About the Book

A counter-espionage job leads to Toby Peters facing the barrel of a gun.

After midnight, NBC Studios is as quiet as a grave. For Toby Peters, it may as well be a sealed coffin. He came on a stakeout, and has spent hours in the dark of a television soundstage waiting for the appearance of a man with a silenced pistol. The killer has already taken three lives, and Peters’s may be the next.

After a long wait, Peters’s dulled reflexes let the gunman get the drop on him. A frantic chase through the deserted studio leaves Peters shoeless, gunless, and out of ideas. Finally the killer corners him and prepares to fire. The stakeout was Howard Hughes’s idea. Earlier that week, the aviation magnate hired Peters to investigate the theft of top-secret blueprints from his home. What starts as counter-espionage turns into a murder investigation, and Peters finds himself in the uncomfortable role of murderer’s bait.

About the Author

Stuart M. Kaminsky (1934-2009) was one of the most prolific crime fiction authors of the last four decades. Born in Chicago, he spent his youth immersed in pulp fiction and classic cinema - two forms of popular entertainment which he would make his life’s work. After college and a stint in the army, Kaminsky wrote film criticism and biographies of the great actors and directors of Hollywood’s Golden Age. In 1977, when a planned biography of Charlton Heston fell through, Kaminsky wrote Bullet for a Star, his first Toby Peters novel, beginning a fiction career that would last the rest of his life.

Kaminsky penned twenty-four novels starring the detective, whom he described as “the anti-Philip Marlowe.” In 1981’s Death of a Dissident, Kaminsky debuted Moscow police detective Porfiry Rostnikov, whose stories were praised for their accurate depiction of Soviet life. His other two series starred Abe Lieberman, a hardened Chicago cop, and Lew Fonseca, a process server. In all, Kaminsky wrote more than sixty novels. He died in St. Louis in 2009.

The Howard Hughes Affair

Stuart M. Kaminsky

BASTEI ENTERTAINMENT

Bastei Entertainment is an imprint of Bastei Lübbe AG

Copyright © 2015 by Bastei Lübbe AG, Schanzenstraße 6-20, 51063 Cologne, Germany

For the original edition:

Copyright © 2011 by The Mysterious Press, LLC, 58 Warren Street, New York, NY. U.S.A.

Copyright © 1979 by Stuart M. Kaminsky

Project management: Lori Herber

Cover adaptation: Christin Wilhelm, www.grafic4u.de

Cover design by Mumtaz Mustafa

E-book production: Jouve Germany GmbH & Co. KG

ISBN 978-3-95859-046-5

www.bastei-entertainment.com

All rights reserved, including without limitation the right to reproduce this e-book or any portion thereof in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of the publisher.

This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.

“We have got to the deductions and the inferences,” said Lestrade, winking at me. “I find it hard enough to tackle facts, Holmes, without flying away after theories and fancies.”

“You are right,” said Holmes demurely; “you do find it very hard to tackle the facts.”

—The Boscombe Valley Mystery,
Sir Arthur Conan Doyle

Chapter 1

The microphone and boom thudded down on the stage within a sigh of taking off the toes of my bare right foot. I had taken the shoe off because the bottom of my right foot began to itch after an hour of waiting in the dark studio at NBC. With the microphone still rolling into the wings, I reached for my shoe and sock, went flat on my stomach and squinted into the darkness.

Things were not going right for me. I had conned my way past the night guard and taken a seat on the side of the stage where I could see anyone who came into Studio B. The killer was supposed to wait for me to contact my informant before making his move—and getting caught. It was all very reasonable and simple, but the killer didn’t seem to understand what was expected of him.

The dim corridor light behind the killer caught a glint of metal in the audience. Studio B was soundproof. I could be dead without anyone knowing it till morning. At 44, I was still agile and ugly, but with one shoe off and against a pistol I was too slow and unarmed. In addition to which there wasn’t a hell of a lot of room to hide. Even if I could get to my .38, which I had left in the glove compartment of my car, I had never shot a human in my life in spite of seven years as a Glendale cop, five more as a Warner Brothers security guard and almost five years as a private investigator. In stark contrast, my friend in the audience had done away with three people in the last five days. I was seriously outclassed.

