I close in the spirit of artistic endeavor that embraces us all.

Cordially, Martha Coleridge Playwright Martha Coleridge's letter had been written on November 26, the day after Thanksgiving. Stapled to it was a copying service bill dated November 27. There was another bill on that same date, from Mail Boxes, Etc. who had packed and mailed all the material to Norman Zimmer. A separate 227.

Ed McBain sheet of paper with his mailing address on it was stapled to a list of names and addresses to whom copies of the material were to be forwarded. The names on that list were: Constance Lindstrom, Co-Producer Cynthia Keating, Underlying Rights Gerald Palmer, Book Rights Felicia Carr, Lyrics Rights Avrum Zarim, Music Rights Clarence Hull, Bookwriter Randy Flynn, Composer Rowland Chapp, Director Naomi Ja.n.u.s, Ch.o.r.eographer When Norman Zimmer's secretary told him two detectives were here to see him, he expected Carella and Brown again. Instead, there was a big redheaded cop named Bryan Shanahan and his shorter curly-haired partner named Jefferson Long, both of whom worked out of the Two-Oh precinct downtown. Shanahan did all of the talking. He told Zimmer they were investigating the murder of a woman named Martha Coleridge, and then they showed him the letter she'd written and asked if he had received a copy of it. Zimmer looked at the letter and said, "A crank."

"Did you receive a copy of this letter?" Shanahan asked.

"Yes, I did."

"When, sir?"

"I don't remember the exact date. It was after Thanksgiving sometime."

"Did you respond to it?"

"No, I did not. I told you. The woman's a crank."

"If you didn't contact her, how can you know that for sure, sir?" Shanahan asked.

Zimmer was beginning to get the measure of the 228.

man. One of those bulldog types who came in with a preconceived notion and would not let go of it. But he'd said they were investigating the woman's homicide. So attention had to be paid.

"Whenever there's a hit play," he said, "or movie, or novel-or poem for all I know-someone comes out of the woodwork claiming it was stolen from an obscure, unpublished, unproduced, undistinguished piece of c.r.a.p scribbled on the back of a napkin. It's Dadier's Nose all over again."

"Sir?"

"Le Nez de Dadier, a play written by a Parisian scissors grinder named Henri Clavere, in the year 1893, four years before Edmond de Rostand's play opened. Cyrano de Bergerac, hmm? Well, Clavere brought suit for plagiarism. He lost the case and drowned himself in the Seine. If I responded to every lunatic who feels his or her work was later appropriated, I wouldn't be able to do anything else."

"But you are, in fact, producing a show called 'Jenny's Room', aren't you?" Shanahan asked.

Jaws clamped tight on the idea already formed in his mind, whatever that idea might be. His partner standing by deadpanned, listening, learning. Zimmer wanted to kick both of them out on their a.s.ses.

"Yes," he said patiently, but unwilling to conceal the faintest of sighs. "I am co-producing a show t.i.tled 'Jenny' s Room', that is a fact, yes. It is also a fact that the show has nothing to do with this pathetic woman's play."

"Have you read her play, sir?"

"No, I have not. Nor do I intend to."

"Then how do you know there are no similarities between her play and the play 'Jenny's Room', upon which your musical. . ."

"First of all, the play wasn't even called 'Jenny's Room' when it was written. It was called 'Jessie's Room'.

229.

Ed McBain And 'Jessie's Room' was a highly autobiographical play written by a woman named Jessica Miles . . ."

"So I understand."

". . . and not anyone named Margaret Coleridge."

"Martha Coleri. . ."

"Whatever her name is."

"Whose play is also highly autobiographical."

"Oh, is it?"

"Yes. My Room. The play she wrote. Which she claims was stolen by Jessica Miles."

"How do you know it's autobiographical?"

"I read it."

"I see. Did you know this woman?"

"Not until I read her play," Shanahan said.

"You knew her when she was alive?"

"No, sir, I did not," Shanahan said. "I got to know her after I read her play. It's a very good play."

"I see. You're a theater critic, are you?"

"There's no need to get snotty, sir," Shanahan said, and his partner blinked. "A woman was killed."

"I'm sorry about that," Zimmer said. "But I'm getting tired of detectives coming in here with their questions. What the h.e.l.l am I producing? The Scottish Play?"

"What detectives?" Shanahan asked, surprised.

"What's the Scottish play?" his partner asked.

"To ask about Martha Coleridge?"

"No, to ask about Andrew Hale."

"I'm sorry, who's . . . ?"

