I pushed open the hinged metal doors and heard their clang echo down the halls and into the lobby below. I took a step toward the “suite” I shared with Sheldon Minck, D.D.S., S.D. (The S.D. was Shelly’s invention. It meant either “Special Dentist” or “Superb Dentures” or whatever he thought up that week.)
Someone laughed behind a door on the floor above. I recognized the laughter—it had come from Alice Pallis, wife of Jeremy Butler, mother of Natasha Butler. When Alice laughed it did more than echo. When Alice cried, it did more than moan. Alice was massive, almost as big as Jeremy. She had once had an office in the Farraday in which she published pornography. Jeremy had made her see the light and together they produced a baby and little books of poetry. They lived in the Farraday. They were the only ones who did, or wanted to.
I took out my key and went into the reception room of the office. I hit the light switch and didn’t bother to look around. The reception room was about the size of the inside of a Frigidaire. It smelled like an ashtray and was strewn with magazines, on the floor, the little table, and both of the mismatched waiting chairs. I picked up a three-month-old Life magazine and opened the inner door.
Shelly’s office offered a richer panorama of smells: a combination of wintergreen, cloves, cigars, stale food, and days-old coffee. It smelled like that for a good reason. I found the light switch on the wall, hit it, and discovered Dr. Sheldon Minck himself, asleep in his dental chair and fully dressed in gray trousers, a plaid jacket, a white shirt, and a tie that looked like the tongue of a giraffe I liked to feed in the Griffith Park Zoo. Shelly’s pudgy hands were clasped in front of him on his stomach, rising and falling with each overweight exhalation of air. A little pointed cardboard party hat was perched on his bald head. The rubber band intended to keep it there had crept up to his nose in an attempt to meet the thick glasses, which were creeping downward. Clamped in the right corner of his mouth was an unlit and particularly rancid-looking cigar.
I found myself wishing Dali were there to see the sight. I considered turning and getting the hell out of there before I had to deal with whatever had brought Shelly here on New Year’s Day. Instead of leaving, I tiptoed to the broom closet I used for an office, opened the door—taking about a month to do it so it wouldn’t wake Shelly—and went in. It was almost dark outside now but I didn’t turn on the light. I went behind my desk, opened the window behind it that looked down on an alley, and sat down, placing the Life magazine and the letter to Dali in front of me in an area of the desk relatively free of bills and old newspapers.
I looked around the room in the orange twilight and saw what I always see, two chairs squeezed in on the other side of the desk, and a wall with my Private Investigator’s license and a photograph—a photograph of me, my brother Phil, my father, and our dog, Kaiser Wilhelm. I was ten in that picture. Phil was fifteen. My mother was dead. My father soon would be. No one knows what happened to Kaiser Wilhelm. He just had enough one day and wandered off, some say in the direction of Alaska.
I wasn’t sure of the time. My old man’s watch didn’t help. It promised me it was two-thirty and that for sure was a lie, but I forgave it. I could have turned on the little white Arvin on my desk, a birthday gift a month ago from Gunther Wherthman. It was almost time for the Rex Stout show, but I didn’t want to wake Shelly beyond the door. I should have been thinking about Dali’s stolen paintings. I tried, but I found myself wondering what Gwen and Gunther looked like in mad embrace. I got no picture so I picked up the Life and squinted at it, holding it up so the last of the sun would hit the pages. I learned a lot about Admiral Leahy, a little about aerial navigation, and too much about why the Yankees won the American League championship. Then the sun was gone and I had to turn the light on.
I got up, moved slowly to the switch near the door, and watched the overhead 100-watt Mazda in a round white-glass globe go into action. I’d lost about an hour. I scratched the fingers of my left hand with the fingers of my right and went back to the desk.
Look for the second PLACE in Los Angeles to find the first painting. You have till midnight on New Year’s Day.
I pulled out my spiral pocket notebook and opened it to the page where I’d written the names of Dali’s suspects. Maybe I should start with Picasso? I needed Dash. He could distract me. Maybe I should sail paper airplanes out the window?
I was considering these options when the door to my office opened and Shelly walked in, a rolled-up dental journal in his hand. I could tell it was a dental journal by the smiling incisor on the curved cover.
“I thought you were a burglar,” he said, lowering the weapon.
