by Brad Meltzer
In subsequent research, Dr. Kelly discovered the letter, which was written by J. C. Shottum himself. Written shortly before Shottum’s death, it describes his uncovering of the medical experiments of his lodger, a taxonomist and chemist by the name of Enoch Leng. In the letter, Shottum alleged that Leng was conducting surgical experiments on human subjects, in an attempt to prolong his own life. The experiments appear to have involved the surgical removal of the lower portion of the spinal cord from a living subject. Shottum appended to his letter several passages from Leng’s own detailed journal of his experiments. A copy of the letter was obtained by the New York Times.
If the remains are indeed from murdered individuals, it would be the largest serial killing in the history of New York City and perhaps the largest in U.S. history. Jack the Ripper, England’s most famous serial killer, murdered seven women in the Whitechapel district of London in 1888. Jeffrey Dahmer, America’s notorious serial killer, is known to have killed at least 17 people.
The human remains were removed to the Medical Examiner’s office and have been unavailable for examination. The basement tunnel was subsequently destroyed by Moegen-Fairhaven, Inc., the developer of the tower, during normal construction activities. According to Mary Hill, a spokesperson for Mayor Edward Montefiori, the site did not fall under the New York Archaeological and Historic Preservation Act. “This is an old crime scene of little archaeological interest,” Ms. Hill said. “It simply did not meet the criteria spelled out in the Act. We had no basis to stop construction.” Representatives of the Landmarks Preservation Commission, however, have taken a different view, and are reportedly asking a state senator and the New York Investigator’s office to assemble a task force to look into the matter.
One article of clothing was preserved from the site, a dress, which was brought to the Museum for examination by Dr. Kelly. Sewn into the dress, Dr. Kelly found a piece of paper, possibly a note of self-identification, written by a young woman who apparently believed she had only a short time to live: “I am Mary Greene, agt [sic] 19 years, No. 16 Watter [sic] Street.” Tests indicated the note had been written in human blood.
The Federal Bureau of Investigation has taken an interest in the case. Special Agent Pendergast, from the New Orleans office, has been observed on the scene. Neither the New York nor the New Orleans FBI offices would comment. The exact nature of his involvement has not been made public, but Pendergast is known as one of the highest ranking special agents in the Southern Region. He has worked on several high-profile cases in New York before. The New York City Police Department, meanwhile, has shown little interest in a crime that occurred more than a century ago. Captain Sherwood Custer, in whose precinct the remains were found, says the case is primarily of historical interest. “The murderer is dead. Any accomplices must be dead. We’ll leave this one to the historians and continue to devote our resources to crime prevention in the twenty-first century.”
Following the discovery of the letter, the New York Museum removed the Shottum Cabinet collection from the museum archives. Roger Brisbane, First Vice President of the Museum, called the move “part of a long-scheduled, ongoing conservation process, a coincidence that has nothing to do with these reports.” He referred all further questions to Harry Medoker in the Museum’s Public Relations Department. Mr. Medoker did not return several telephone calls from the Times.
The story continued on an inside page, where the reporter described the details of the old murders with considerable relish. Fairhaven read the article to the end, then turned back and read the first page once again. The dry leaves of the Times made a faint rustling sound in his hands, echoed by the trembling of the dead leaves clinging to the potted trees on the balcony outside the atrium.
Fairhaven slowly laid down the paper and looked out once again over the city. He could see the New York Museum across the park, its granite towers and copper roofs catching the newly minted light. He flicked his finger and another cup of tea arrived. He stared at the cup without pleasure, tossed it down. Another flick of his finger brought him a phone.
Fairhaven knew a great deal about real estate development, public relations, and New York City politics. He knew this article was a potential disaster. It called for firm, prompt action.
He paused, thinking who should receive the first telephone call. A moment later he dialed the mayor’s private number, which he knew by heart.
