Markham was sorely perplexed. His belief in Skeel’s guilt had, I knew, been undermined in some measure by Vance’s theory that the crime was the carefully premeditated act of a shrewd and educated man. But now he seemed to swing irresolutely back to Heath’s point of view.
“I’ll admit,” he said, “that Lindquist and Cleaver and Mannix don’t inspire one with a belief in their innocence. But since they’re all tarred with the same stick, the force of suspicion against them is somewhat dispersed. After all, Skeel is the only logical aspirant for the rôle of strangler. He’s the only one with a visible motive; and he’s the only one against whom there’s any evidence.”
Vance sighed wearily.
“Yes, yes. Finger-prints—chisel marks. You’re such a trustin’ soul, Markham. Skeel’s finger-prints are found in the apartment; therefore, Skeel strangled the lady. So beastly simple. Why bother further? A chose jugée—an adjudicated case. Send Skeel to the chair, and that’s that! . . . It’s effective, y’ know, but is it art?”
“In your critical enthusiasm you understate our case against Skeel,” Markham reminded him testily.
“Oh, I’ll grant that your case against him is ingenious. It’s so deuced ingenious I just haven’t the heart to reject it. But most popular truth is mere ingenuity—that’s why it’s so wrong-headed. Your theory would appeal strongly to the popular mind. And yet, y’ know, Markham, it isn’t true.”
The practical Heath was unmoved. He sat stolidly, scowling at the table. I doubt if he had even heard the exchange of opinions between Markham and Vance.
“You know, Mr. Markham,” he said, like one unconsciously voicing an obscure line of thought, “if we could show how Skeel got in and out of Odell’s apartment we’d have a better case against him. I can’t figure it out—it’s got me stopped. So, I’ve been thinking we oughta get an architect to go over those rooms. The house is an old-timer—God knows when it was originally built—and there may be some way of getting into it that we haven’t discovered yet.”
“ ’Pon my soul!” Vance stared at him in satirical wonderment. “You’re becoming downright romantic! Secret passageways—hidden doors—stairways between the walls. So that’s it, is it? Oh, my word! . . . Sergeant, beware of the cinema. It has ruined many a good man. Try grand opera for a while—it’s more borin’ but less corruptin’.”
“That’s all right, Mr. Vance.” Apparently Heath himself did not relish the architectural idea particularly. “But as long as we don’t know how Skeel got in, it’s just as well to make sure of a few ways he didn’t get in.”