Two Graves

35

PENDERGAST STOOD IN THE WORKROOM OF HIS SPRAWLING apartments in the Dakota. The room was devoid of any decor or ornamentation, anything that would distract or hinder the most intense concentration. Even the color of the walls and the stain of the wooden floor were a cool gunmetal gray, as neutral as possible. The windows overlooking Seventy-Second Street were closed and tightly shuttered. In one corner sat a tall pile of yellowing documents: the papers that Corrie had brought him from the Nazi safe house. The only furniture was a long, oaken table that ran the length of the room. There were no chairs. The table was covered by police reports, SOC data, photographs, FBI profiles, forensic analyses, and other paperwork, all devoted to a single subject: the Hotel Killer murders. Committed by his son, Alban.

His son. Pendergast was finding this fact to be a most disruptive influence on his deductive processes.

He paced quickly back and forth along the length of the table, glancing at first one document, then another. Finally, with an exasperated shake of his head, he strode over to an audio player, set flush into one wall, and pressed the PLAY button. Immediately the low, sonorous strains of the Ricercar a 6 from Bach’s Musical Offering began to emerge from hidden speakers.

This was the only piece that was ever heard in this room. Pendergast did not play it for its beauty—but for the way the complex, intensely mathematical composition settled and sharpened his mind.

As the music continued, his pacing grew slower, his study of the documents strewn across the tabletop more ordered and nuanced.

His son, Alban, had committed these murders. Tristram said that Alban loved killing. But why journey all the way to New York from Brazil to commit them? Why leave the body parts of his own brother at the murder sites? Why scrawl bloody messages on the corpses—messages that could only be meant for Pendergast himself?

BETATEST. Beta test. There was clearly a method, a governing purpose, behind these killings. And Pendergast himself was meant to discover it. Or, perhaps, to try to discover it. Nothing else made sense.

With Bach’s delicate, fantastically intricate counterpoint weaving softly in the background, Pendergast looked at the data afresh, forming a logical counterpoint of his own, mentally comparing times, dates, addresses, room numbers, external temperatures, ages of victims—anything that might point to a method, or a sequence, or a pattern. This process continued for ten, then twenty minutes. And then—abruptly—Pendergast stiffened.

Bending over the table, he rearranged several pieces of paper, examined them again. Then, plucking a pen from his pocket, he wrote a series of numbers across the bottom of one of the sheets, double-checking it against the documentation.

There was no mistake.

He glanced at his watch. Moving like lightning, he darted down the hall to his study, plucked a tablet computer from the desk, and typed in a query. He examined the response—cursed softly but eloquently in Latin under his breath—and then picked up a telephone and dialed.

“D’Agosta here,” came the response.

“Vincent? Where are you?”

“Pendergast?”

“I repeat: where are you?”

“Heading down Broadway, just passing Fifty-Seventh. I was going to—”

“Turn around and come to the Dakota as quickly as you can. I’ll be waiting at the corner. Hurry—there’s not a moment to lose.”

“What’s up?” D’Agosta asked.

“We’ll talk in the car. I just hope we’re not too late.”