NINE
DOREEN HOLLANDER, OF 21 INDIAN FEATHER LANE, PINE Creek, Oklahoma, had left her husband twenty-six stories overhead, mumbling and snoring in their hotel room. Gazing across the broad expanse of Central Park West, she decided now was the perfect time to view Monet’s water lilies at the Metropolitan Museum. She’d wanted to get a glimpse of the famous paintings ever since seeing a poster at her sister-in-law’s house. Her husband, service technician for Oklahoma Cable, hadn’t the faintest interest in art. Chances were, he’d still be asleep when she returned.
Consulting the visitor’s map the hotel had so generously volunteered, she was pleased to discover the museum lay just across Central Park. A short walk, no need to call for an expensive taxi. Doreen Hollander liked walking, and this would be the perfect way to burn off those two croissants with butter and marmalade she had unwisely eaten for breakfast.
She started off, crossing into the park at the Alexander Humbolt gate, walking briskly. It was a beautiful fall day, and the big buildings on Fifth Avenue shone above the treetops. New York City. A wonderful place, as long as you didn’t have to live here.
The path dropped down and soon she came to the side of a lovely pond. She gazed across. Would it be better to go around it to the right, or to the left? She consulted her map and decided the left-hand way would be shorter.
She set off again on her strong farmgirl legs, inhaling the air. Surprisingly fresh, she thought. Bicyclists and Roller-bladers whizzed past as the road curved alongside the pond. Soon, she found herself at another fork. The main path swerved northward, but there was a footpath that continued straight, in the direction she was going, through a wood. She consulted her map. It didn’t show the footpath, but she knew a better route when she saw it. She continued on.
Quickly, the path branched, then branched again, wandering aimlessly up and down through hillocks and little rocky outcrops. Here and there through the trees, she could still make out the row of skyscrapers along Fifth Avenue, beckoning her on, showing her the way. The woods grew more dense. And then she began to see the people. It was odd. Here and there, young men stood idly, hands in pockets, in the woods, waiting. But waiting for what? They were nice-looking young men, well dressed, with good haircuts. Out beyond the trees a bright fall morning was in progress, and she didn’t feel the slightest bit afraid.
She hurried on as the woods grew thicker. She stopped to consult her map, a little puzzled, and discovered that she was in a place called the Ramble. It was a well-chosen name, she decided. Twice she had found herself turned completely around. It was as if the person who had designed this little maze of paths wanted people to get lost.
Well, Doreen Hollander was not one to get lost. Not in a tiny patch of woods in a city park, when after all she had grown up in the country, roaming the fields and woods of eastern Oklahoma. This walk was turning into a little adventure, and Doreen Hollander liked little adventures. That was why she had dragged her husband to New York City to begin with: to have a little adventure. Doreen forced herself to smile.
If this didn’t beat all—now she was turned around yet again. With a rueful laugh she consulted her map. But on the map, the Ramble was marked simply as a large mass of leafy green. She looked around. Perhaps one of the nice-looking men could help her with directions.
But here, the woods were darker, thicker. Nevertheless, through a screen of leaves, she saw two figures. She approached. What were they doing in there? She took another step forward, pulled a branch aside, and peered through. The peer turned into a stare, and the stare turned into a mask of frozen horror.
Then, abruptly, she backed away, turned, and began retracing her steps as quickly as she could. Now it was all clear. How perfectly disgusting. Her only thought was to get out of this terrible place as quickly as possible. All desire to see Monet’s water lilies had flown from her head. She hadn’t wanted to believe it, but it was all true. It was just as she’d heard tell on the 700 Club on television, New York City as a modern Sodom and Gomorrah. She hurried along, her breath coming in short gasps, and she looked back only once.
When the swift footsteps came up behind her, she heard nothing and expected nothing. When the black hood came down hard and tight over her head, and the sudden wet stench of chloroform violated her nostrils, the last vision in her mind was of a twisted spire of salt glittering in the desolate light of an empty plain, a plume of bitter smoke rising in the distance.
