tantaliz

by Isaac Asimov ed.

  their officers, and several regular patrolmen and Homicide people—stood guard or moved about the room examining things and asking questions and doing whatever else it is cops do at the scene of a violent crime.

  A number of things had occurred in that half hour. Item: Boltan had died of the gunshot wounds, probably instantaneously.

  Item: The gun which the murderer had dropped, a Smith & Wesson M39, had been turned over to the forensic lab men. If they had found any fingerprints on it, we hadn't heard of it yet

  Item: The police cadets who had cov

  ered the Cellar's two street exits immediately after the shooting swore that no one had left

  Item: The entire stage area and the remainder of the club had been thoroughly searched without turning up any sign of the bearded killer.

  Conclusions: The Amazing Boltan had been shot to death by a man who could not have left the Magic Cellar, was therefore still here, and yet, seemingly, was not here at all.

  All of us were baffled, as we had said to each other several times in the past few minutes. Or, rather, Ardis and Cedric and Jan and I had said so; Steele sat in silence, which was unusual for him, and seemed to be brooding. When I asked him how he thought it had been done, since after all he was a master illusionist and a positive fanatic when it came to "impossible challenges,*' he merely gave me a meditative look and deigned comment

  We had considered, of course, the trapdoor in the stage, and had instantly ruled it out For one thing, it was located in the middle of the stage itself—right behind where Boltan had fallen, as a matter of fact—and all of us had seen the killer exit stage right through the side curtain; there was no trap in that dressing room area. The tunnel leading from under the stage trap to the coatroom had been searched anyway, but had been empty.

  I dredged my memory for possible illusions which would explain the bearded man's vanishing act, but they all seemed to demand a piece of apparatus or specific condition which just wasn't present Houdini once vanished an elephant off the stage of the Hippodrome, but he had a large, specially made cage to do it What did seem clear was that the murderer knew, and had applied, the principles of stage magic to come up with a brilliant new effect, and then had used it to commit a cold-blooded homicide on the stage of the Magic Cellar.

  Captain Dickensheet approached our table and leaned across it, his palms hard on the edge. "Everybody," he said pointedly to Cedric, "has to be somewhere. Don't you have any ideas where the killer got to—and how?"

  Cedric shook his head wearily. There's just no other way out of that dressing room besides the curtain onto the stage and the curtain next to the Spirit Cabinet," he said. The Cabinet is solid down to the floor, and the other walls are brick."

  "No gimmick or gizmo to open that Cabinet's back wall?"

  "No, none."

  "Even if there were," Steele said, "it would merely propel the killer into the audience. The fact is, Captain, he could not have gotten out of the dressing room unseen. You have my professional word on that"

  Dickensheet straightened up, glaring. "Are you telling me, then, that what we all saw couldn't have happened?"

  "Not at all." Steele stood abruptly and squeezed past my chair to the aisle. "I can assure you that what you saw is exactly what happened. Exactly." Then, nodding to the table, he headed back to the stage left dressing room.

  Dickensheet lowered his lanky frame into the aisle chair and stared across at the Carter the Great poster on the wall facing him. It depicted Carter astride a camel, surrounded by devils and imps, on his way to "steal" the secrets of the Sphinx and the marvels of the tomb of old King Tut. "Magicians!" the captain said, with feeling.

  Cedric asked, "How much longer will you be holding everyone here?"

  "I don't know just yet"

  "Well, can't you just take all their names and addresses, and let them go homer^

  That's not up to me," Dickensheet said sourly. "You'll have to talk to Lupoff, the homicide inspector in charge of the investigation."

  "All right." Cedric sighed, and got up to do that. I decided to leave the table too, because I was wondering what Steele was up to backstage. I excused myself and went into the left dressing room where I found Steele sitting in front of the mirror, carefully applying his stage makeup. "What are you doing?" I demanded.

  “It’s twenty till twelve, Matthew," he said. "I’m on at midnight" "You don't think they're going to let you do your show now, do you?" "Why not?"