At any time except two in the morning, someone would pass the studio and look in—an announcer, a producer, somebody—but I had done too good a job of setting myself up.

The killer stepped forward carefully, showing first the barrel of his gun and then his silhouette clearly against the dim light from the hall. When the shot came, I rolled hard toward the control booth at the back of the stage, abandoning my shoe in mid-air and throwing a kick at the door. The shot didn’t have the sharp crack I knew and hated. It had a muffled sound like a gorilla spitting. Any sane man given the choice of kicking a door with a shoe-covered foot or bare one would have chosen the shoe-covered foot, but Toby Peters was not a sane man. He was a cornered, one-shoed idiot who had thought he had a plan to catch a killer and instead wound up victim Number Four—maybe.

In spite of a bad back, very few friends, and a small bank account, I had one hell of an impulse toward self-preservation. I rolled into the control booth on my side and scrambled over a chair until I came against the wall under the main panel. I could hear the stage boards creak slightly as the killer followed. His grey shadow played against the back wall and scared the hell out of me. I clenched my teeth and tried to salivate to keep from gagging and giving myself away. My foot was sore from kicking the door and so was I. I had been warned by my client not to do this, but why should I take advice from Howard Hughes on how to catch a killer? Did I tell him how to invest a million, design an airplane, direct a movie? The killer with the silencer, meanwhile, was making his way toward the control booth door I had left open.

I inched my way out from under the panel toward the far end of the booth, trying to remember if there was a door there. I got to my knees slowly, and crawled to the wall. There was a door. The footsteps were no more than fifteen feet away, and if I turned, I was sure I’d find myself looking into the barrel of the pistol and its too quiet death. I grabbed for the door, missed, grabbed again and ran like hell in hope that the killer’s aim would stay sour. A second shot tore into the acoustical wall on my right. I pulled off my shoe on the run and threw it over my shoulder is the general direction of the booth in the brilliant hope that it would slow him down. There were no running footsteps behind me, and I prayed to gods unknown that the killer was willing to call it a day if I was.

I got to the studio door and limped toward the front lobby.

I limped not because I was shoeless but because one foot hurt from kicking the door, and the other had stepped on something sharp in the darkness. There was a swinging door just before the lobby, and I plunged through it looking for help. The night receptionist wasn’t there. Neither was the night guard. I hobbled toward the front door. No one was on the street so I dragged my foot around the corner to the parking lot where I made my painful way to my rusting green Buick sitting like a sad turtle, catching the light of the moon on its dirty windshield. I got in, retrieved my .38 from the glove compartment, put it on the dashboard, took a quick look toward the NBC building to see no one there and yanked out my keys. The Buick turned over but jerked forward, banging my head into the steering wheel and sending the .38 and a half-used box of Kleenex flying into the back seat. One of my tires was flat. I turned around to scramble for the .38 in the shadows, missed it and caught a glimpse of a figure with a gun walking slowly across the lot toward me. Bullet Number Three turned my front windshield into a spider web. It was a fascinating pattern, but I didn’t have time to admire it or wonder where the hell the population of Los Angeles was. I pushed the door open after one more frantic search for the pistol and rolled onto the gravel.

My grey zipper gabardine windbreaker from Muller and Bluett’s was holding up reasonably well, but my expenses were mounting—a flat tire, cracked windshield, medication and treatment for a lacerated foot. I got to my knees and scrambled around a couple of cars toward the side of the NBC building, counting my assets.

These included about 17 years of dubious experience and darkness to hide me. On the debit side, I thought as I stumbled toward what looked like a door, I had a bum foot, no pistol, no help and a calm killer behind me. I hit the side door hard, expecting to bounce off it like a bullet against steel, but it gave and I tumbled back into NBC.

Gary Cooper had probably been in this carpeted corridor once, but where was he when I needed him? I wondered what he would have done in my place. I knew he would have had both shoes on and a gun in his hand. I was getting closer and closer to the point of imagining how the discovery of my body would look. I wanted to be at least a semidignified corpse. I could see my brother Phil the cop standing over me, looking down at my bruised bare feet and thinking it was just the kind of nonsense he expected. Maybe he’d spend a few days trying to figure out why the killer had taken me to NBC, removed my shoes and tortured me before putting me away. The prospect gave me as much incentive to keep moving as did the likelihood of my death.

