It was an awesome collection, and for a moment it captured all my attention. A collector like me doesn't often see anything this overwhelming; in spite of the circumstances it presented a certain immediate distraction. Or it did until I focused on the wide stain of dried blood on the carpet near the back-wall shelves, and the chalk outline of a body which enclosed it.
An odd, queasy feeling came into my stomach; rooms where people have died violently have that effect on me. I looked away from the blood and tried to concentrate on the rest of the room. Like the Paperback Room we had been in previously, it contained nothing more in the way of furniture than an overstuffed chair, a reading lamp, a brass-trimmed roll top desk set beneath one of the two windows and a desk chair that had been overturned. Between the chalk outline and the back-wall shelves there was a scattering of magazines which had evidently been pulled or knocked loose from three of the shelves; others were askew in place, tilted forward or backward, as if someone had stumbled or fallen against them.
And on the opposite side of the chalk outline, in a loosely arranged row, were two pulps and a digest, the digest sandwiched between the larger issues.
Eberhardt said, "Take a look at that row of three magazines over there."
I crossed the room, noticing as I did so that all the scattered and shelved periodicals at the back wall were detective and mystery; the pulps were on the upper shelves and the digests on the lower ones. I stopped to one side of the three laid-out magazines and bent over to peer at them.
The first pulp was a 1930s and 1940s crime monthly called Clues. The digest was a short-lived title from the 1960s, Keyhole Mystery Magazine. And the second pulp was an issue of one of my particular favorites, Private Detective.
"Is this what you meant by a dying message?"
"That's it," he said. "And that's why you're here."
I looked around again at the scattered magazines, the disarrayed shelves, the overturned chair. "How do you figure this part of it, Eb?"
"The same way you're figuring it. Murray was stabbed somewhere on this side of the room. He reeled into that desk chair, knocked it over, then staggered away to those shelves. He must have known he was dying, that he didn't have enough time or strength to get to the phone or to find paper and pencil to write out a message. But he had enough presence of mind to want to point some kind of finger at his killer. So while he was falling or after he fell he was able to drag those three magazines off their shelves; and before he died he managed to lay them out the way you see them. The question is, why those three particular magazines?"
"It seems obvious why the copy of Clues," I said.
"Sure. But what clues was he trying to leave us with? Keyhole Mystery Magazine and Private Detective? Was he trying to tell us how he was killed or who killed him? Or both? Or something else altogether?"
I sat on my heels, putting my back to the chalk outline and the dried blood, and peered more closely at the magazines. The issue of Clues was dated November 1937, featured a Violet McDade story by Cleve F. Adams and had three other, unfamiliar authors' names on the cover. The illustration depicted four people shooting each other.
I looked at Keyhole Mystery Magazine. It carried a June 1960 date and headlined stories by Norman Daniels and John Collier; there were several other writers' names in a bottom strip, a couple of which I recognized. Its cover drawing showed a frightened girl in the foreground, fleeing a dark, menacing figure in the background.
The issue of Private Detective was dated March, no year, and below the title were the words, "Intimate Revelations of Private Investigators." Yeah, sure. The illustration showed a private eye dragging a half-naked girl into a building. Yeah, sure. Down in the lower right-hand corner in big red letters was the issue's feature story: "Dead Man's Knock," by Roger Torrey.
I thought about it, searching for connections between what I had seen in here and what Eberhardt had told me. Was there anything in any of the illustrations, some sort of parallel situation? No. Did any of the primary suspects have names which matched those of writers listed on any of the three magazine covers? No. Was there any well-known fictional private eye named Murray or Cox or Thurman or Keeler? No.
I decided I was trying too hard, looking for too specific a connection where none existed. The plain fact was, Murray had been dying when he thought to leave these magazine clues; he would not have had time to hunt through dozens of magazines to find particular issues with particular authors or illustrations on the cover. All he had been able to do was to reach for specific copies close at hand; it was the titles of the magazines that carried whatever message he meant to leave.
So assuming Clues meant just that, clues, Keyhole and Private Detective were the sum total of those clues. I tried putting them together. Well, there was the obvious association: the stereotype of a private investigator is that of a snooper, a keyhole peeper. But I could not see how that would have anything to do with Murray's death. If there had been a private detective involved, Eberhardt would have figured the connection immediately and I wouldn't be here.
Take them separately then. Keyhole Mystery Magazine. Keyhole. That big old-fashioned keyhole in the door?
Eberhardt said, "Well? You got any ideas?" He had been standing near me, watching me think, but patience had never been his long suit.
I straightened up, explained to him what I had been ruminating about and watched him nod: he had come to the same conclusions long before I got here. Then I said, "Eb, what about the door keyhole? Could there be some connection there, something to explain the locked-room angle?"
"I already thought of that," he said. "But go ahead, have a look for yourself."
I walked over to the door, and when I got there I saw for the first time that there was a key in the latch on the inside. Eberhardt had said the lab crew had come and gone; I caught hold of the key and tugged at it, but it had been turned in the lock and it was firmly in place.
"Was this key in the latch when you broke the door down?" I asked him.
"It was. What were you thinking? That the killer stood out in the hallway and stabbed Murray through the keyhole?"
"Well, it was an idea."
"Not a very good one. It's too fancy, even if it was possible."
"I guess you're right."
"I don't think we're dealing with a mastermind here," he said. "I've talked to the suspects and there's not one of them with an IQ over a hundred and twenty."
I turned away from the door. "Is it all right if I prowl around in here, look things over for myself?"
"I don't care what you do," he said, "if you end up giving me something useful."
I wandered over and looked at one of the two windows. It had been nailed shut, all right, and the nails had been painted over some time ago. The window looked out on an overgrown rear yard-eucalyptus trees, undergrowth and scrub brush. Wisps of fog had begun to blow in off the ocean; the day had turned dark and misty. And my mood was beginning to match it. I had no particular stake in this case, and yet because Eberhardt had called me into it I felt a certain commitment. For that reason, and because puzzles of any kind prey on my mind until I know the solution, I was feeling a little frustrated.