Her revolver lay on the floor where it had fallen. John had given it to her when they were first married, because he was away so much; and he had taught her how to use it. It was one of three handguns he'd bought illegally in Miami.
Shea bent to pick it up. With a corner of the bedsheet she wiped the grip carefully, then did the same to Tanner's automatic. That gun too, she was certain, would not be registered anywhere.
Wearily she put the automatic in John's hand, closing his fingers around it. Then she retreated to the kitchen and knelt to place the revolver in Tanner's hand. The first-aid kit was still on the table; she would use it once more, when she finished talking to the chief constable in Merrywing.
We tried to help Tanner, John and I, she would tell him. And he repaid our kindness by attempting to rob us at gunpoint. John told him we kept money in our bedroom; he took the gun out of the nightstand before I could stop him. They shot each other. John died instantly, but Tanner didn't believe his wound was as serious as it was. He made me bandage it and then kept me in the kitchen, threatening to kill me too. I managed to catch him off guard and throw coffee in his face. When he tried to come after me the strain aggravated his wound and he collapsed and died.
If this were Miami, or one of the larger Caribbean islands, she could not hope to get away with such a story. But here the native constabulary was unsophisticated and inexperienced because there was so little crime on Salt Cay. They were much more likely to overlook the fact that John had been shot two and a half hours before Harry Tanner. Much more likely, too, to credit a double homicide involving a stranger, particularly when they investigated Tanner's background, than the accidental shooting of a respected resident who had been abusing his wife. Yes, she might just get away with it. If there was any justice left for her in this world, she would—and one day she'd leave Salt Cay a free woman again.
Out of the depths, she thought as she picked up the phone. Out of the depths . . .
Writers are notoriously poor judges of their own work, a phenomenon which may be operating in the present case. People who like "The Pattern" really like it. Ed Gorman and Cemetery Dance's editor and publisher, Rich Chizmar for instance; both consider it among my half dozen best dark-suspense tales. Very gratifying, of course, and they may well be right. Still, while I obviously like the story myself or it wouldn't be included here, I'd rank it somewhere in the lower middle of the pack of the fifty or so that I've written. See what you think. The reader as always, has the last word.
The Pattern
At 11:23 P.M. on Saturday, the twenty-sixth of April, a small man wearing rimless glasses and a dark gray business suit walked into the detective squad room in San Francisco's Hall of Justice and confessed to the murders of three Bay Area housewives whose bodies had been found that afternoon and evening.
Inspector Glenn Rauxton, who first spoke to the small man, thought he might be a crank. Every major homicide in any large city draws its share of oddballs and mental cases, individuals who confess to crimes in order to attain public recognition in otherwise unsubstantial lives; or because of some secret desire for punishment; or for any number of reasons that can be found in the casebooks of police psychiatrists. But it wasn't up to Rauxton to make a decision either way. He left the small man in the company of his partner, Dan Tobias, and went in to talk to his immediate superior, Lieutenant Jack Sheffield.
"We've got a guy outside who says he's the killer of those three women today, Jack," Rauxton said. "Maybe a crank, maybe not."
Sheffield turned away from the portable typewriter at the side of his desk; he had been making out a report for the chief's office. "He come in of his own volition?"
Rauxton nodded. "Not three minutes ago."
"What's his name?"
"He says it's Andrew Franzen."
"And his story?"
"So far, just that he killed them," Rauxton said. "I didn't press him. He seems pretty calm about the whole thing."
"Well, run his name through the weirdo file, and then put him in one of the interrogation cubicles," Sheffield said. "I'll look through the reports again before we question him."
"You want me to get a stenographer?"
"It would probably be a good idea."
"Right," Rauxton said, and went out.
Sheffield rubbed his face wearily. He was a lean, sinewy man in his late forties, with thick graying hair and a falconic nose. He had dark brown eyes that had seen most everything there was to see, and been appalled by a good deal of it; they were tired, sad eyes. He wore a plain blue suit, and his shirt was open at the throat. The tie he had worn to work when his tour started at 4:00 P.M., which had been given to him by his wife and consisted of interlocking, psychedelic-colored concentric circles, was out of sight in the bottom drawer of his desk.
He picked up the folder with the preliminary information on the three slayings and opened it. Most of it was sketchy telephone communications from the involved police forces in the Bay Area, a precursory report from the local lab, a copy of the police telex that he had sent out statewide as a matter of course following the discovery of the first body, and that had later alerted the other authorities in whose areas the two subsequent corpses had been found. There was also an Inspector's Report on that first and only death in San Francisco, filled out and signed by Rauxton. The last piece of information had come in less than a half hour earlier, and he knew the facts of the case by memory, but Sheffield was a meticulous cop and he liked to have all the details fixed in his mind.
The first body was of a woman named Janet Flanders, who had been discovered by a neighbor at 4:15 that afternoon in her small duplex on 39th Avenue, near Golden Gate Park. She had been killed by several blows about the head with an as yet unidentified blunt instrument.
The second body, of one Viola Gordon, had also been found by a neighbor—shortly before 5:00 P.M. —in her neat, white frame cottage in South San Francisco. Cause of death: several blows about the head with an unidentified blunt instrument.
The third body, Elaine Dunhill, had been discovered at 6:37 P.M. by a casual acquaintance who had stopped by to return a borrowed book. Mrs. Dunhill lived in a modest cabin-style home clinging to the wooded hillside above Sausalito Harbor, just north of San Francisco. She, too, had died as a result of several blows about the head with an unidentified blunt instrument.
There were no witnesses, or apparent clues, in any of the killings. They would have, on the surface, appeared to be unrelated if it had not been for the fact that each of the three women had died on the same day, and in the same manner. But there were other cohesive factors as well—factors that, taken in conjunction with the surface similarities, undeniably linked the murders.
Item: each of the three women had been between the ages of thirty and thirty-five, on the plump side, and blonde.
Item: each of them had been orphaned non-natives of California, having come to the San Francisco Bay Area from different parts of the Midwest within the past six years.
Item: each of them had been married to traveling salesmen who were home only short periods each month, and who were all—according to the information garnered by investigating officers from neighbors and friends—currently somewhere on the road.
Patterns, Sheffield thought as he studied the folder's contents. Most cases had one, and this case was no exception. All you had to do was fit the scattered pieces of its particular pattern together, and you would have your answer. Yet the pieces here did not seem to join logically, unless you concluded that the killer of the women was a psychopath who murdered blonde, thirtyish, orphaned wives of traveling salesmen for some perverted reason of his own.