1Escamillo Drive made three jogs in four blocks, for no reason that I could see. It was very narrow, averaged about five houses to a block and was overhung by a section of shaggy brown foothill on which nothing lived at this season except sage and manzanita. In its fifth and last block, Escamillo Drive did a neat little curve to the left, hit the base of the hill hard, and died without a whimper. In this last block were three houses, two on the opposite entering corners, one at the dead end. This was Vannier's. My spotlight showed the key still in the door.

2It was a narrow English type bungalow with a high roof, leaded front windows, a garage to the side, and a trailer parked beside the garage. The early moon lay quietly on its small lawn. A large oak tree grew almost on the front porch. There was no light in the house now, none visible from the front at least.

3From the lay of the land a light in the living room in the daytime did not seem utterly improbable. It would be a dark house except in the morning. As a love nest the place had its points, but as a residence for a blackmailer I didn't give it very high marks. Sudden death can come to you anywhere, but Vannier had made it too easy.

4I turned into his driveway, backed to get myself pointed out of the dead end, and then drove down to the corner and parked there. I walked back in the street because there was no sidewalk. The front door was made of ironbound oak planks, bevelled where they joined. There was a thumb latch instead of a knob. The head of the flat key projected from the lock. I rang the bell, and it rang with that remote sound of a bell ringing at night in an empty house. I walked around the oak tree and poked the light of my pencil flash between the leaves of the garage door. There was a car in there. I went back around the house and looked at a small flowerless yard, walled in by a low wall of fieldstone. Three more oak trees, a table and a couple of all metal chairs under one of them. A rubbish burner at the back. I shone my light into the trailer before I went back to the front. There didn't seem to be anybody in the trailer. Its door was locked.

5I opened the front door, leaving the key in the lock. I wasn't going to work any dipsy-doodle in this place. What ever was, was. I just wanted to make sure. I felt around on the wall inside the door for a light switch, found one and tilted it up. Pale flame bulbs in pairs in wall brackets went on all around the room, showing me the big lamp Merle had spoken of, as well as other things. I went over to switch the lamp on, then back to switch the wall light off. The lamp had a big bulb inverted in a porcelain glass bowl. You could get three different intensities of light. I clicked the button switch around until I had all there was.

6The room ran from front to back, with a door at the back and an arch up front to the right. Inside that was a small dining room. Curtains were half drawn across the arch, heavy pale green brocade curtains, far from new. The fireplace was in the middle of the left wall, bookshelves opposite and on both sides of it, not built in. Two davenports angled across the corners of the room and there was one gold chair, one pink chair, one brown chair, one brown and gold jacquard chair with footstool.

7Yellow pajama legs were on the footstool, bare ankles, feet in dark green morocco leather slippers. My eyes ran up from the feet, slowly, carefully. A dark green figured silk robe, tied with a tasseled belt. Open above the belt showing a monogram on the pocket of the pajamas. A handkerchief neat in the pocket, two stiff points of white linen. A yellow neck, the face turned sideways, pointed at a mirror on the wall. I walked around and looked in the mirror. The face leered all right.

8The left arm and hand lay between a knee and the side of the chair, the right arm hung outside the chair, the ends of the fingers touching the rug. Touching also the butt of a small revolver, about .32 caliber, a belly gun, with practically no barrel. The right side of the face was against the back of the chair, but the right shoulder was dark brown with blood and there was some on the right sleeve. Also on the chair. A lot of it on the chair.

9I didn't think his head had taken that position naturally. Some sensitive soul had not liked the right side of it.

10I lifted my foot and gently pushed the footstool sideways a few inches. The heels of the slippers moved reluctantly over the jacquard surface, not with it. The man was as stiff as a board. So I reached down and touched his ankle. Ice was never half as cold.

11On a table at his right elbow was half of a dead drink, an ashtray full of butts and ash. Three of the butts had lipstick on them. Bright Chinese red lipstick. What a blond would use.

12There was another ashtray beside another chair. Matches in it and a lot of ash, but no stubs.

13On the air of the room a rather heavy perfume struggled with the smell of death, and lost. Although defeated, it was still there.

14I poked through the rest of the house, putting lights on and off. Two bedrooms, one furnished in light wood, one in red maple. The light one seemed to be a spare. A nice bathroom with tan and mulberry tiling and a stall shower with a glass door. The kitchen was small. There were a lot of bottles on the sink. Lots of bottles, lots of glass, lots of fingerprints, lots of evidence. Or not, as the case may be.