  "Well, they just took Boltan's body off the stage fifteen minutes ago."

  "Ah yes," Steele said. "Life and death, the eternal mysteries. My audience is still here, I note, and I'm sure they'd like to be entertained Not that watching the police poking and prying into all the corners big enough to conceal a man isn't entertaining."

  "I don't understand why you'd even want to go on tonight," I said. "There's no way you can top the last performance. Besides, a spook show would hardly be in good taste right now."

  "On the contrary, it would be in perfect taste. Because during the course of it, I intend to reveal the identity of the murderer of Philip Boltan."

  "What!" I stared at him. "Do you mean you know how the whole thing was actually done?"

  "I do."

  "Well—how? How did the killer disappear?"

  "The midnight show, Matthew," he said firmly.

  I looked at him with sufferance, and then nodded Steele never does anything the easy way. As well, here was an opportunity to put on a kind of show of shows, and Steele is first and foremost a showman. Not that I objected to this, you understand. My business is publicity and public relations, and Steele's flair for drama is the best land of both. If he named the killer during his midnight show, and brought about the capture of the bearded man, the publicity would be fantastic.

  "All right," I said, "I'll use my wiles to convince the cops to allow you to go ahead. But I hope you know what you're doing."

  "I always know what I'm doing."

  "Ninety percent of the time, anyway."

  "Ask Ardis to come in here," Steele said. "I'll have to tell her what effects we're doing now, and in what order."

  "You wouldn't want to give me some idea of what's going on, would you?"

  Steele smiled a gentle, enigmatic smile. "It is now quarter to twelve, Matthew. I would like the show to begin at exactly midnight."

  Which meant that he had said all he intended to say for the time being, and I was therefore dismissed. So I went back out into the club where Captain Dickensheet was still sitting at our table with Jan and Ardis; Cedric had also returned, and had brought with him the dark, intense-looking inspector-in-charge, Lupoff.

  When I got to the table I told Ardis that Steele wanted to see her. Immediately, she hurried to the stage left dressing room. I sat down and put on my best PR smile for Lupoff and Dickensheet.

  "I have a request from Christopher Steele," I said formally. "He wants to be allowed to do his midnight show."

  Both cops frowned, and Lupoff said, "I'm in no mood for levity."

  "Neither is Steele. He wants to do the show, he says, in order to name the murderer and explain how the vanishing act was done."

  Everyone at the table stared at me, Cedric and Jan looking relieved. Lupoff and Dickensheet, on the other hand, looked angrily disbelieving. The inspector said, "If Steele knows how and who, why the hell doesn't he just come out here and say so?"

  "You have to understand him," I said easily. "He's an artist, a showman. He thinks only in theatrical terms." I went on to tell them about Steele's idiosyncracies, making it sound as though he were a genius who had to be treated with kid gloves—which was true enough. "Besides, if he solves the case for you, what can it hurt to let him unmask the killer in his own way?"

  The murderer is still here, then?" Cedric asked.

  "I think so," I said. "Steele didn't really tell me much of anything, but that's what I would assume." I returned my gaze to the two cops. "You've got the Cellar sealed off, right? The killer can
't possibly escape."

  "I don't like it," Lupoff said. "It's not the way things are done."

  I had to sell them quickly; it was nearing midnight. I decided to temporize. "Steele needs the show in order to expose the guilty man," I said. "He's not sure of the killer's identity, but something he has planned in the show will pin it down."

  "How does he know it will work?" Dickensheet asked. Then he scowled. "He wouldn't be wanting to do this show of his just for publicity, would he?"

  "Listen, Captain,'' I said, "the publicity won't be very good if he blows it I'd say Steele's pretty sure of himself."

  Cedric nodded eagerly; he knew, as I did, that if Steele came through as usual, it would turn a possibly harmful blow to the Cellar's image into a potential drawing card. He said, Tve known Christopher Steele for a long time, and I'll vouch for what Mr. Booth says. If Steele claims to know what happened here tonight, then he does know. I think you ought to go along with him."

