by Rex Stout
Rex Stout
REX STOUT, the creator of Nero Wolfe, was born in Noblesville, Indiana, in 1886, the sixth of nine children of John and Lucetta Todhunter Stout, both Quakers. Shortly after his birth, the family moved to Wakarusa, Kansas. He was educated in a country school, but by the age of nine he was recognized throughout the state as a prodigy in arithmetic. Mr. Stout briefly attended the University of Kansas, but left to enlist in the Navy, and spent the next two years as a warrant officer on board President Theodore Roosevelt’s yacht. When he left the Navy in 1908, Rex Stout began to write free-lance articles and worked as a sightseeing guide and as an itinerant bookkeeper. Later he devised and implemented a school banking system which was installed in four hundred cities and towns throughout the country. In 1927 Mr. Stout retired from the world of finance and, with the proceeds of his banking scheme, left for Paris to write serious fiction. He wrote three novels that received favorable reviews before turning to detective fiction. His first Nero Wolfe novel, Fer-de-Lance, appeared in 1934. It was followed by many others, among them Too Many Cooks, The Silent Speaker, If Death Ever Slept, The Doorbell Rang and Please Pass the Guilt, which established Nero Wolfe as a leading character on a par with Erle Stanley Gardner’s famous protagonist, Perry Mason. During World War II, Rex Stout waged a personal campaign against Nazism as chairman of the War Writers’ Board, master of ceremonies of the radio program “Speaking of Liberty,” a member of several national committees. After the war he turned his attention to mobilizing public opinion against the wartime use of thermonuclear devices, was an active leader in the Authors’ Guild, and resumed writing his Nero Wolfe novels. Rex Stout died in 1975 at the age of eighty-eight. A month before his death, he published his seventy-second Nero Wolfe mystery, A Family Affair. Ten years later, a seventy-third Nero Wolfe mystery was discovered and published in Death Times Three.
The Rex Stout Library
Nero Wolfe Mysteries
Fer-De-Lance
The League of Frightened Men
The Rubber Band
The Red Box
Too Many Cooks
Some Buried Caesar
Over My Dead Body
Where There’s a Will
Black Orchids
Not Quite Dead Enough
The Silent Speaker
Too Many Women
And Be A Villain
The Second Confession
Trouble in Triplicate
In the Best Families
Three Doors to Death
Murder by the Book
Curtains For Three
Prisoner’s Base
Triple Jeopardy
The Golden Spiders
The Black Mountain
Three Men Out
Before Midnight
Might As Well Be Dead
Three Witnesses
If Death Ever Slept
Three For the Chair
Champagne For One
And Four to Go
Plot It Yourself
Too Many Clients
Three at Wolfe’s Door
The Final Deduction
Gambit
Homicide Trinity
The Mother Hunt
A Right to Die
Trio for Blunt Instruments
The Doorbell Rang
Death of a Doxy
The Father Hunt
Death of a Dude
Please Pass the Guilt
A Family Affair
Death Times Three
This edition contains the complete text
of the original hardcover edition.
NOT ONE WORD HAS BEEN OMITTED.
THE RED BOX
A Bantam Crime Line Book / published by arrangement with the estate of the author
PRINTING HISTORY
Farrar & Rinehart edition published 1937
Bantam edition / March 1982
2nd printing November 1984
Bantam reissue / February 1992
CRIME LINE and the portrayal of a boxed “cl” are trademarks of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc.
All rights reserved.
Copyright 1936, 1937 by Rex Stout.
Introduction copyright © 1992 by Carolyn G. Hart.
No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. For information address: Bantam Books.
eISBN: 978-0-307-76817-9
Bantam Books are published by Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. Its trademark, consisting of the words “Bantam Books” and the portrayal of a rooster, is Registered in U.S. Patent and Trademark Office and in other countries. Marca Registrada. Bantam Books, 666 Fifth Avenue, New York, New York 10103.
v3.1
Contents
Cover
About the Author
Other Books by This Author
Title Page
Copyright
Introduction
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
The World of Rex Stout
Introduction
How many novels will you read this year that were published in 1937?
The odds are, not many.
But Rex Stout’s The Red Box is a marvelous exception and with good reason. The fourth book in the immortal Nero Wolfe series, The Red Box is quintessential Stout. Every element so long adored by faithful fans is there, the brownstone on Thirty-fifth Street; Wolfe’s monumental girth, which is exceeded only by his towering intellect; the ten thousand orchids (Archie keeps the records updated) in the glassed-over rooms on the roof (the orchids’ caretaker, Theo Horstmann, sleeps up there in a small den); the quick wit and ready cynicism of good-looking, blunt-talking Archie Goodwin; the unmatched epicurean delights (on the heavy side, only good eaters invited) of chef Fritz Brenner; the great man’s collection of beer bottle caps.