“And you were going to beat the hell out of him with the Dental Times?”
“Dental Hygiene,” he corrected.
He still wore the little hat but the rubber band was back under one of his chins where it belonged. The cigar was in his hand and his glasses were pushed back on his nose. He plopped heavily into one of the chairs in front of the desk.
“Phones keep going out,” he said. “Tried to call Mildred a few minutes ago.”
“That’s nice, Shel,” I said.
“To be expected,” said Shel. “Got a patient—Leon, you know? Big guy with lots of ear hair.”
“I’m working, Shel,” I said.
“Leon says more than forty-three thousand Bell employees are in the armed services. He says there are copper shortages. Lucky to have phones at all, Leon says. You want to hear what happened to me?”
“No,” I said.
“Someone made a pass at Mildred again. You know who?”
“Sydney Greenstreet.”
“No, no. Murray Taibo’s brother, Simon, the accountant,” Shelly said, shaking his head in exasperation. “You know Mildred is irresistible.”
I said nothing. Mildred is a rake with a prune attached where a head should be. Mildred had, about a year ago, kicked Shelly out and run off with a Peter Lorre imitator. When the guy had been killed, Mildred went back to Shelly.
“I know,” I said.
“We had words, you know?”
“I can guess.”
“I was a little drunk,” said Shelly, looking at the palm of his left hand as if it had the answer to a question he was about to ask. “I said things. I was crazed, Toby, crazed. There is just so much a man can take, even if he is a board-certified dentist.”
What is there to say in the face of such wisdom?
“Anyway,” he said, “I think I told Mildred I was not coming home. So, here I am.”
“Here you are,” I agreed.
We sat in silence for about a minute and then he remarked, “It was a nice party.”
“I’m sure. Who would expect less from Murray Taibo?”
“Right.”
“I’ve got work to do, Shel,” I said, looking down at the thief’s note. “And time’s running out.”
“You want something to eat? I brought stuff from the party.”
“Let’s take a look.”
He went out, leaving the door open, and returned in a few seconds with a grease-stained brown paper bag which he placed on the desk in front of me. I opened it and fished out a quartet of hors d’oeuvres on little slices of stale white bread shaped like hearts, clubs, diamonds, and spades. The stuff on them was creamy, orange, and sad. There was also a slice of chocolate cake. I ate a busted flush and the cake while Shelly, having paid for the time with leftovers, went on about the beauty of Mildred and the pangs of jealousy.
“You want to help?” I interrupted. “Take your mind off your troubles?”
“Why not?” He shrugged.
“Take off the hat,” I said.
He took off the hat and put it on the corner of my desk. I gave him a shorthand version of the little I knew about the Dali theft.
“Now look at this,” I said, handing him the note.
He held his glasses to keep them from falling and squinted at the note. The writing was large and clear. He handed the sheet back to me.
�
��Well?” I said.
“You’ve only got three hours,” Shelly answered, looking at his watch. “I’ve been gone almost two nights. I think I’ll go home.” He got up and headed for the door.
“Thanks, Shel,” I said, dropping crumbs into the now empty brown bag.
“Dali’s the painter who does the crazy stuff, right?” asked Shelly, turning toward me with an idea.
I nodded.
“You think you could talk him into painting a big tooth for me? You know, a tooth with a smile?”
“No, Shelly.”
“How do you know? You haven’t asked him.”
“I know.”
Shelly, unconvinced, retrieved his hat and went out, leaving the door open behind him. I looked at the note a few thousand times more and wondered what the second place in Los Angeles was. I wasn’t even sure what the first place was—the Brown Derby, Paramount, M.G.M.? I knew it wasn’t Columbia or Warners. Sunset or Hollywood Boulevard? The Beverly Hills Hotel? A little after ten and hungry again, I stuffed the note in my pocket, closed the window, turned out the light, and left the suites of Minck and Peters.
I was on the way down the stairs when I heard something move in the sixth-floor shadows. I stopped and waited a beat. Jeremy Butler stepped out.
“This is not a day of work,” he said. He was wearing dark trousers and a black turtleneck shirt. He had put on a few pounds in the ten years since he had stopped wrestling, but the arms and shoulders were still solid as a telephone pole.