Footsteps trampled gravel outside the door I had just dived through. The long barrel of the pistol came into view, and I scrambled down the hall smelling the carpet, the walls, and people. I was aware of too much. It was a sure sign of fear.

In the second or two it took the character with the gun to step into the light, I pushed at a door. It didn’t give. Bullet Number Four missed.

A plan came to mind while I panted and ran. It was just as bad as my other plans: I decided to scream until someone in the damn building heard me. The hell with dignity. I’d even take an old cleaning lady. But I changed my mind. What difference would a cleaning lady or two make to someone who was out to equal the record of Billy the Kid?

I wondered if the guy with the gun had noticed that I wasn’t shooting back. I thought about trying to get back to the door and my Buick, find that damn .38 and hide in the hope the killer would give up and go to breakfastor the toilet. My foot told me I’d never make it.

A light came up on my right and I looked into a soundproof studio where a guy with earphones was sitting and talking into a microphone. He had one hand on his forehead and was reading from a sheet in front of him.

I pounded on the window but he didn’t hear me, which may have been just as well for him. Behind him in a small booth was a dozing engineer. I pushed my face against the glass and pounded harder on the window. The engineer looked up at my flattened visage, rubbed his mouth with his open palm and reached for his glasses, but a sound behind me told me I had no time to wait. I turned a corridor, sure I was leaving a trail of blood from my increasingly painful foot in NBC’s clean blue carpet, and pushed through the first door that would open. I fell flat, landing on a table piled with records. The table cracked and records went rolling and flying. My breath was gone. I pushed myself to my knees, wiped sweat from my eyes and listened. No footsteps, just the distant sound of Tommy Dorsey playing “This Love of Mine.”

I reached over to close the door behind me, gasping for air. I was in a small record storage room. With the slight light from under the door, I could see that there was only one way in or out of the room. Then a shadow appeared under the door. Someone was standing on the other side.

I was scared and angry—angry because anyone in his right mind would have given odds that the destruction of NBC would have brought an army of guards swooping down even at two in the morning. Anger didn’t keep fear from turning my stomach. I reached back and felt my way around a large cabinet. It opened with almost no noise and I found enough room inside even with the stacks of records to climb in and close the door behind me. The door wouldn’t stay shut, but by holding onto the sharp end of a corroded nail that stuck through the wood, I was able to keep it closed. I knew my fingers would cramp eventually, and I would have been more comfortable in a position other than on my back with my throbbing foot in the air and the Andrews Sisters’ version of “Elmer’s Tune” poking my neck, but I was alive and had hope.

The door to the small room opened and I heard a foot crunch against one of the records I had scattered. Footsteps on more records, and the light came on in the room and filtered through the cracks in the cabinet.

The footsteps made it clear that the killer was no more than the length of a tall man away. The length dwindled to midget height with one step and there was a tug at the cabinet door. I held onto my rusty nail as tightly as I could, folded upside down on my back. The cabinet door opened and the light hit my face.

My hope that some of the noise had penetrated the brain of a curious guard fell away when I saw the long pistol. I tumbled out of my tiny tomb as the killer stepped back and levelled the gun at me. There was no great hurry now. I put my back against the wall and stood up to take the shot. My knees were too cramped and weak to even consider a lunge. I shrugged and looked up at the face behind the rifle. It was a familiar face, the face of someone who had killed at least two people. The barrel of the gun came up and I revised the body count upward by one.

Chapter 2

It had all started six days earlier. Actually, where it started is a question of what you’re interested in. It started for me in about March of 1897 when my father and mother decided to have a second offspring and God provided a convenient rainstorm one afternoon, so they could close their grocery and work on it. Nine months later on November 14, Tobias Leo Pevsner, who was to become Toby Peters, detective and shoeless victim, was born. Jump 44 years, a broken nose, a broken marriage, and as many broken promises as there are abandoned wrecks along the Pacific Coast Highway and you find yourself in my rooming house, on a Monday, one week before my showdown at NBC.

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!