And therein lies much of the magic of this series, the creation of a world that readers come to know as well as the insides of their own households, from the yellow couch and double-width cherry desk in Wolfe’s office-cum-living room to the climate-and-temperature-controlled plant rooms where Wolfe spends from nine to eleven and four to six every day.
Readers often are curious as to how much of the author can be found in a book’s hero. In the case of Rex Stout and Nero Wolfe, the lack of correlation is perhaps more striking. Stout was tall, slender, scraggly bearded; Wolfe packed a seventh of a ton into a stocky five foot eleven inches. Stout radiated energy; Wolfe avoided physical exertion as if it were deleterious to his health. Stout enjoyed good food, but was quite willing to enjoy common fare; Wolfe was a gourmand who would rather skip a meal than eat junk food. Stout had a wide-ranging interest in the political life of his country; Wolfe was almost apolitical.
But what they had in common and the quality that accounts for the greatest charm of the Nero Wolfe series is a love of language. Stout used language with great precision and with great pleasure. Wolfe was surely his alter ego in this glorious pursuit.
As all Wolfe and Goodwin aficionados know, Wolfe’s idea of heaven was life uninterrupted in his brownstone with the orderly progression of his day fr
om plant room to meal to plant room. It was Archie who alternately bullied and cajoled the great man into taking cases, which Wolfe did only because he knew he had to earn enough money to maintain their life-style.
The Red Box is a shining example of Wolfe and Archie at their most entertaining and intriguing, and the banter between the great detective and his unquenchable sidekick will delight Stout fans.
The Red Box provides one of the few instances in the long history recorded by Archie (more than forty books) when Wolfe does indeed depart from the cozy confines of his brownstone, much to Wolfe’s disgruntlement. Archie achieves this rare state of affairs through a clever ploy that takes advantage of Wolfe’s orchidmania.
The sortie to the clothing enterprise on Fifty-second Street provides perspicacious Wolfe with the only ambiguity among the recorded statements on the murder of a model.
Wolfe is faced first with a seemingly insoluble crime—who was really the intended victim? When he correctly identifies the murderer’s true objective and has within his grasp the opportunity to divine the perpetrator, murder once again intervenes—this time in Wolfe’s own office, both an infuriating and ultimately tactless mistake by the murderer.
The cast of suspects includes:
—A gorgeous, rich model who knows too much about the candy.
—The caretaker of an estate who talks so much and so fast no one can get a word in edgewise.
—A self-possessed widow who certainly earned the ire of her husband.
—Wolfe’s first client, who can’t seem to make up his mind what he wants.
—An expatriate without visible means of support who seems to live quite comfortably.
Wolfe is frustrated because he decides early on who did the killing, but sees no way of bringing the suspect to justice. Wolfe solves this problem—with some artful legerdemain—when he unmasks a clever and calculating killer in the comfort and convenience of his lair.
Archie Goodwin is in top form, sassing police, suspects, and clients (as Archie remarks, this case “is just one damned client after another”).
Readers will delight in the intricacy of the plot, the repartee between Wolfe and his man-about-town, Archie, and they may be quite particular in their choice of candies should a box without provenance be offered.
—Carolyn G. Hart
Chapter 1
Wolfe looked at our visitor with his eyes wide open—a sign, with him, either of indifference or of irritation. In this case it was obvious that he was irritated.
“I repeat, Mr. Frost, it is useless,” he declared. “I never leave my home on business. No man’s pertinacity can coerce me. I told you that five days ago. Good day, sir.”
Llewellyn Frost blinked, but made no move to acknowledge the dismissal. On the contrary, he settled back in his chair.
He nodded patiently. “I know, I humored you last Wednesday, Mr. Wolfe, because there was another possibility that seemed worth trying. But it was no good. Now there’s no other way. You’ll have to go up there. You can forget your build-up as an eccentric genius for once—anyhow, an exception will do it good. The flaw that heightens the perfection. The stutter that accents the eloquence. Good Lord, it’s only twenty blocks, Fifty-second between Fifth and Madison. A taxi will take us there in eight minutes.”
“Indeed.” Wolfe stirred in his chair; he was boiling. “How old are you, Mr. Frost?”
“Me? Twenty-nine.”
“Hardly young enough to justify your childish effrontery. So. You humored me! You speak of my build-up! And you undertake to stampede me into a frantic dash through the maelstrom of the city’s traffic—in a taxicab! Sir, I would not enter a taxicab for a chance to solve the Sphinx’s deepest riddle with all the Nile’s cargo as my reward!” He sank his voice to an outraged murmur. “Good God. A taxicab.”
I grinned a bravo at him, twirling my pencil as I sat at my desk, eight feet from his. Having worked for Nero Wolfe for nine years, there were a few points I wasn’t skeptical about any more. For instance: That he was the best private detective north of the South Pole. That he was convinced that outdoor air was apt to clog the lungs. That it short-circuited his nervous system to be jiggled and jostled. That he would have starved to death if anything had happened to Fritz Brenner, on account of his firm belief that no one’s cooking but Fritz’s was fit to eat. There were other points too, of a different sort, but I’ll pass them up since Nero Wolfe will probably read this.
