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by S. S. Van Dine
A Manhattan art connoisseur turned amateur detective gets involved in a murder investigation when a theatrical starlet is found dead in her apartment.
Opening
A few passages to enter the atmosphere.
The “Canary”
In the offices of the Homicide Bureau of the Detective Division of the New York Police Department, on the third floor of the Police Headquarters building in Center Street, there is a large steel filing cabinet; and within it, among thousands of others of its kind, there reposes a small green index-card on which is typed: “Odell, Margaret. 184 West 71st Street. Sept. 10. Murder: Strangled about 11 p.m. Apartment ransacked. Jewelry stolen. Body found by Amy Gibson, maid.”
Here, in a few commonplace words, is the bleak, unadorned statement of one of the most astonishing crimes in the police annals of this country—a crime so contradictory, so baffling, so ingenious, so unique, that for many days the best minds of the Police Department and the District Attorney’s office were completely at a loss as to even a method of approach. Each line of investigation only tended to prove that Margaret Odell could not possibly have been murdered. And yet, huddled on the great silken davenport in her living-room lay the girl’s strangled body, giving the lie to so grotesque a conclusion.
The true story of this crime, as it eventually came to light after a disheartening period of utter darkness and confusion, revealed many strange and bizarre ramifications, many dark recesses of man’s unexplored nature, and the uncanny subtlety of a human mind sharpened by desperate and tragic despair. And it also revealed a hidden page of passional melodrama which, in its essence and organisms, was no less romantic and fascinating than that vivid, theatrical section of the Comédie Humaine which deals with the fabulous love of Baron Nucingen for Esther van Gobseck, and with the unhappy Torpille’s tragic death.
Margaret Odell was a product of the bohemian demimonde of Broadway—a scintillant figure who seemed somehow to typify the gaudy and spurious romance of transient gaiety. For nearly two years before her death she had been the most conspicuous and, in a sense, popular figure of the city’s night life. In our grandparents’ day she might have had conferred upon her that somewhat questionable designation, “the toast of the town”; but today there are too many aspirants for this classification, too many cliques and violent schisms in the Lepidoptera of our café life, to permit of any one competitor being thus singled out. But, for all the darlings of both professional and lay press-agents, Margaret Odell was a character of unquestioned fame in her little world.
The Canary Murder Case
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