The Thief by Clive Cussler (english novels to read .txt) 📗

know. I came in yesterday morning, and the best one I’d made yet had disappeared. None of my boys saw anything. And neither did yours.”

“Do you think someone sneaked in while you were

sleeping?”

“I went back to the house to get a bath and a full night’s sleep. The cleaners might have tossed it out with the garbage, but they claim they didn’t.”

Isaac Bell was troubled that he could not tell for sure whether the young scientist was speaking the truth or making excuses for slow progress. He said, “I’ll post a man in here, overnight, when you’re not here.”

“I don’t leave often.”

“I know. Mr. Van Dorn is impressed by your dedication. Have you heard anything new to do with Imperial?”

Clyde Lynds had made many friends, as was his wont, while wandering the halls and riding the elevators while pondering the knotty science behind his Talking Pictures machine. He shared Bell’s suspicion of the mysteriously wealthy company. “I met an Imperial director who’s taking pictures outside. He got the job ’cause he’s pals with somebody high up in the company. He might know something. Or he might be just another hired hand.”

“What’s his picture called?”

“The Brewer’s Daughter.”

“What’s it about?”

“The hero marries a German immigrant’s daughter, and they live happily ever after.”

“I’ll look into it.”

ISAAC BELL DABBED A MIXTURE OF BLACK shoe polish and Pinaud Clubman Wax on his mustache, stuffed his distinctive golden hair under a leather flying-machine helmet, and pulled a big set of birdman goggles over his blue eyes. Then he mounted a shiny black Indian motorcycle and roared up Second Street, weaving in and out of streetcars, autos, trucks, and wagons at breakneck speed. The machine was the brand-new model with an automatic oil pump, a two-speed transmission for lightning starts, and a springy front fork that Bell hoped would help in the jumps.

Leaning into a turn, he cut along the Southern Pacific Railroad tracks toward Aliso. He careened onto Aliso, headed straight for an intersection occupied by an enormous red brick brewery and its bottling plant, and poured on the speed. Closing fast on the brewery, he saw a canvas sign hanging above a roped-off empty lot that read:

IMPERIAL FILM

“THE BREWER’S DAUGHTER”

Extra Players Wait Here

A huge crowd of costumed extras milled around the lot: mustachioed villains, helmeted cops, fat men bulging in loud suits, and dozens of dust-caked cowboys—many twirling lassos—numerous circus clowns, and no less than three female trick riders in buckskin standing on their saddles. Texas Walt was right. Competition was tough. Everyone in Los Angeles wanted to be in a movie. To get the job, you had to stand out.

Bell spotted the camera operator at the brewery’s ornate iron gates, cranking at full speed. The camera was flanked by a director with a megaphone and a blazing bank of Cooper-Hewitt lamps. A Pierce-Arrow limousine rolled in front of the gates. A beautiful actress in evening clothes stepped from it into the glare of the Cooper-Hewitts.

Isaac Bell twisted his throttle and kicked the Indian into first gear. Hunkered low over the handlebars, he headed for a long ramp down which motortrucks and horse-drawn beer wagons were exiting the brewery’s second story. Dodging trucks and horses, he leaned into a sharp turn, raced up the ramp, and leaned into another. The Indian’s motor screamed in protest as his wheels left the pavement.

The motorcycle took to the air, flew from the top of the ramp, and soared over the hood of the Pierce-Arrow. Clearing the auto by a whisker, Bell banged down hard on the cobblestones and skidded to a rubber-scorching halt in front of the camera.

When he saw that the startled camera operator had kept his wits about him and continued cranking, Bell extended his gloved hand to the beautiful woman with a courtly bow. The actress took it, covering her surprise, as if assuming Bell was a part of the film no one had told her about.

“What the hell are you doing?” the director yelled.

“Came for a job,” said Isaac Bell, mimicking the tone of a country man trying his luck in the big city.

“Are you crazy?”

“I hear you got a chase coming up in this Bride of the Brewery show you’re taking pictures for.”

“It’s called The Brewer’s Daughter—hey, hold on a minute! Where’d you hear I have a chase scene?”

“Feller in the business told me.”

Among the acquaintances Clyde Lynds had met in the halls was this Imperial director, who had boasted to Clyde he was planning to have the couple elope on a bicycle chased by brewery trucks and wagons spilling barrels.

“Where’s he work?”

“Works for Mr. Griffith.”

The director beamed proudly. “D.W. heard I’m doing a chase scene?”

“That’s what the feller said.”

“Did Mr. Griffith mention anything specific about it?”

“‘If I was filming it, I’d use something more exciting than a bicycle.’”

The director’s face fell. Then he got truculent. “Oh, I get it. You think I need a lunatic on a motorcycle.”

Isaac Bell pointed at the camera. “Look at the pictures that camera just took. Then tell me I’m not the best motorcycle rider in the movies.”

A BREMSERHÄUSCHEN—A BRAKEMAN’S van, which Detective Curtis had told Pauline was called a caboose in America—sat by itself on a lonely track siding. It had high spoked wheels like a freight wagon, a cupola above one end, three square windows, a tin chimney, and ventilators in the roof, which the wind was spinning. She saw a door in the middle and two more on the platforms in front and back.

It was starting to rain again. Night was falling. Pauline was cold, hungry, and still hundreds of miles from France. What, she asked herself, is the best thing possible at this moment?

None of the windows showed lights, and no smoke rose from the chimney.

No one was around. All day she had been surprised by the emptiness of the countryside the train tracks traversed. Germany’s population had grown enormous, even in her short lifetime. She had expected the freight trains to take her through busy cities