Young Mr. Frost quietly stared at him. “You’re having a grand time, Mr. Wolfe. Aren’t you?” Frost nodded. “Sure you are. A girl has been murdered. Another one—maybe more—is in danger. You offer yourself as an expert in these matters, don’t you? That part’s all right, there’s no question but that you’re an expert. And a girl’s been murdered, and others are in great and immediate peril, and you rant like Booth and Barrett about a taxicab in a maelstrom. I appreciate good acting; I ought to, since I’m in show business. But in your case I should think there would be times when a decent regard for human suffering and misfortune would make you wipe off the make-up. And if you’re really playing it straight, that only makes it worse. If, rather than undergo a little personal inconvenience—”
“No good, Mr. Frost.” Wolfe was slowly shaking his head. “Do you expect to bully me into a defense of my conduct? Nonsense. If a girl has been murdered, there are the police. Others are in peril? They have my sympathy, but they hold no option on my professional services. I cannot chase perils away with a wave of my hand, and I will not ride in a taxicab. I will not ride in anything, even my own car with Mr. Goodwin driving, except to meet my personal contingencies. You observe my bulk. I am not immovable, but my flesh has a constitutional reluctance to sudden, violent or sustained displacement. You spoke of ‘decent regard.’ How about a decent regard for the privacy of my dwelling? I use this room as an office, but this house is my home. Good day, sir.”
The young man flushed, but did not move. “You won’t go?” he demanded.
“I will not.”
“Twenty blocks, eight minutes, your own car.”
“Confound it, no.”
Frost frowned at him. He muttered to himself, “They don’t come any stubborner.” He reached to his inside coat pocket and pulled out some papers, selected one and unfolded it and glanced at it, and returned the others. He looked at Wolfe:
“I’ve spent most of two days getting this thing signed. Now, wait a minute, hold your horses. When Molly Lauck was poisoned, a week ago today, it looked phony from the beginning. By Wednesday, two days later, it was plain that the cops were running around in circles, and I came to you. I know about you, I know you’re the one and only. As you know, I tried to get McNair and the others down here to your office and they wouldn’t come, and I tried to get you up there and you wouldn’t go, and I invited you to go to hell. That was five days ago. I’ve paid another detective three hundred dollars for a lot of nothing, and the cops from the inspector down are about as good as Fanny Brice would be for Juliet. Anyhow, it’s a tough one, and I doubt if anyone could crack it but you. I decided that Saturday, and during the weekend I covered a lot of territory.” He pushed the paper at Wolfe. “What do you say to that?”
Wolfe took it and read it. I saw his eyes go slowly half-shut, and knew that whatever it was, its effect on his irritation was pronounced. He glanced over it again, looked at Llewellyn Frost through slits, and then extended the paper toward me. I got up to take it. It was typewritten on a sheet of good bond, plain, and was dated New York City, March 28, 1936:
TO MR. NERO WOLFE:
At the request of Llewellyn Frost, we, the undersigned, beg you and urge you to investigate the death of Molly Lauck, who was poisoned on March 23 at the office of Boyden McNair Incorporated on 52nd Street, New York. We entreat you to visit McNair’s office for that purpose.
We respectfully remind you that once each year you leave your home to attend the Metropolitan Orchid Show, and we suggest that the present urgency, while not as great to you p
ersonally, appears to us to warrant an equal sacrifice of your comfort and convenience.
With high esteem,
WINOLD GLUECKNER
CUYLER DITSON
T. M. O’GORMAN
RAYMOND PLEHN
CHAS. E. SHANKS
CHRISTOPHER BAMFORD
I handed the document back to Wolfe and sat down and grinned at him. He folded it and slipped it under the block of petrified wood which he used for a paperweight. Frost said:
“That was the best I could think of, to get you. I had to have you. This thing has to be ripped open. I got Del Pritchard up there and he was lost. I had to get you somehow. Will you come?”
Wolfe’s forefinger was doing a little circle on the arm of his chair. “Why the devil,” he demanded, “did they sign that thing?”
“Because I asked them to. I explained. I told them that no one but you could solve it and you had to be persuaded. I told them that besides money and food the only thing you were interested in was orchids, and that there was nobody who could exert any influence on you but them, the best orchid-growers in America. I had letters of introduction to them. I did it right. You notice I restricted my list to the very best. Will you come?”
Wolfe sighed. “Alec Martin has forty thousand plants at Rutherford. He wouldn’t sign it, eh?”
“He would if I’d gone after him. Glueckner told me that you regard Martin as tricky and an inferior grower. Will you come?”
“Humbug.” Wolfe sighed again. “An infernal imposition.” He wiggled a finger at the young man. “Look here. You seem to be prepared to stop at nothing. You interrupt these expert and worthy men at their tasks to get them to sign this idiotic paper. You badger me. Why?”
