Street Of The Five Moons Part 1

STREET OF THE FIVE MOONS.

by ELIZABETH PETERS.

To Sara and Dave and all the other Davidsons with love

One.

I WAS SITTING AT MY DESK DOING MY NAILS when the door opened and the spy sneaked in. He was wearing one of those trench coats that have pockets and flaps and shoulder straps all over them. The collar was turned up so that it practically met the brim of the hat he had pulled down over his eyebrows. His right hand was in the coat pocket. The pocket bulged.

"Guten Morgen, Herr Professor," I said. "Wie geht's?"

Wie geht's is not elegant German. It has become an Americanism, like chop suey. I speak excellent German, but Herr Professor Doktor Schmidt was amused when I resorted to slang. He has a kooky sense of humor anyhow. Schmidt is my boss at the National Museum, and when he's in his right mind he is one of the foremost medieval historians in the world. Occasionally he isn't in what most people would call his right mind. He's a frustrated romantic. What he really wants to be is a musketeer, wearing boots and a sword as long as he is; or a pirate; or, as in this case, a spy. is not elegant German. It has become an Americanism, like chop suey. I speak excellent German, but Herr Professor Doktor Schmidt was amused when I resorted to slang. He has a kooky sense of humor anyhow. Schmidt is my boss at the National Museum, and when he's in his right mind he is one of the foremost medieval historians in the world. Occasionally he isn't in what most people would call his right mind. He's a frustrated romantic. What he really wants to be is a musketeer, wearing boots and a sword as long as he is; or a pirate; or, as in this case, a spy.

He swept his hat off with a flourish and leered at me. It breaks me up to watch Schmidt leer. His face isn't designed for any expression except a broad Father Christmas grin. He keeps trying to raise one eyebrow, but he can't control the muscles, so they both go up, and his blue eyes twinkle, and his mouth puckers up like a cherub's.

"How goes it, babe?" he inquired, in an accent as thick as Goethe's would have been if he had spoken English - which he may have done, for all I know. That's not my field. My field is medieval Europe, with a minor in art history. I'm good at it, too. At this point it is safe to admit that I got my job at the museum in Munich through a certain amount of - well, call it polite pressure. Professor Schmidt and I had met while he was under the influence of one of his secondary personalities - a worldly, sophisticated crook, like a.r.s.ene Lupin. We had both been looking for a missing art object, and some of the good doctor's activities toward this end might not have struck his scholarly colleagues as precisely proper. No, it was not blackmail - not exactly - and anyway, now that I had been on the job for almost a year, Schmidt was the first to admit that I earned my keep. He didn't even mind my working on my novel during office hours, so long as I took care of pressing business first. And let's face it - there are few life-and-death issues in medieval history.

Professor Schmidt's eyes fell on the pile of typescript at my right elbow.

"How goes the book?" he inquired. "Did you get the heroine out of the brothel?"

"She isn't in a brothel," I explained, for the fifth or sixth time. Schmidt is mildly obsessed by brothels - the literary kind, I mean. "She's in a harem. A Turkish harem, in the Alhambra."

Professor Schmidt's eyes took on the familiar academic gleam.

"The Alhambra was not-"

"I know, I know. But the reader won't. You are too concerned with accuracy, Herr Professor. That's why you can't write a popular dirty book, like me. I'm stuck for the moment, though. There have been too many popular books about Turks and harems. I'm trying to think of an original example of l.u.s.t. It isn't easy."

Professor Schmidt pondered the question. I didn't really want to hear his idea of what const.i.tuted original l.u.s.t, so I said quickly, "But I distract you, sir. What did you want to see me about?"

"Ah." Schmidt leered again. He took his hand out of his pocket.

It didn't hold a gun, of course. I had not expected a gun. I had expected an apple or a fistful of candy; Schmidt's potbelly is the result of day-long munching. But at the sight of what emerged, clasped tenderly in his pudgy fingers, I gasped.

Don't be misled by the gasp. This is not going to be one of those books in which the heroine keeps shrieking and fainting and catching her breath. I'm not the fainting type, and not much surprises me. I'm not that old (still on the right side of thirty), but my unfortunate physical characteristics have exposed me to many educational experiences.

Let me make it perfectly clear that I am not kidding when I refer to my figure as unfortunate. I'm too tall, almost six feet; I inherited a healthy, rounded body, from my Scandinavian ancestors, along with dark-blue eyes and lots of blond hair; I don't gain weight, so the said body is slender in what are supposed to be the right places. As far as I'm concerned, they are the wrong places. All you Ugly Ducklings out there, take heart; you are better off than you realize. When people love you, they love the important things about you, the things that endure after wrinkles and middle-aged spread have set in - your brains and your personality and your sense of humor. When people look at me, all they see is a blown-up centerfold. n.o.body takes me seriously. When I was younger, I wanted to be little and cuddly and cute. Now I'd settle for being flat-chested and myopic. It would save a lot of wear and tear on my nerves.