TEN
THE EMINENT DR. FREDERICK WATSON COLLOPY SAT IN state behind the great nineteenth-century leather-bound desk, reflecting on the men and women who had preceded him in this august position. In the Museum’s glory years—the years, say, when this vast desk was still new—the directors of the Museum had been true visionaries, explorers and scientists both. He lingered appreciatively over their names: Byrd, Throckmorton, Andrews. Now, those were names worthy to be cast in bronze. His appreciation waned somewhat as he approached the more recent occupants of this grand corner office—the unfortunate Winston Wright and his short-tenured successor, Olivia Merriam. He felt no little satisfaction in returning the office to its former state of dignity and accomplishment. He ran a hand along his well-trimmed beard, laid a finger across his lip in thoughtful meditation.
And yet, here it was again: that persistent feeling of melancholy.
He had been called upon to make certain sacrifices in order to rescue the Museum. It distressed him that scientific research was forced to take second place to galas, to glittering new halls, to blockbuster exhibitions. Blockbuster—the word tasted repellent in the mouth. And yet, this was New York at the dawn of the twenty-first century, and those who did not play the game would not survive. Even his grandest forebears had their own crosses to bear. One bent with the winds of time. The Museum had survived—that was the important, that was the only, point.
He then reflected on his own distinguished scientific lineage: his great-grand-uncle Amasa Greenough, friend to Darwin and famed discoverer of the chitinous monkfish of the Indochine; his great-aunt Philomena Watson, who had done seminal work with the natives of Tierra del Fuego; his grandfather Gardner Collopy, the distinguished herpetologist. He thought of his own exciting work reclassifying the Pongidae, during the heady days of his youth. Perhaps, with luck and a goodly allowance of years, his tenure here at the Museum would rival the great directors of the past. Perhaps he, too, would have his name graven in bronze, enshrined in the Great Rotunda for all to see.
He still couldn’t shake the feeling of melancholy that had settled around him. These reflections, normally so soothing, seemed not to help. He felt a man out of place, old-fashioned, superannuated. Even thoughts of his lovely young wife, with whom he had sported so delightfully that very morning before breakfast, failed to shake the feeling.
His eye took in the office—the pink marble fireplaces, the round tower windows looking out over Museum Drive, the oak paneling with its patina of centuries, the paintings by Audubon and De Clefisse. He regarded his own person: the somber suit with its old-fashioned, almost clerical cut, the starched white shirtfront, the silk bow tie worn as a sign of independence in thought and deed, the handmade shoes, and above all—as his eye fell on the mirror above the mantel—the handsome and even elegant face, if a touch severe, that wore its burden of years so gracefully.
He turned to his desk with a faint sigh. Perhaps it was the news of the day that made him gloomy. It sat on his desk, spread out in glaring newsprint: the damnable article, written by that same vile fellow who had caused so much trouble at the Museum back in ’95. He had hoped the earlier removal of the offending materials from the Archives would have quieted things down. But now there was this letter to deal with. On every level, this had the potential to be a disaster. His own staff drawn in; an FBI agent running around; Fairhaven, one of their biggest supporters, under fire—Collopy’s head reeled at the possibilities, all too hideous to contemplate. If this thing wasn’t handled, it could very well cast a pall on his own tenure, or worse—
Do not go to that place, thought Frederick Watson Collopy. He would handle it. Even the worst disasters could be turned around with the right—what was the trendy word?—spin. Yes. That’s what was needed here. A very delicate and artfully applied spin. The Museum would not, he thought, react in its usual knee-jerk way. The Museum would not decry the investigation; it would not protest the rifling of its archives; it would not denounce the unaccountable activities of this FBI agent; it would not deny responsibility, evade, or cover up. Nor would the Museum come to the aid of its biggest supporter, Fairhaven. At least, not on the surface. And yet, much could be done in camera, so to speak. A quiet word could be strategically placed here and there, reassurances given or taken away, money moved hither and yon. Gently. Very gently.