  Lupoff and Dickensheet held a whispered conference. Then they both got up, told us to wait, and went backstage, no doubt to confront Steele. Three minutes later they came out again, still looking dubious—but knowing Steele as I did, I could tell even before Dickensheet confirmed it that they had given him the go-ahead.

  Midnight; and the civilian audience had been fidgeting in their seats for a couple of minutes, since Cedric had announced to them over the loudspeaker that Steele was going to do his midnight show. The contingent of police were also fidgeting, owing to the fact that none of them had any idea, either, of what was about to happen. I was alone at the table, Jan having gone back to the bar and Cedric off to work the light board.

  The house lights dimmed, and the curtain rolled up. Steele stood motionless at center stage, the rose-gelled spots bathing him in soft light; his work clothes, a black suit over a dark turtleneck, gave him a sinister-somber look. He bowed slightly and said, "Good evening."

  The last murmur died away among the audience, and two hundred people silently watched for whatever miracle Christopher Steele, Master of Illusion, was about to perform.

  "We have, all of us," he said, "just witnessed a murder, and a murder is a horrible thing. It is the one irremediable act, terrible in its finality and inexcusable in any sane society. No matter how foul the deeds or repugnant the actions of another human being, no one has the right to take from him that which cannot be given back: his life.

  "But the murder itself has been overshadowed by the miraculous disappearance of the killer, seemingly before our very eyes. He ran into that dressing room—" Steele gestured to his left, "—which has only two exits, and apparently never came out The room has been thoroughly searched, and no human being could possibly remain concealed therein. A vanishing act worthy of a Houdini."

  Steele's eyes peered keenly around at the audience. "I am something of an authority on vanishing—I"

  Suddenly the lights went out

  There was an immediate reaction from the audience, already edgy from the past hour-and-a-half's happenings; no screams, but a nervous titter in the dark and the sound of chairs being pushed back and people standing.

  Then the lights came back on, and Steele was still there, center stage, facing the audience. "Accept my apologies," he said. "Please, all of you be seated. As you can see—" he indicated the two police officers standing one on each side of the stage, "—there is nowhere I could go. As well, the lights were off then for a full five seconds, which is much too long for an effective disappearance. A mere flicker of darkness, or a sudden burst of flame, is all that is needed.

  "I shall now attempt to solve this mystery, which has so completely baffled my friends on the police and the rest of us. I'm sure you will forgive me if, in so doing, I create a small mystery of my own."

  Steele clapped his hands together three times, and on the third clap there was a blinding flash of fight—and the stage lights went out again—and came back on almost instantly.

  Steele was gone.

  In his place stood the beautiful Ardis, in her long white stage gown, her arms outstretched and a smile on her lips. "Hello," she said.

  The audience gasped. The thing was done so neatly, and so quickly; Steele had turned into Ardis before their eyes. Someone tentatively applauded, as much in a release of tension as anything else, but there was no doubt that the audience was impressed.

  Ardis held up her hands for silence. "What you have just seen is called a transference," she said when the room grew still again. "Christopher Steele is gone, and I am here. And now I, too, in my turn, shall leave. I shall go into the fourth dimension, and you shall all observe the manner of my going. Yet none of you will know where I have gone. Thus—farewell."

  There was another bright flash, and the lights once more went out; but we could still see Ardis before us as a kind of ghostly radiance, her white dress almost glowing in the dark. Then she dwindled before our eyes, as though receding to a great distance. Finally, the lights came on to stay, and the stage was empty, and she was gone.

  There was a shocked silence, as though the audience was collectively holding its breath. In that silence, suddenly, a deep imperious voice said, "I am here!"

  Everybody turned in their seats, including me, for the voice had come from the rear of the room.

  Incredibly, there stood the murderer—beard, denim jacket, and all.

  Several of the policemen started toward him, and one woman shrieked. At the same time, the bearded man extended his arm and pointed a long finger. "I," he said, "am you."

  He was pointing at one of the young police cadets standing near the Iron Maiden.