Sorry about the tirade. But it isn't easy to convince people that you've got a brain when all they can see are curves and flowing blond hair. Nor is it easy for a woman like me to get a job. Intellectual women mistrust me on sight. Intellectual men are just like all other men, they hire me - but for the wrong reasons. That was why meeting Professor Schmidt was such a break. Bless his heart, he's as innocent as he looks. He really thinks I am brilliant. If he were six feet four and thirty years younger, I'd marry him.

He beamed at me as he stood there in his spy costume, with his hand outstretched; and the object on his palm glowed and shimmered, almost as if it were smiling too.

It was a pendant, made of gold richly embellished with filigree volutes and leaf shapes. Two tiny gold figures of kneeling women supported the rigid loop through which a chain had once pa.s.sed. All around the heavy gold rim were stones set in filigree frames - stones of green and red and pearly white. In the center was an enormous azure-blue stone, translucent as water contained in a crystal dome. There was a flaw in the central stone, a flaw that looked like a small rough-hewn cross.

A casual eye might have taken those stones for irregular, roughly polished chunks of gla.s.s. Mine is not a casual eye, however.

"The Charlemagne talisman," I said. "Schmidt, old buddy - put it back, okay? You can't get away with it; somebody is sure to notice it's gone."

"You think I have stolen it?" Schmidt grinned even more broadly. "But how do you suppose I have removed it from the case without setting off the alarms?"

It was a good question. The museum has a superb collection of antique jewelry, which is kept in a room built especially for it - a room that is one enormous vault. It is locked at night and watched continuously by three guards during the day. The alarm system is so delicate that breathing heavily on one of the cases will set bells ringing. And although Schmidt was one of the directors of the museum, neither he nor anyone else had authority to remove any of the historic gems from their cases unless he was accompanied by two other museum big shots and a whole battalion of security guards.

"I give up," I said. "I don't know how you got it out, but for heaven's sake, put it back. You've been in trouble before with your weird sense of humor, and if they find out-"

"Nein, nein." He shook his head regretfully, abandoning his joke in the face of my obvious concern. "It is not stolen from the case. I have not taken it from there. It was found last night in the pocket of a dead man, in an alley near the Alter Peter Alter Peter."

My mind fumbled with this information for a few moments.

"This isn't the real brooch, then," I said.

"Aber nein. How could it be? I a.s.sure you, we would notice if the gem had been taken away. It is a copy. But, liebe liebe Vicky, what a copy!" Vicky, what a copy!"

I took it from his hand. Even though I knew it was not the real gem, my touch was tentative and respectful. The more closely I examined it, the more my amazement grew. I had to take Schmidt's word for it that this wasn't the real talisman, but it certainly looked good, even to my trained eye.

The goldwork was superb, each tiny filigree wire having been shaped and set with masterful skill. As for the jewels, even an expert gemologist would have had trouble deciding they were fakes without the use of the complex instruments of his trade. The original pendant had been made in the ninth century, long before modern techniques of faceting gem stones were developed. The rubies and emeralds and pearls on the golden frame were roughly polished and rounded - "cabochon" is the technical term. The only precious stones that are cut in that antique style today are star rubies and star sapphires; the rounded shape brings out the buried star refraction. The cabochoncut sapphire in the center of this jewel shimmered softly, but did not glow with the buried fire of a faceted stone. I knew that it was not one sapphire, but two, placed back to back, and that the flaw in the center was not a "star" or a natural blemish, but a sliver of the "True Cross," which made the jewel into a very expensive reliquary, or talisman.

"You could fool me," I said, putting the pendant down on my desk blotter. "Come on, Schmidt, elucidate. Who was this character in whose pocket the pendant was found?"

"A boom," said Schmidt, with a wave of his hand.

"A what?"

"A boom, a vagabond, a drunkard," Schmidt repeated impatiently.

"Oh. A b.u.m."

"Did I not say so? He had no money, no pa.s.sport, no papers of any kind. Only this, sewn with care into a secret pocket in his suit."

"How did he die?"

"Not violently," Schmidt said, with obvious regret. "There was no wound. Of poison, perhaps, or drugs - horses, as they say. Or cheap hooch, or-"

"Never mind," I said. When Schmidt starts speculating, especially in what he fondly believes to be American slang, he can go on and on and on. "Really, Schmidt, this is fantastic. I suppose the police notified you. How did they know this was a copy of one of our pieces?"

"They thought it was was our piece," Schmidt said. "They are men of culture, our our piece," Schmidt said. "They are men of culture, our Polizisten Polizisten; one of them comes often to the museum and recognized the ornament. I was called in this morning."

"You must have had a fit when you saw it," I said sympathetically. "With your weak heart and all."