He depressed a button on his intercom, and spoke in a mild voice. “Mrs. Surd, would you be so good as to tell Mr. Brisbane I should like to see him at his convenience?”
“Yes, Dr. Collopy.”
“Thank you most kindly, Mrs. Surd.”
He released the button and settled back. Then he carefully folded up the New York Times and placed it out of sight, in the “To Be Filed” box at the corner of his desk. And, for the first time since leaving his bedroom that morning, he smiled.
ELEVEN
NORA KELLY KNEW WHAT THE CALL WAS ABOUT. SHE HAD seen the article in the morning paper, of course. It was the talk of the Museum, perhaps of all New York. She knew what kind of effect it would have on a man like Brisbane. She had been waiting all day for him to call her, and now, at ten minutes to five, the summons had finally come. He had waited until ten minutes to five. Letting her stew, no doubt. She wondered if that meant he would give her ten minutes to clear out of the Museum. It wouldn’t surprise her.
The nameplate was missing from Brisbane’s door. She knocked and the secretary called her in.
“Have a seat, please,” said a haggard older woman who was clearly in a bad mood.
Nora sat. Goddamned Bill, she thought. What could he have been thinking? Admittedly, the guy was impulsive—he tended to act before engaging his cerebral cortex—but this was too much. She’d have his guts for garters, as her father used to say. She’d cut off his balls, fix them to a thong, and wear them around her waist like a bola. This job was so critical to her—yet here he was, practically typing out the pink slip himself. How could he have done this to her?
The secretary’s phone buzzed. “You may go in,” the older woman said.
Nora entered the inner office. Brisbane stood in front of a mirror placed at one side of his desk, tying a bow tie around his neck. He wore black pants with a satin stripe and a starched shirt with mother-of-pearl buttons. A tuxedo jacket was draped over his chair. Nora paused inside the door, waiting, but Brisbane said nothing nor in any way acknowledged her presence. She watched him deftly whip one end of the tie over the other, snug the end through.
Then he spoke: “Over the past few hours, I’ve learned a great deal about you, Dr. Kelly.”
Nora remained silent.
“About a disastrous field expedition in the Southwestern desert, for example, in which your leadership and even scientific abilities were called into question. And about a certain William Smithback. I didn’t know you were quite so friendly with this William Smithback of the Times.”
There was another pause while he tugged on the ends of the tie. As he worked he craned his neck. It rose out of his collar, as pale and scrawny as a chicken’s.
“I understand, Dr. Kelly, that you brought non-Museum personnel into the Archives, in direct violation of the rules of
this Museum.”
He tightened and adjusted. Nora said nothing.
“Furthermore, you’ve been doing outside work on Museum time, assisting this FBI agent. Again, a clear violation of the rules.”
Nora knew it would be futile to remind Brisbane that he himself, however grudgingly, had authorized the work.
“Finally, it’s a violation of Museum rules to have contact with the press, without clearing it through our public relations office first. There are good reasons for all these rules, Dr. Kelly. These are not mere bureaucratic regulations. They relate to the Museum’s security, to the integrity of its collections and archives, and especially its reputation. Do you understand me?”
Nora looked at Brisbane, but could find no words.
“Your conduct has caused a great deal of anxiety here.”
“Look,” she said. “If you’re going to fire me, get it over with.”
Brisbane looked at her at last, his pink face forming an expression of mock surprise. “Who said anything about firing? Not only will we not fire you, but you arc forbidden to resign.”
Nora looked at him in surprise.
“Dr. Kelly, you will remain with the Museum. After all, you’re the hero of the hour. Dr. Collopy and I are united on this. We wouldn’t dream of letting you go—not after that self-serving, self-aggrandizing newspaper piece. You’re bulletproof. For now.”