"Tell you what," Zimmer said. "Go talk to your colleagues, okay? Carella and Brown. The Eighty-seventh Precinct."

"What's the Scottish play?" Long asked again.

Chapter Nine.

The detectives were waiting in the lobby of Fitness Plus when Connie Lindstrom walked out early Thursday morning, her mink coat flapping open over black tights and Nike running shoes as she sailed past to start her working day. Her eyes opened in surprise when she saw Carella and Brown sitting on the bench. She broke step, stopped, looked at them, shook her head, and said, "What now?"

"Sorry to bother you again," Carella said.

"I'll bet."

"Ever see this?" he asked, and handed her a copy of the letter Shanahan had pa.s.sed on to him late yesterday afternoon. Connie took it, began reading it, recognized it at once, and handed it back to him.

"Yes," she said. "So?," and hurried past them to the exit door.

They came down the steps and into the street, Connie leading, glancing at her watch, walking quickly to the curb, looking up the avenue for a taxi. It was eight-thirty in the morning on a very cold day, the sky bright and cloudless overhead, the streets heavy with traffic. At this hour, it was almost impossible to catch a free cab, but the buses were packed as well, and getting anywhere was a 231.

Ed McBain slow and tedious process. Connie kept waving her hand at approaching taxis, shaking her head as each occupied one flashed by.

"I have to be downtown in ten minutes," she said. "Whatever this is, I'm afraid it'll have to . . ."

"Woman who wrote that letter was murdered," Carella said.

"Jesus, what is this?" Connie said. "The Scottish Play?"

"What's the Scottish Play?" Brown asked.

"We have to talk to you," Carella said. "If you want a lift downtown, we'll be happy to take you."

"In what?" she said. "A police car?"

"Nice Dodge sedan."

"Shotgun on the back seat?"

"In the trunk," Brown said.

"Why not?" Connie said, and they began walking toward where Carella had parked the car, around the corner. She was in good shape; they had to step fast to keep up with her. Carella unlocked the door on the driver's side, clicked open all the other doors, and then threw up the visor with the pink police notice on it. Connie sat beside him on the front seat. Brown climbed into the back.

"Where to?" Carella asked.

"Octagon," she said. "You've been there."

"More auditions?"

"Endless process," she said. "I don't know this woman, you realize. If you're suggesting her murder . . ."

"When did you get her letter, Miss Lindstrom?"

"Last week sometime."

"Before the Meet 'N' Greet?"

"Yes."

"How'd you handle it?"

"Dadier's Nose," she said, and shrugged.

"What's that?"

232.

"Too long a story. Too long a nose, in fact. Suffice it to say that plagiarism victims surface whenever anything smells of success. I turned the letter over to my lawyer."

"Did he contact her?"

"She. I have no idea."

"You didn't ask?"

"Why should I care? We're talking about a play written in 1922!"

"We're also talking about a play that seems to inspire murder."

The car went silent.

Connie turned to him, her face sharp in profile.

"You don't know that for sure," she said.

"Know what?"

"That the two murders are in any way connected. I suppose you'd both take a fit if I smoked."

"Go right ahead," Carella said, surprising Brown.

She fished into her bag, came up with a single cigarette and a lighter. She flicked the lighter into flame, held it to the end of the cigarette. She breathed out a cloud of smoke, sighed in satisfaction. On the back seat, Brown opened a window.

"I know what it looks like," she said. "Hale refuses to sell us the rights, so he gets killed. Woman writes a letter that could seem threatening to the show, and she gets killed. Somebody wanted both of them dead because the show must go on" she said, raising her voice dramatically. "Well, I have news for you. The show doesn't always have to go on. If it gets too difficult or too complicated, it simply does not go on, and that's a fact."

"But the show is going on," Brown said. "And that's a fact, too."

"Yes. But if you think any of the professionals involved in this project would kill to insure a production . . ." She shook her head. "No," she said. "I'm sorry."

233.

Ed McBain "How about the amateurs?" Carella asked.

Sometimes it was better to deal with professionals.

A professional knew what he was doing, and if he broke the rules it was only because he understood them so well. The amateur witnessed a murder or two on television, concluded he didn't have to know the rules, he could just jump in cold and do a little murder of his own. The amateur believed that even if he didn't know what he was doing, he could get away with it. The professional believed he had best know what he was doing or he'd get caught. In fact, the professional knew without question that if he didn't get better and better each time out, eventually they'd nail him. The irony was that there were more amateurs than professionals running around loose out there, each and every one of them thriving. Go figure.