Росс Макдональд - The Name is Archer

“No. I haven’t been in the studio since this morning.”

“Somebody’s stolen it then. Is there anything else missing?”

“I can’t be sure, it’s such a mess in here.” She moved around the room looking at the pictures on the walls and pausing finally by a table in the corner. “There was a bronze cast on this table. It isn’t here now.”

“What sort of a cast?”

“The cast of a fist. Hugh made it from the fist of that man – that dreadful man I told you about.”

“What dreadful man?”

“I think his name is Devlin. He’s Hendryx’ bodyguard. Hugh’s always been interested in hands, and the man has enormous hands.”

Her eyes unfocused suddenly. I guessed she was thinking of the same thing I was: the marks on the side of Hugh’s head, which might have been made by a giant fist.

“Look.” I pointed to the scars on the doorframe. “Could the cast of Devlin’s fist have made these marks?”

She felt the indentations with trembling fingers. “I think so – I don’t know.” She turned to me with a dark question in her eyes.

“If that’s what they are,” I said, “it probably means that he was killed in this studio. You should tell the police about it. And I think it’s time they knew about the Chardin.”

She gave me a look of passive resistance. Then she gave in. “Yes, I’ll have to tell them. They’ll find out soon enough, anyway. But I’m surer now than ever that Hugh didn’t take it.”

“What does the picture look like? If we could find it, we might find the killer attached to it.”

“You think so? Well, it’s a picture of a little boy looking at an apple. Wait a minute: Hilary has a copy. It was painted by one of the students at the college, and it isn’t very expert. It’ll give you an idea, though, if you want to go down to his shop and look at it.”

“The shop is closed.”

“He may be there anyway. He has a little apartment at the back.”

I started for the hall, but turned before I got there. “Just who is Hilary Todd?”

“I don’t know where he’s from originally. He was stationed here during the war, and simply stayed on. His parents had money at one time, and he studied painting and ballet in Paris, or so he claims.”

“Art seems to be the main industry in San Marcos.”

“You’ve just been meeting the wrong people.”

I went down the outside stairs to the parking lot, wondering what that implied about her brother. Todd’s convertible stood near the mouth of the alley. I knocked on the back door of the art shop. There was no answer, but behind the Venetian-blinded door I heard a murmur of voices, a growling and a twittering. Todd had a woman with him. I knocked again.

After more delay the door was partly opened. Todd looked out through the crack. He was wiping his mouth with a red-stained handkerchief. The stains were too bright to be blood. Above the handkerchief his eyes were very bright and narrow, like slivers of polished agate.

“Good afternoon.”

I moved forward as though I fully expected to be let in. He opened the door reluctantly under the nudging pressure of my shoulder, and backed into a narrow passage between two wall-board partitions.

“What can I do for you, Mr.–? I don’t believe I know your name.”

Before I could answer, a woman’s voice said clearly, “It’s Mr. Archer, isn’t it?”

Sarah Turner appeared in the doorway behind him, carrying a highball glass and looking freshly groomed. Her red hair was unruffled, her red mouth gleaming as if she had just finished painting it.

“Good afternoon, Mrs. Turner.”

“Good afternoon, Mr. Archer.” She leaned in the doorway, almost too much at ease. “Do you know Hilary, Mr. Archer? You should. Everybody should. Hilary’s simply loaded and dripping with charm, aren’t you, dear?” Her mouth curled in a thin smile.

Todd looked at her with hatred, then turned to me without changing his look. “Did you wish to speak to me?”

“I did. You have a copy of Admiral Turner’s Chardin.”

“A copy, yes.”

“Can I have a look at it?”

“What on earth for?”

“I want to be able to identify the original. It’s probably connected with the murder.”

I watched them both as I said the word. Neither showed surprise.

“We heard about it on the radio,” the woman said. “It must have been dreadful for you.”

“Dreadful,” Todd echoed her, injecting synthetic sympathy into his dark eyes.

“Worse for Western,” I said, “and for whoever did it. Do you still think he stole the picture, Mrs. Turner?”

Todd glanced at her sharply. She was embarrassed, as I’d intended her to be. She dunked her embarrassment in her highball glass, swallowing deeply from it and leaving a red half-moon on its rim.

“I never thought he stole it,” her wet mouth lied. “I merely suggested the possibility.”

“I see. Didn’t you say something about Western trying to buy the picture from your husband? That he was acting as agent for somebody else?”

“I wasn’t the one who said that. I didn’t know it.”

“The Admiral said it then. It would be interesting to know who the other man was. He wanted the Chardin, and it looks to me as if Hugh Western died because somebody wanted the Chardin.”

Todd had been listening hard and saying nothing. “I don’t see any necessary connection,” he said now. “But if you’ll come in and sit down I’ll show you my copy.”

“You wouldn’t know who it was that Western was acting for?”

He spread his palms outward in a Continental gesture. “How would I know?”

“You’re in the picture business.”

“I was in the picture business.” He turned abruptly and left the room.

Sarah Turner had crossed to a portable bar in the corner. She was splintering ice with a silver-handled ice pick. “May I make you one, Mr. Archer?”

“No, thanks.” I sat down in a cubistic chair designed for people with square corners, and watched her take half of her new highball in a single gulp. “What did Todd mean when he said he was in the picture business? Doesn’t he run this place?”

“He’s having to give it up. The boutique’s gone broke, and he’s going around testing shoulders to weep on.”

“Yours?” A queer kind of hostile intimacy had risen between us, and I tried to make the most of it.

“Where did you get that notion?”

“I thought he was a friend of yours.”

“Did you?” Her laugh was too loud to be pleasant. “You ask a great many questions, Mr. Archer.”

“They seem to be indicated. The cops in a town like this are pretty backward about stepping on people’s toes.”

“You’re not.”

“No. I’m just passing through. I can follow my hunches.”

“What do you hope to gain?”

“Nothing for myself. I’d like to see justice done.”

She sat down facing me, her knees almost touching mine. They were pretty knees, and uncovered. I felt crowded. Her voice, full of facile emotion, crowded me more:

“Were you terribly fond of Hugh?”

“I liked him.” My answer was automatic. I was thinking of something else: the way she sat in her chair with her knees together, her body sloping backward, sure of its firm lines. I’d seen the same pose in charcoal that morning.

“I liked him, too,” she was saying. “Very much. And I’ve been thinking – I’ve remembered something. Something that Hilary mentioned a couple of weeks ago, about Walter Hendryx wanting to buy the Chardin. It seems Hugh and Walter Hendryx were talking in the shop–”

She broke off suddenly. She had looked up and seen Todd leaning though the doorway, his face alive with anger. His shoulders moved slightly in her direction. She recoiled, clutching her glass. If I hadn’t been there, I guessed he would have hit her. As it was, he said in a monotone: