wish to make appropriate compensation to the true creator of the work that will be engaging you all in the weeks and months to come. Otherwise, I shall be forced to initiate litigation.
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 , the day after Thanksgiving. Stapled to it was a copying service bill dated November . 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
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 Janus, Choreographer
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
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'or movie, or novel—or poem for all I know—someone comes out of the woodwork claiming it was stolen from an obscure, unpublished, unproduced, undistinguished piece of crap scribbled on the back of a napkin.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 , 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 asses.
'Yes,' he said patiently, but unwilling to conceal the faintest of sighs. 'I am co-producing a show titled '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'.
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 hell 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 passed 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
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 . . .'
