago, the stolen tapestries. You may not remember a member of his staff named Margot Dickey, but I do. I have been seeing her some, and I promised her I’d go to the party. We never have a Christmas office party here. As for going to Long Island, your idea that a car is a death trap if I’m not driving it is unsound. You can take a taxi, or hire a Baxter man, or get Saul Panzer to drive you.”
Wolfe had lowered his book. “I hope to get some useful information from Mr. Thompson, and you will take notes.”
“Not if I’m not there. Hewitt’s secretary knows orchid terms as well as I do. So do you.”
I admit those last three words were a bit strong, but he shouldn’t have gone back to his book. His lips tightened. “Archie. How many times in the past year have I asked you to drive me somewhere?”
“If you call it asking, maybe eighteen or twenty.”
“Not excessive, surely. If my feeling that you alone are to be trusted at the wheel of a car is an aberration, I have it. We
will leave for Mr. Hewitt’s place Friday at twelve-thirty.”
So there we were. I took a breath, but I didn’t need to count ten again. If he was to be taught a lesson, and he certainly needed one, luckily I had in my possession a document that would make it good. Reaching to my inside breast pocket, I took out a folded sheet of paper.
“I didn’t intend,” I told him, “to spring this on you until tomorrow, or maybe even later, but I guess it will have to be now. Just as well, I suppose.”
I left my chair, unfolded the paper, and handed it to him. He put his book down to take it, gave it a look, shot a glance at me, looked at the paper again, and let it drop on his desk.
He snorted. “Pfui. What flummery is this?”
“No flummery. As you see, it’s a marriage license for Archie Goodwin and Margot Dickey. It cost me two bucks. I could be mushy about it, but I won’t. I will only say that if I am hooked at last, it took an expert. She intends to spread the tidings at the Christmas office party, and of course I have to be there. When you announce you have caught a fish it helps to have the fish present in person. Frankly, I would prefer to drive you to Long Island, but it can’t be done.”
The effect was all I could have asked. He gazed at me through narrowed eyes long enough to count eleven, then picked up the document and gazed at it. He flicked it to the edge of the desk as if it were crawling with germs, and focused on me again.
“You are deranged,” he said evenly and distinctly. “Sit down.”
I nodded. “I suppose,” I agreed, remaining upright, “it’s a form of madness, but so what if I’ve got it? Like what Margot was reading to me the other night-some poet, I think it was some Greek-’O love, resistless in thy might, thou triumphest even-’”
“Shut up and sit down!”
“Yes, sir.” I didn’t move. “But we’re not rushing it. We haven’t set the date, and there’ll be plenty of time to decide on adjustments. You may not want me here any more, but that’s up to you. As far as I’m concerned, I would like to stay. My long association with you has had its flaws, but I would hate to end it. The pay is okay, especially if I get a raise the first of the year, which is a week from Monday. I have grown to regard this old brownstone as my home, although you own it and although there are two creaky boards in the floor of my room. I appreciate working for the greatest private detective in the free world, no matter how eccentric he is. I appreciate being able to go up to the plant rooms whenever I feel like it and look at ten thousand orchids, especially the odontoglossums. I fully appreciate-”
“Sit down!”
“I’m too worked up to sit. I fully appreciate Fritz’s cooking. I like the billiard table in the basement. I like West Thirty-fifth Street. I like the one-way glass panel in the front door. I like this rug I’m standing on. I like your favorite color, yellow. I have told Margot all this, and more, including the fact that you are allergic to women. We have discussed it, and we think it may be worth trying, say for a month, when we get back from the honeymoon. My room could be our bedroom, and the other room on that floor could be our living room. There are plenty of closets. We could eat with you, as I have been, or we could eat up there, as you prefer. If the trial works out, new furniture or redecorating would be up to us. She will keep her job with Kurt Bottweill, so she wouldn’t be here during the day, and since he’s an interior decorator we would get things wholesale. Of course we merely suggest this for your consideration. It’s your house.”
I picked up my marriage license, folded it, and returned it to my pocket.
His eyes had stayed narrow and his lips tight. “I don’t believe it,” he growled. “What about Miss Rowan?”
“We won’t drag Miss Rowan into this,” I said stiffly.
“What about the thousands of others you dally with?”
“Not thousands. Not even a thousand. I’ll have to look up ‘dally.’ They’ll get theirs, as Margot has got hers. As you see, I’m deranged only up to a point. I realize-”
“Sit down.”
“No, sir. I know this will have to be discussed, but right now you’re stirred up and it would be better to wait for a day or two, or maybe more. By Saturday the idea of a woman in the house may have you boiling even worse than you are now, or it may have cooled you down to a simmer. If the former, no discussion will be needed. If the latter, you may decide it’s worth a try. I hope you do.”
I turned and walked out.
