The Wrecker

The faster a charge exploded, the greater the power, the more Wong could increase its shattering effect. Few civil engineers had understood that thirty years ago when dynamite was relatively new, still fewer illiterate Chinese peasants. Fewest of all had been brave enough, before electrically fired blasting caps reduced the danger, to take the chances that had to be taken when the only means of detonation was an unreliable burning fuse. So the real secret to big bangs was bravery.

“Do you have the electrical batteries?” Wong asked.

“I got ‘em,” said the schooner’s captain.

“And the wires?”

“All here. Now what?”

Wong savored the moment. The captain, a hard, brutal man who would knock his hat off in the street, was awed by Wong’s dark skills.

“Now what?” Wong repeated. “Now I get busy. You sail boat.”

A DOZEN RIFLE-TOTING RAILROAD police guarded a string of six boxcars on the powder pier. Three kept a sharp eye on the gang of day laborers hired to remove from one of the boxcars eight hundred fifty sixty-pound boxes of six-inch sticks that had been manufactured by the Du Pont de Nemours Powder Works in Wilmington, Delaware. Four more watched the Lillian I’s crew stow the dynamite in the lighter’s capacious hold. One, a bank auditor by training, harassed the lighter’s captain by poring repeatedly through his invoices and dispatches.

Lillian I’s master, Captain Whit Petrie, was in a foul mood. He had already missed a rising tide that would have sped his run upriver. Any more delay, he would be butting against the current the entire sixty miles to the traprock quarry at Sutton Point. On top of that, his new Southern Pacific bosses were even cheaper than his old New Jersey Central bosses, and even less inclined to spend money for necessary repairs on his beloved Oxford. Which they had renamed Lillian, against all tradition, when anyone with half a brain knew it was bad luck to change a vessel’s name, tempting the fates, and, even worse, reducing her to a number, Lillian I, as if she were not a finer steam lighter than Lillians II through XII.

“Say, here’s an idea,” said the exasperated captain. “I’ll go home and have supper with the wife. You boys run the boat.”

Not one cop cracked a smile. Only when they were absolutely sure that he was delivering a legitimate cargo of twenty-five tons of dynamite to a legitimate contractor blasting traprock out of the Hudson Valley cliffs-a run up the river, he pointed out repeatedly, that he had been doing for eight years-did they finally let him go.

Not so fast!

Just as they were casting off lines, a tall, grim-faced, yellow-haired dude in an expensive topcoat came marching up the powder pier, accompanied by a sidekick who looked like a Fifth Avenue swell except for the fine white lines of boxing scars creasing his brow. They jumped aboard, light on their feet as acrobats, and the yellow-haired man flashed a Van Dorn detective badge. He said he was Chief Investigator Isaac Bell, and this was Detective Archibald Abbott, and he demanded to see Petrie’s papers. The ice in Bell’s eyes told Petrie not to joke about going home for supper, and he waited patiently while his dispatches were read line by line for the tenth time that afternoon.

It was the sidekick, Abbott, who finally said, in a voice straight out of New York’s Hell’s Kitchen, “All right, Cap, shove off. Sorry to hold you up, but we’re not taking any chances.” He beckoned a Southern Pacific Railroad bull with arms like a gorilla. “McColleen, you ride with Captain Petrie. He’s headed for the Upper Hudson Pulverized Slate Company at Sutton Point. He’s got twenty-five tons of dynamite in his hold. Anyone tries to change course, shoot the bastard!”

Then Abbott threw an arm around Isaac Bell’s shoulders and tried to steer him up the gangplank, and speaking in an entirely dif ferent voice that sounded like he truly was a Fifth Avenue swell, said, “That’s it, my friend. You’ve been at it full bore for a straight week. You’ve left good chaps in charge. We’re taking a night off.”

“No,” growled Bell, casting an anxious eye on the five remaining boxcars of the powder train. Dusk was gathering. Three railroad guards were aiming a water-cooled, tripod-mounted, belt-fed Vickers automatic machine gun at the gate that blocked the rails from the main freight yards.

“Mr. Van Dorn’s orders,” said Abbott. “He says if you won’t take the night off, you’re off the case and so am I. He’s not fooling, Isaac. He said he wants clear heads all around. He even bought us tickets to the Follies.”

“I thought it closed.”

“The show’s reopened for a special run while they’re getting it ready to take on tour. My friend the newspaper critic called it, quote, ‘The best melange of mirth, music, and pretty girls that has been seen here in many a year.’ Everyone in town is beating down doors to get tickets. We’ve got ‘em! Come. We’ll get dressed, and have a bite at my club first.”

“First,” Bell said grimly, “I want three fully loaded coal tenders parked, brake wheels locked, on the other side of that gate, in case some brain gets a bright idea to ram it with a locomotive.”

22

ARCHIE ABBOTT, WHOSE BLUE-BLOODED FAMILY HAD FORBADE him to become an actor, belonged to a club in Gramercy Park called The Players. The Players had been founded nineteen years earlier by the stage actor Edwin Booth, the finest Hamlet of the previous century and the brother of the man who had shot President Lincoln. Mark Twain and General William Tecumseh Sherman, whose famously destructive march through Georgia had hastened the end of the Civil War, had joined the effort. Booth had deeded over his own home, and celebrated architect Stanford White had transformed it into a clubhouse before he was shot to death in Madison Square Garden by steel heir Harry Thaw.

Bell and Abbott met for a quick supper downstairs in the Grill. It was their first meal since a breakfast gulped at dawn in a Jersey City saloon. They climbed a grand staircase for coffee before they headed uptown to Forty-fourth Street and Broadway to see the Follies of 1907.

Bell paused in the Reading Room to admire a full-length portrait of Edwin Booth. The artist’s unmistakable style, a powerful mix of clear-eyed realism and romantic impressionism raised a tide of emotion in his heart.

“That was painted by a brother Player,” Abbott remarked. “Rather good, isn’t it?”

“John Singer Sargent,” said Bell.

“Oh, of course you recognize his work,” said Abbott. “Sargent painted that portrait of your mother that hangs in your father’s drawing room in Boston.”

“Just before she died,” said Bell. “Though you would never know it looking at such a beautiful young woman.” He smiled at the memory. “Sometimes I’d sit on the stair and talk to it. She looked impatient and I could tell she was saying to Sargent, ‘Finish up, already, I’m getting bored holding this flower.”’

“Frankly,” Abbott joked, “I’d rather answer to a painting than my mother.”

“Let’s get going! I have to stop at the office and tell them where to find me.” Like all Van Dorn offices in large cities, their headquarters in Times Square was open twenty-four hours a day.

Dressed in white tie and tails, opera capes and top hats, they hurried to Park Avenue, which they found jammed with hansom cabs, automobile taxicabs, and town cars creeping uptown. “We’ll beat this mess on the subway.”

The underground station at Twenty-third was ablaze in electric light and gleaming white tile. Passengers crowding the train platform ran the gamut from men and women out for the night to tradesmen, laborers, and housemaids traveling home. A speeding express train flickered through the station, windows packed with humanity, and Abbott boasted, “Our subways will make it possible for millions of New Yorkers to go to work in skyscrapers.”