been, or can be, lifted.
“All this was necessary because there is a space of something like two and a half feet between the floor of the penthouse and the roof of the apartment building proper. One has to mount a couple of steps at the entrance of the penthouse. Furthermore, I have been in part of this space. Let me make it perfectly clear how I got there.
“The bedroom adjoins the studio on the south, and the lavatory occupies the north-west corner of the bedroom. It is walled off, of course. Along the northern wall of the lavatory (which is part of the southern wall of the studio) is the bath-tub; and the part of the flooring under the bath-tub has been cut away, leaving an aperture to the space beneath.”
I made my first contribution. “But how can that be? Wouldn’t the bath-tub fall through?”
“No. The bath-tub is an old-fashioned one, installed by Saltri himself only a few weeks ago. It is not flush with the floor, as they make them now, but stands on four legs. The flooring has only been cut away in the middle of the tub, say two or three planks, and the opening extended only to the outer edge of the tub. Not quite that far, in fact.”
“There is Salti man’s trap-door,” grinned Katoh. “Not even door; just trap.”
“So I thought,” Tarrant agreed grimly. “But it isn’t. Or if it is he didn’t use it. As no one could get through the opening without moving the tub – which hadn’t been done, by the way – Peake and I pulled up some more of the cut plank by main force and I squeezed myself into the space beneath the lavatory and bedroom. There was nothing there but dirt; I got plenty of that.”
“How about space below studio?”
“Nothing doing. The penthouse is built on a foundation, as I said, about two and a half feet high, of concrete building blocks. A line of these blocks runs underneath the penthouse, directly below the wall between the studio and bedroom. As the aperture in the floor is on the southern side of that wall, it is likewise to the south of the transverse line of building blocks in the foundation. The space beneath the studio is to the north of these blcoks, and they form a solid wall that is impassable. I spent a good twenty minutes scrummaging along the entire length of it.”
“Most likely place,” Katoh confided, “just where hole in lavatory floor.”
“Yes, I should think so too. I examined it carefully. I could see the ends of the planks that form the studio floor partway over the beam above the building blocks. But there isn’t a trace of a loose block at that point, any more than there is anywhere else… To make everything certain, we also examined the other three sides of the foundation of the bedroom portion of the penthouse. They are solid and haven’t been touched since it was constructed. So the whole thing is just a cul-de-sac there is no possibility of exit from the penthouse even through the aperture beneath the bath-tub.”
“You examine also foundations under studio part?”
“Yes, we did that, too. No result. It didn’t mean much, though, for there is no entrance to the space beneath the studio from the studio itself, nor is there such an entrance from the other space beneath the bedroom portion. That opening under the bath-tub must mean something, especially in view of the recent installation of the tub. But what does it mean?”
He looked at Katoh long and searchingly and the other, after a pause, replied slowly: “Can only see this Salti man construct this trap, probably for present use. Then he do not use. Must go some other way.”
“But there is no other way.”
“Then Salti man still there.”
“He isn’t there.”
“Harumph,” said Katoh reflectively. It was evident that he felt the same respect for a syllogism that animated Tarrant, and was stopped, for the time being at any rate. He went off on a new tack. “What else specially strange about setting?”
“There are two other things that strike me as peculiar,” Tarrant answered, and his eyes narrowed. “On the floor, about one foot from the northern window, there is a fairly deep indentation in the floor of the studio. It is a small impression and is almost certainly made by a nail partly driven through the planking and then pulled up again.”
I thought of the nail through the picture. “Could he have put the picture down on that part of the floor in order to drive the nail through it? But what if he did?”
“I can see no necessity for it, in any case. The nail would go through the canvas easily enough just as it stood on the easel.”
Katoh said: “With nail in plank, perhaps plank could be pulled up. You say no?”
“I tried it. Even driving the nail in sideways, instead of vertically, as the original indentation was made, the plank can’t be lifted at all.”
“O.K. You say some other thing strange, also.”
“Yes. The position of the easel that holds the painting of the dead girl. When we broke in this morning, it was turned away from the room, toward the bedroom door, so that the picture was scarcely visible even from the studio entrance, let alone the rest of the room. I don’t believe that was the murderer’s intention. He had set the rest of the stage too carefully. The requiem; the candles. It doesn’t fit; I’m sure he meant the first person who entered to be confronted by the whole scene, and especially by that symbolic portrait. It doesn’t accord even with the position of the stool, which agrees with the intended position of the easel. It doesn’t fit at all with the mentality of the murderer. It seems a small thing but I’m sure it’s important. I’m certain the position of the easel is an important clue.”
“To mystery of disappearance?”
“Yes. To the mystery of the murderer’s escape from that sealed room.”
“Not see how,” Katoh declared after some thought. As for me, I couldn’t even appreciate the suggestion of any connection.
“Neither do I,” grated Tarrant. He had risen and began to pace the floor. “Well, there you have it all. A little hole in the floor near the north window, an easel turned out of position and a sealed room without an occupant who certainly ought to be there… There’s an answer to this; damn it, there must be an answer.”
Suddenly he glanced at an electric clock on the table he was passing and stopped abruptly. “My word,” he exclaimed, “it’s nearly three o’clock. Didn’t mean to keep you up like this, Jerry. You either, doctor. Well, the conference is over. We’ve got nowhere.”
Katoh was on his feet, in an instant once more the butler. “Sorry could not help. You wish night-cap, Misster Tarrant?”
“No. Bring the Scotch, Katoh. And a siphon. And ice. I’m not turning in.”
I had been puzzling my wits without intermission ever since dinner over the problem above, and the break found me more tired than I realised. I yawned prodigiously. I made a half-hearted attempt to persuade Tarrant to come to bed, but it was plain that he would have none of it.
I said, “Good-night, Katoh. I’m no good for anything until I get a little sleep… Night, Tarrant.”
I left him once more pacing the floor; his face, in the last glimpse I had of it, was set in the stern lines of thought.
It seemed no more than ten seconds after I got into bed that I felt my shoulder being shaken and, through the fog of sleep, heard Katoh’s hissing accents.” – Mister Tarrant just come from penthouse. He excited. Maybe you wish wake up.” As I rolled out and shook myself free from slumber, I noticed that my wrist watch pointed to six- thirty.
When I had thrown on some clothes and come into the living-room, I found Tarrant standing with the telephone instrument to his head, his whole posture one of grimness. Although I did not realise it at once, he had been endeavouring for some time to reach Deputy Inspector Peake. He accomplished this finally a moment or so after I reached the room.
“Hallo, Peake? Inspector Peake?… This is Tarrant. How many men did you leave to guard that penthouse last night?”… “What, only one? But I said two, man. Damn it all, I don’t make suggestions like that for amusement!”… “All right, there’s nothing to be accomplished arguing about it. You’d better get here, and get here pronto.”… “That’s all I’ll say.” He slammed down the receiver viciously.
I had never before seen Tarrant upset; my surprise was a measure of his own disturbance, which resembled consternation. He paced the floor, muttering below his breath, his long legs carrying him swiftly up and down the apartment.