  The cadet backed away, startled, looking trapped. Immediately, the bearded man hunched in on himself and pulled the denim jacket over his head. When he stood up again, he was Steele—and the apparition that had been the murderer was a small bundle of clothing in his hand. Even the jeans had been replaced by Steele's black suit trousers.

  "You are the murderer of Philip Boltan," Steele said to the cadet "You-"

  The cadet didn't wait for any more; he turned and made a wild run for the nearest exit He didn't make it, but it took three other cops a full minute to subdue him.

  Some time later, Steele, Ardis, Cedric, Jan, and I were sitting around the half-moon table waiting for Inspector Lupoff and Captain Dickensheet to return from questioning the murderer of Philip Boltan. The Cellar had been cleared of patrons and police, and we were alone in the large, dark room.

  Steele occupied the seat of honor: an old wooden rocking chair in the dealer's spot in the center of the half-moon. He had said little since the finale of his special midnight show. All of us had wanted to ask him how he knew the identity of the killer, and exactly how the vanishing act had been worked, but we knew him well enough to realize that he wouldn't say anything until he had the proper audience. He just sat there smiling in his enigmatic way.

  When the two officers finally came back, they looked disgruntled and morose. They sat down in the two empty chairs, and Dickensheet said grimly, "Well, we've just had an unpleasant talk with Spellman—or the man I knew as Spellman, anyway. He's made a full confession."

  The man you knew as Spellman?" I said.

  "His real name is Granger. Robert Granger."

  Cedric frowned, looking at Steele. "Isn't that the name of Boltan's former partner, the one you told us committed suicide?"

  "It is," Steele told him. "I had an idea that might be who the young cadet was."

  "You mean he killed Boltan because of what happened to his father?" I asked.

  "Yes," Lupoff said. "He decided years ago that the perfect revenge was to kill Boltan on stage, in full view of an audience, and then disappear. He's been planning it ever since, mainly by studying and mastering the principles of magic."

  Then he intended from the beginning to murder Boltan in circumstances such as those tonight?"

  "More or less," Dickensheet said. "He wanted to do the job during one of Boltan's regular performances, and the invitation to the
Academy graduating class tonight convinced him that now was the time. It was only fitting, according to Granger, that Boltan die on stage under an aura of mystery."

  Jan said bewilderedly, "But why would a potential murderer join the police force? It's incrediblel"

  "Spellman, or Granger, is mentally unstable. We try to weed them out, but every once in a while one slips by. He believes in meting out punishment to those who would 'do evil,' in his words just now. God only knows what he might have done if he'd gotten away with this murder and gone on to become an officer in the field." Dickensheet shuddered at the possibility. "As if we don't have enough problems. . ."

  "I don't understand how Granger could join the force under an assumed name," Cedric said. T mean, if his real name is Granger and you knew him as Spellman—"

  "Spellman is the name of the family who adopted him out of the orphanage he ended up in after his father died As far as our people knew, that was his real name. I mean, you usually don't check back past a kid's sixth birthday. We might never have known he was Boltan's partner's son if he hadn't admitted it himself tonight."

  "What else did he say?" I asked.

  "Not much. He talked freely enough about who he was and his motives, but when we started asking him about the details of the murder, he closed up tight"

  So we all looked at Steele, who continued to sit there smiling to himself.

  "All right, Steele," Lupoff said, "you're on again. How did Spell-man-Granger commit the murder?" "With a gun," Steele told him. "Now look-"

  Steele held up a placating hand. "Very well," he said, "although you must realize that I dislike explaining any illusion." He began to rock gently in the chair. "Granger used a clever variant on an illusion first used by Houdini. As Houdini did it, the magician rode into an arena—this was a major effect only done in stadiums and arenas—on a white horse, dressed in flowing Arabian robes. His several assistants, clad in red work suits, would grab the horse. Houdini would then stand up in the saddle and fire a gun in the air, at which second a previously arranged action of some type would direct all eyes to another part of the arena. During that instant, Houdini would vanish; and his assistants would then lead the horse out"