Waldman looked down at the photograph again. Sure. That was it. There was no deviation from the poster at all. The room had reproduced the horror of the poster exactly, almost as if the killer had been programmed to do it, almost as if he had no feelings of his own. It was as if a mindless ape had imitated art and created nothing but death.
Of course, none of this could go in a report. He'd be laughed out of the department. But he wondered what sort of killers could remain calm enough to exactly copy a poster during the hysteria of mass murder. Probably a devil cult of some sort. In that case, there would be more of these, and the perpetrators were doomed. Almost anyone had a fair chance of getting away with something once. Sometimes twice. But something like this they would have to do again, and when they got to the third time, or maybe even the second, some circumstance, some accident of performance, some loose word somewhere, some left wallet, some random thing, like even a door locking behind them or being seen in the act, would get them. Time, not brilliance, was the law's edge.
Waldman stepped back. One of the boards on the floor was loose. The place shouldn't have had a wooden floor anyhow. He stamped down hard on one end of the board. The other rose, like a brown-stained square tongue. He leaned down and ripped it up. It covered small plastic bags with oblong brown wads slightly smaller than Hershey bars. So that was the reason for the flooring. Waldman smelled the contents of a bag. Hashish. He kicked off the board next to the first. More bags. The basement was a stash. In rough estimates, he saw about thirty-five hundred dollars worth already. He kicked over another board. Where he had expected to find bags, Waldman saw an oblong tape deck, with a small dim yellow light in the control panel. The spool spun around and around, whipping a liver-colored end of tape against the gray plastic edge of a panel. He stared at it going around, the tape softly whipping the panel edge. He saw a black cord lead through a drilled hole in the wooden floor support. The machine was on record.
He pressed stop, rethreaded the spool and put the machine on rewind. The tape spun back rapidly. The machine had belonged to the dealer. Many pushers had them. A tape could help give them protection. It could raise a little blackmail money. It had many uses.
Before the tape rewound completely, he pressed stop again. Then play.
"Hello, hello, hello. I'm so glad you're all here." The voice was silky high, like a drag queen's. "I suppose you're all wondering, wondering, wondering what lovelies I have for you."
"Money, man." This voice was heavier and deeper. "Bread, baby. The mean green."
"Of course, lovelies. I wouldn't deprive you of sustenance."
"For a dealer, that's the level truth. Totally level." A girl's voice.
"Hush, hush, lovelies. I'm an artist. I just do other things to live. Besides, the walls have ears."
"You probably put 'em there, mother."
"Hush, hush. No negativities in front of my guest."
"He the one that want something?"
"Yes, he does. His name is Mr. Regal. And he has given me money for you all. Much money. Lovely money."
"And we ain't gonna see but a spit of it."
"There's plenty for you. He wants you to do something in front of him. No, Maria, don't take off your clothes. That's not what he wants. Mr. Regal wants you, as artists, to share your creativity with him."
"What's he doin' with the pipe?"
"I told him that hash helps creativity."
"That dude be goin' through a full ounce. He gotta be blind now."
And then the voice. That chilling flat monotone. Waldman felt a cramp in his legs from kneeling down near the tape. Where had he heard a voice like that before?
"I am not intoxicated, if that is what you suspect. Rather, I have full control of my senses and reflexes. Perhaps this inhibits my creativity. That is why I smoke more than the normal amount, or what you would consider normal, man."
"You jive funny, turkey."
"That is a derogatory term, and I have found that for one to tolerate such language often leads to further abuses of one's territorial integrity. Therefore, desist, nigger."
"Now, now, now, lovelies. Let us make pretty. Each of you will show your art to Mr. Regal. Let him see what you do when you are creative."
The tape sounded blank except for shuffling feet. Waldman heard indistinguishable low mumblings. Someone asked for "the red," which Waldman assumed was paint. At one point, someone sang an off-key tune about oppression and how freedom was just another form of deprivation and that the singer needed copulation badly with whomever she was singing to, but she didn't want her head messed with. "Just My Body, Baby" seemed to be the title of the song.
The flat voice again. "Now I noted that the painter seemed highly calm when working, and the singer seemed aroused. Is there an explanation for this, faggot?"
"I hate that word, but everything is so lovely I'll ignore it. Yes, there is a reason. All creativity comes from the heart. While the face and sounds may be different, the heart, the lovely heart, is the center of the creative process, Mr. Regal."
"Incorrect." That flat far-away voice again. "The brain sends all creative signals. The body itself-liver, kidney, intestines or heart-plays no part in the creative process. Do not lie to me, queer."
"Hmmmm. Well, I see you're into an insulting bag. Heart is only a phrase. Hardly do we mean a body organ. Heart is that essence of creativity. Physically, of course, it comes from the brain."
"Which part of the brain?"
"I don't know."
"Continue."
Waldman heard a heavy banging of feet and assumed it was a dance. Then there was a chopping sound.
"Sculpture, lovelies, might be the ultimate art."
"It looks like a male reproductive organ." The flat voice.
"That's a work of art, too. You'd know, if you ever tasted it." Giggle. The fag.
There were a few mumbled requests to pass a pipe, probably filled with hashish.
"Well, there you have it." The fag.
"Have what?" The flat voice.
"Creativity. A song. A dance. A painting. A piece of sculpture. Perhaps you would like to try, Mr. Regal? What would you like to do? You must remember of course that to be creative you must do something different. Difference is the essence of creativity. Come on now, Mr. Regal. Do something different."
"Other than sculpture and dancing and painting and singing?"
"Oh yes, that would be lovely." The fag.
"I don't know what to do." The flat voice.
"Well, let me give you a hint. Often the beginning of creativity is copying what's already been done, but in a different way. You build creativity by copying in a different medium. For instance, you change a painting into a sculpture. Or vice versa. Look around. Find something and then change it into a different medium."
And suddenly there were screams and awful tearing sounds, cracking bones and joints that came apart like thick, soft balloons stretched too far. And the wild desperate screams of the singer.
"No, no, no, no. No I" It was a wail, it was a chant, it was a prayer. And it wasn't answered. Snap! Pop! And there were no more screams. Waldman heard the heavy crunch of plaster, and it hit the ground with a splash. Probably in a pool of blood. Plaster, then splash.
"Lovely." The flat voice. This time it echoed through the room. Then the door closed on the tape.
Inspector Waldman rewound the tape to where the screaming had begun. He played it forward, watching the second hand of his watch. A minute and a half. All that done by one man. In eighty-five seconds.
Waldman rewound the tape and played it back. It had to be one man. There were the voices of the four victims and their references to their guest, their one guest. He listened carefully. It sounded like power tools at work but he did not hear any motors. Eighty-five seconds.