15I went back to the living room and stood in the middle of the floor breathing with my mouth as far as possible and wondering what the score would be when I turned this one in. Turn this one in and report that I was the fellow who had found Morningstar and run away. The score would be low, very low. Marlowe, three murders. Marlowe practically kneedeep in dead men. And no reasonable, logical, friendly account of himself whatsoever. But that wasn't the worst of it. The minute I opened up I would cease to be a free agent. I would be through with doing whatever it was I was doing and with finding out whatever it was I was finding out.

16Carl Moss might be willing to protect Merle with the mantle of Aesculapius, up to a point. Or he might think it would do her more good in the long run to get it all off her chest, whatever it was.

17I wandered back to the jacquard chair and set my teeth and grabbed enough of his hair to pull the head away from the chair back. The bullet had gone in at the temple. The set-up could be for suicide. But people like Louis Vannier do not commit suicide. A blackmailer, even a scared blackmailer, has a sense of power, and loves it.

18I let the head go back where it wanted to go and leaned down to scrub my hand on the nap of the rug. Leaning down I saw the corner of a picture frame under the lower shelf of the table at Vannier's elbow. I went around and reached for it with a handkerchief.

19The glass was cracked across. It had fallen off the wall. I could see the small nail. I could make a guess how it had happened. Somebody standing at Vannier's right, even leaning over him, somebody he knew and had no fear of, had suddenly pulled a gun and shot him in the right temple. And then, startled by the blood or the recoil of the shot, the killer had jumped back against the wall and knocked the picture down. It had landed on a corner and jumped under the table. And the killer had been too careful to touch it, or too scared.

20I looked at it. It was a small picture, not interesting at all. A guy in doublet and hose, with lace at his sleeve ends, and one of those round puffy velvet hats with a feather, leaning far out of a window and apparently calling out to somebody downstairs. Downstairs not being in the picture. It was a color reproduction of something that had never been needed in the first place.

21I looked around the room. There were other pictures, a couple of rather nice water colors, some engravings—very old-fashioned this year, engravings, or are they? Half a dozen in all. Well, perhaps the guy liked the picture, so what? A man leaning out of a high window. A long time ago.

22I looked at Vannier. He wouldn't help me at all. A man leaning out of a high window, a long time ago.

23The touch of the idea at first was so light that I almost missed it and passed on. A touch of a feather, hardly that. The touch of a snowflake. A high window, a man leaning out—a long time ago.

24It snapped in place. It was so hot it sizzled. Out of a high window a long time ago—eight years ago—a man leaning—too far—a man falling—to his death. A man named Horace Bright.

25"Mr. Vannier," I said with a little touch of admiration, "you played that rather neatly."

26I turned the picture over. On the back dates and amounts of money were written. Dates over almost eight years, amounts mostly of $500, a few $750's, two for $1000. There was a running total in small figures. It was $11,100. Mr. Vannier had not received the latest payment. He had been dead when it arrived. It was not a lot of money, spread over eight years. Mr. Vannier's customer had bargained hard.

27The cardboard back was fastened into the frame with steel victrola needles. Two of them had fallen out. I worked the cardboard loose and tore it a little getting it loose. There was a white envelope between the back and the picture. Sealed, blank. I tore it open. It contained two square photographs and a negative. The photos were just the same. They showed a man leaning far out of a window with his mouth open yelling. His hands were on the brick edges of the window frame. There was a woman's face behind his shoulder.

28He was a thinnish dark-haired man. His face was not very clear, nor the face of the woman behind him. He was leaning out of a window and yelling or calling out.

29There I was holding the photograph and looking at it. And so far as I could see it didn't mean a thing. I knew it had to. I just didn't know why. But I kept on looking at it. And in a little while something was wrong. It was a very small thing, but it was vital. The position of the man's hands, lined against the corner of the wall where it was cut out to make the window frame. The hands were not holding anything, they were not touching anything. It was the inside of his wrists that lined against the angle of the bricks. The hands were in air.

30The man was not leaning. He was falling.

31I put the stuff back in the envelope and folded the cardboard back and stuffed that into my pocket also. I hid frame, glass and picture in the linen closet under towels.

32All this had taken too long. A car stopped outside the house. Feet came up the walk.

33I dodged behind the curtains in the archway.