Ross MACDONALD - The Archer Files

“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 wallboard 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 shop–”

She broke off suddenly. She had looked up and seen Todd leaning through 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:

“How cozy. Haven’t you had quite a bit to drink, Sarah darling?”

She was afraid of him, but unwilling to admit it. “I have to do something to make present company bearable.”

“You should be thoroughly anesthetized by now.”

“If you say so, darling.”

She hurled her half-empty glass at the wall beside the door. It shattered, denting the wallboard and splashing a photograph of Nijinsky as the Faun. Some of the liquid splattered on Todd’s blue suede shoes.

“Very nice,” he said. “I love your girlish antics, Sarah. I also love the way you run at the mouth.” He turned to me: “This is the copy, Mr. Archer. Don’t mind her, she’s just a weensy bit drunky.”

He held it up for me to see, an oil painting about a yard square showing a small boy in a blue waistcoat sitting at a table. In the center of the linen tablecloth there was a blue dish containing a red apple. The boy was looking at the apple as if he intended to eat it. The copyist had included the signature and date: Chardin, 1744.

“It’s not very satisfactory,” Todd said, “if you’ve ever seen the original. But of course you haven’t?”

“No.”

“That’s too bad. You probably never will now, and it’s really perfect. It’s the finest Chardin west of Chicago.”

“I haven’t given up hope of seeing it.”

“You might as well, old boy. It’ll be well on its way by now, to Europe or South America. Picture thieves move fast, before the news of the theft catches up with them and spoils the market. They’ll sell the Chardin to a private buyer in Paris or Buenos Aires, and that’ll be the end of it.”

“Why ‘they’?”

“Oh, they operate in gangs. One man can’t handle the theft and the disposal of a picture by himself. Division of labor is necessary, and specialization.”

“You sound like a specialist yourself.”

“I am, in a way.” He smiled obliquely. “Not in the way you mean. I was in museum work before the war.”

He stooped and propped the picture against the wall. I glanced at Sarah Turner. She was hunched forward in her chair, still and silent, her hands spread over her face.

“And now,” he said to me, “I suppose you’d better go. I’ve done what I can for you. And I’ll give you a tip if you like. Picture thieves don’t do murder, they’re simply not the type. So I’m afraid your precious hypothesis is based on bad information.”

“Thanks very much,” I said. “I certainly appreciate that. Also your hospitality.”

“Don’t mention it.”

He raised an ironic brow, and turned to the door. I followed him out through the deserted shop. Most of the stock seemed to be in the window. Its atmosphere was sad and broken-down, the atmosphere of an empty-hearted, unprosperous, second-hand Bohemia. Todd didn’t look around like a proprietor. He had already abandoned the place in his mind, it seemed.