Schmidt rolled his eyes dramatically and clutched at his chest.

"It was a terrible moment! I knew of course that our pendant could not have disappeared; but was this the fake, or the one in our treasure room? Until our experts could examine both, I died a million deaths."

"It could still fool me," I admitted. "You're sure?"

"Do not say such things, even in jest! No, this is the imitation. But such an imitation! The gold is genuine. The stones are not gla.s.s, they are modern synthetics. You have no doubt heard of these imitation rubies, emeralds, sapphires? Some are such excellent copies that only the most sophisticated equipment can tell they are not real. And the workmanship of this..."

"I don't see why you're so upset," I said; for he was mopping his bald head, and his baby-blue eyes were narrowed in distress. "So some eccentric collector wanted a copy of the Charlemagne pendant. A good copy, not like the molds museums sell these days. The use of real gold is rather peculiar, perhaps, but the frame is hollow; I don't suppose there is more than a few hundred dollars' worth of precious metal involved here. What's the problem?"

"I thought you would understand!" Schmidt's eyes widened. "You are such a clever woman. But then jewelry is not your specialty. To go to such trouble, such expense, in order to imitate a piece like this.... There are only a few goldsmiths in the world capable of such work. They do not have to earn a living making copies. It is... too cheap and yet too costly, this copy. Do you see?"

When he put it that way, I did see. I nodded thoughtfully and looked more closely at the lovely thing on the desk.

Most women have a weakness for jewels. The only reason why men don't is because it is out of fashion. In earlier centuries men wore as many ornaments, with as much vanity, as women did. I could understand why someone might want a copy of the Charlemagne talisman for purely decorative reasons. I wouldn't have minded wearing one myself. But anyone who wanted a copy, just for fun, wouldn't go to the trouble of using such expensive materials, nor pay a jeweler of such skill the exorbitant sum necessary. There was another point that Schmidt had not mentioned. In order to copy the jewel with such fidelity, a designer would have to study the original in detail. n.o.body had applied to the museum authorities for permission to do so, or Schmidt would have known about it. Therefore someone must have spent long hours studying photographs and descriptions, perhaps even visited the museum. Why do all this surrept.i.tiously if his purpose was honest?

"You think some gang of thieves is planning a robbery," I said. "That there is a plot to subst.i.tute imitations for the real jewels."

"It is a possibility we must consider," said Schmidt. "You see that we cannot ignore such an idea."

"Yes, of course. You are quite right. I've seen movies about things like this-"

"Not only in fiction," Schmidt said gloomily, pa.s.sing his handkerchief over his forehead. "The problem of skillful fakes has been with us since the beginning of time. As soon as man began collecting beautiful objects, for himself or in museums, the swindler and faker began their dastardly work. Vicky, we must find out about this. We must know for sure. If there is a harmless purpose - then, good. But if not, every museum, every collector in the world is vulnerable to a craftsman of such skill. Supposing that the subst.i.tution could be made, it might take us years to discover that ours was not the genuine object. A copy so good as this would defy more than a casual glance."

"Right." I touched the central sapphire of the pendant with my finger. It felt cool as water and smooth as ice. It was hard for me to believe the darned thing wasn't genuine. "So what are we going to do about it?"

"Not we. You." Schmidt's rosy face regained its normal good humor. "The police have investigated, naturally. But they have come to a - what is the English? - a dead stop."

"Dead end?" I suggested.

"Yes, yes. The man on whose body this was found had no identification. His description, his fingerprints, are not known to Interpol. Our police are magnificent, but there is a limit to what they can do. So I turn to the lady whose skill and imagination are like those of the great English Sherlock. I appeal to my Vicky! Find this man for me, this unknown creator of magnificent copies. You have done it before; you can do it now."

His blue eyes glowed like the cabochon stone in Charlemagne's talisman.

Modesty is not one of my virtues, but this naive appeal made me feel uncharacteristically modest. It was true that once before I had had moderate success as a sort of historical detective, but I succeeded in that case because the solution to the problem depended on a body of specialized knowledge, which I happened to possess. I am a historian, not a criminologist, and if this was a case of art forgery on a grand scale, I rather suspected that the skills of the latter specialist would be more useful than those of the former.

However... Again my eye was drawn to the soft blue gleam of the great sapphire. Fake? It looked awfully real to me. There was something hypnotic about that stone, and about the appeal Schmidt had made. My work was pleasant but rather dull; even my p.o.r.nographic novel had bogged down. And it was May, that month of all months when emotion overcomes good sense.

"Well," I said. I leaned back in my chair and put my fingertips together. (What fictional detective was it who did that? Sherlock Holmes? Schmidt made a wonderful Watson.) "Well, Wat - -I mean, Schmidt, I just might be willing to take this case."

II.