In the hall I hesitated. I could have gone up to my room and phoned from there, but in his present state it was quite possible he would listen in from his desk, and the call I wanted to make was personal. So I got my hat and coat from the rack, let myself out, descended the stoop steps, walked to the drugstore on Ninth Avenue, found the booth unoccupied, and dialed a number. In a moment a musical little voice-more a chirp than a voice-was in my ear.
“Kurt Bottweill’s studio, good morning.”
“This is Archie Goodwin, Cherry. May I speak to Margot?”
“Why, certainly. Just a moment.”
It was a fairly long moment. Then another voice. “Archie, darling!”
“Yes, my own. I’ve got it.”
“I knew you could!”
“Sure, I can do anything. Not only that, you said up to a hundred bucks, and I thought I would have to part with twenty at least, but it only took five. And not only that, but it’s on me, because I’ve already had my money’s worth of fun out of it, and more. I’ll tell you about it when I see you. Shall I send it up by messenger?”
“No, I don’t think-I’d better come and get it. Where are you?”
“In a phone booth. I’d just as soon not go back to the office right now because Mr. Wolfe wants to be alone to boil, so how about the Tulip Bar at the Churchill in twenty minutes? I feel like buying you a drink.”
“I feel like buying you a drink!”
She should, since I was treating her to a marriage license.
Chapter 2
WHEN, AT THREE o’clock Friday afternoon, I wriggled out of the taxi at the curb in front of the four-story building in the East Sixties, it was snowing. If it kept up, New York might have an off-white Christmas.
During the two days that had passed since I got my money’s worth from the marriage license, the atmosphere around Wolfe’s place had not been very seasonable. If we had had a case going, frequent and sustained communication would have been unavoidable, but without one there was nothing that absolutely had to be said, and we said it. Our handling of that trying period showed our true natures. At table, for instance, I was polite and reserved, and spoke, when speaking seemed necessary, in low and cultured tones. When Wolfe spoke he either snapped or barked. Neither of us mentioned the state of bliss I was headed for, or the adjustments that would have to be made, or my Friday date with my fiancйe, or his trip to Long Island. But he arranged it somehow, for precisely at twelve-thirty on Friday a black limousine drew up in front of the house, and Wolfe, with the brim of his old black hat turned down and the collar of his new gray overcoat turned up for the snow, descended the stoop, stood massively, the mountain of him, on the bottom step until the uniformed chauffeur had opened the door, and crossed the sidewalk and climbed in. I watched it from above, from a window of my room.
I admit I was relieved and felt better. He had unquestionably needed a lesson and I didn’t regret giving him one, but if he had passed up a chance for an orchid powwow with the best hybridizer in England I would never have heard the last of it. I went down to the kitchen and ate lunch with Fritz, who was so upset by the atmosphere that he forgot to put the lemon juice in the soufflй. I wanted to console him by telling him that everything would be rosy by Christmas, only three days off, but of course that wouldn’t do.
I had a notion to toss a coin to decide whether I would have a look at the new exhibit of dinosaurs at the Natural History Museum or go to the Bottweill party, but I was curious to know how Margot was making out with the license, and also how the other Bottweill personnel were making out
with each other. It was surprising that they were still making out at all. Cherry Quon’s position in the setup was apparently minor, since she functioned chiefly as a receptionist and phone-answerer, but I had seen her black eyes dart daggers at Margot Dickey, who should have been clear out of her reach. I had gathered that it was Margot who was mainly relied upon to wrangle prospective customers into the corral, that Bottweill himself put them under the spell, and that Alfred Kiernan’s part was to make sure that before the spell wore off an order got signed on the dotted line.
Of course that wasn’t all. The order had to be filled, and that was handled, under Bottweill’s supervision, by Emil Hatch in the workshop. Also funds were required to buy ingredients, and they were furnished by a specimen named Mrs. Perry Porter Jerome. Margot had told me that Mrs. Jerome would be at the party and would bring her son Leo, whom I had never met. According to Margot, Leo, who had no connection with the Bottweill business or any other business, devoted his time to two important activities: getting enough cash from his mother to keep going as a junior playboy, and stopping the flow of cash to Bottweill, or at least slowing it down.
It was quite a tangle, an interesting exhibit of bipeds alive and kicking, and, deciding it promised more entertainment than the dead dinosaurs, I took a taxi to the East Sixties.
The ground floor of the four-story building, formerly a de luxe double-width residence, was now a beauty shop. The second floor was a real-estate office. The third floor was Kurt Bottweill’s workshop, and on top was his studio. From the vestibule I took the do-it-yourself elevator to the top, opened the door, and stepped out into the glossy gold-leaf elegance I had first seen some months back, when Bottweill had hired Wolfe to find out who had swiped some tapestries. On that first visit I had decided that the only big difference between chrome modern and Bottweill gold-leaf modern was the color, and I still thought so. Not even skin deep; just a two-hundred-thousandth of an inch deep. But on the panels and racks and furniture frames it gave the big skylighted studio quite a tone, and the rugs and drapes and pictures, all modern, joined in. It would have been a fine den for a blind millionaire.