The police official reminded me of Erich von Stroheim, whom I had seen on the Late, Late Show back in Cleveland, except that he didn't have a monocle. I guess they've gone out of style. He kissed my hand, however. I enjoy having my hand kissed. I can't imagine why American men haven't taken it up, it gets even us feminists.

I hadn't expected to have my hand kissed, but I had expected some interest. Bavarians like blondes. Bavaria, in case you didn't know, is one of the southern provinces of Germany; its people are members of the Alpine subrace, short and stocky and brunette, so they appreciate the Valkyrie type. I was wearing a tight sweater and skirt, and I let my hair hang down over my shoulders. I didn't care what Herr Feder thought of my brains, I just wanted to get all the information I could out of him.

After all, there wasn't much he could tell me. All the normal sources of inquiry had drawn a blank. The dead man simply wasn't known to the police.

"This does not mean he is not a criminal," Feder explained, rubbing his thick gray eyebrows. "It only means that he is not known to us or to Interpol. He may have been arrested in some other country."

"Have you checked in the States?" I asked, leaning back in my chair and taking a deep breath.

"What?" Feder's eyes moved reluctantly back to my face. "Ah - verzeihen Sie, Fraulein Doktor verzeihen Sie, Fraulein Doktor.... No, we have not. After all, the man committed no crime - except to die."

"The museum authorities are rather concerned."

"Yes, so I understand. And yet, Fraulein Doktor, is there really any cause for suspicion? Like all police departments these days, we are badly overworked. We have too much to do investigating crimes that have occurred; how are we to spend time and money inquiring into a vague theory? If the museum wishes to investigate on its own, we will extend the fullest cooperation, but I fail to see.... That is, I have no doubt of your intelligence, Fraulein Doktor, but-"

"Oh, I don't intend to pursue criminals into dark alleys, or anything like that," I said. We both laughed gaily at the very idea. Herr Feder had big, white, square teeth. "But," I continued, "I am curious about the case; I was about to take leave anyway, and Herr Professor Schmidt suggested I might pursue certain leads of our own, just to see what I could find out. I wonder... I guess I had better see the corpse."

I don't know why I made that suggestion. I'm not squeamish, but I'm not ghoulish, either. It was just that I couldn't think of anything else to do. I had no other lead.

I regretted my impulse when I stood in the neat, white antiseptic room that houses the morgue of Munich. It was the smell that got me: the stench of carbolic, which doesn't quite conceal another, more suggestive, odor. When they turned the sheet back and I saw the still, dead face, I didn't feel too good. Suggestion - the reminder of my own mortality. There was nothing particularly gruesome about the face itself.

It was that of a man in middle life, though the lines were smoothed out and negated by death. He had heavy black brows and thick, graying black hair; his complexion was tanned or naturally swarthy. The lips were unusually wide and full. The eyes were closed.

"Thank you," I muttered, turning away.

When we got back to his office, Feder offered me a little sip of brandy. I hadn't been that upset, but I didn't like to shatter his faith in female gentleness. Besides, I like brandy.

"He looks like a Latin," I said, sipping. It was good stuff.

"Yes, you are right." Feder leaned back in his chair, his gla.s.s held lightly between unexpectedly delicate fingers. "Spanish or Italian, perhaps. It is unfortunate that we found no identification."

"That seems suspicious."

"Perhaps not. The man was in the alley for hours, no one knows how long. It is possible that some casual thief robbed him. If he carried a wallet or pocketbook, it would have been stolen, for the money it contained. His papers, if any, would have been in that wallet. And a valid pa.s.sport is always useful to the criminal element."

"Yes, of course," I agreed. "A thief would have overlooked the jewel, since it was sewn into his clothing."

"So we think. There were a few odds and ends in his pockets, the sort of thing a thief would not bother with. Handkerchief, keys-"

"Keys? Keys to what?"

Feder produced a positively Gallic shrug.

"But who can tell, Fraulein Doktor? They were not keys to an automobile. If he had an apartment, the good G.o.d alone knows where it might be. We inquired among the hotels of the city, but have had no luck. It is of course possible that he only arrived in Munich yesterday and had not registered at a hotel. Would you care to see the contents of his pockets?"

"I suppose I should," I said glumly.

I wasn't expecting anything. I just said that because I felt I shouldn't overlook any possible clue. Little did I know that in that pitiful collection lay the key that was to unlock the case.

It was a folded piece of paper. There were several other sc.r.a.ps like it, receipts from unidentified shops for small sums, none over ten marks. This particular sc.r.a.p was not a receipt, just a page torn out of a cheap notebook. On it was written the number thirty-seven - the seven had the crossbar that is used by Europeans for writing that number, in order to distinguish it from their numeral one - and a curious little group of signs that resembled fingernail clippings. They looked like this:

I sat staring at these enigmatic hieroglyphs until Herr Feder's voice interrupted my futile theorizing.