“I’ve got a deadline,” I said.
“If we do not accept the events that mark the mythical passage of the year, if we do not honor the rituals and landmarks of time, great and small, seasonal and personal, we demean existence and its meaning. We demean ourselves.”
I didn’t know what the hell he was talking about, but shook my head and smiled as if I did.
“What are you working on?”
I told him quickly and he listened quietly.
“Salvador Dali is a tormented man,” he said when I finished. “When one lives the lie of madness long enough, one inevitably becomes mad and it is no longer a lie. One is trapped within the illusion that he can remove the mask, but he dare not try for fear that he will be unable to do it. The tragedy of Salvador Dali is that he thinks he is a clown claiming to be a genius when in fact he is a genius who truly believes himself to be only a clown.”
“How did you figure all this out, Jeremy?”
“From his paintings, his autobiography. It was published last year, a sad attempt to shock.”
“What do you make of this?” I said, handing him the note.
He held it up to the light from the yellow bulb on the sixth-floor landing and read, then he returned the note to me.
“The word PLACE is capitalized,” he said.
“I noticed.”
“It may be a proper name,” he said.
“The second Place?”
“The second person named Place in Los Angeles,” he said.
“What second person named Place?”
“Perhaps,” he said, “the second person named Place in the Los Angeles telephone directory.”
4
Jeremy went back to his family and I went for the phone book in my office, hoping the right pages hadn’t been torn out by Dash during one of his visits. The page was there. The first Place listed was Aaron. He was followed by Adam Place, who lived on Nicholas in Culver City. It was a little after eleven. I considered calling but what would I say? “Have you got a stolen Dali painting?”
About twenty minutes later I was pulling into a parking spot on Nicholas across from Lindberg Park. There was no one on the street when I crawled out of the passenger seat of my Crosley and looked around for the address. It wasn’t hard to find, a rectangular one-story pink adobe house across the street in the middle of a block. There was a white sign in front of the house announcing ADAM PLACE, TAXIDERMY.
From what I could see, Adam was asleep or out. No hint of light seeped through or around the closed vertical blinds covering every window. I went up the little walkway, stopped, and listened. I couldn’t hear anything. There was a white button next to the door. I pushed it, but didn’t hear any gong, buzz, bell, or clang. I tried again. Nothing. I knocked. The knock echoed down the block and into the rustling trees across the street in Lindberg Park. I knocked again.
Then I tried the door. Locked. It must have been near twelve and I had to make up my mind. Knocking was getting me nowhere. I could get back in my Crosley, watch the place and wait for a light or a human or the morning. That would definitely put me past the midnight deadline the thief had given. I stepped off the path and moved around to the side of the house. No point in trying a front window and risk being seen. The houses on either side of the adobe were barricaded by bushes. I went to the left and looked for a window and shadows to hide in. I found both. The first window was locked but the second one was open. I shoved it, pushed the blinds out of the way, and climbed in. When I got inside, I turned and closed the window behind me.
Darkness and the overwhelming smell of something dry and old. I followed the wall to the right, hand over hand, feeling for a light switch or a lamp. Adam Place, if he had a gun and was somewhere in here, had a perfect right to blow my head off. I thought about that as I moved along, figuring I’d eventually hit the front door and find some kind of light. It didn’t take that long. I bumped into furniture, tripped over a table, felt something brush my face and fall behind me, and then I felt it. Definitely a lamp. I turned it on and found myself looking into the angry face and sharp teeth of an animal about the size of my Crosley. I stepped backward, fell over a table full of stuffed birds, and landed on the floor in a flurry of dead wings. The animal with the angry face and sharp teeth was a puma. I’d seen one in the Griffith Park Zoo. This one was stuffed and dead.
If Adam Place was here, I was a noisy dead man, but no one came running or calling. I sat up, brushed away owls, gulls, doves, and a small eagle, and looked around the room. The lamp cast a washed-out yellowish circle of light over a room cluttered with stuffed animals looking directly at me. There were dozens of them, covering almost every spot of table, mantle, shelf, and even floor. And on the walls were paintings of animals. The wall was covered with paintings of elephants, bears, lions, the big ones looking just as stuffed as the ones below them. I got up and looked around, being careful where I stepped.
Through doves, squirrels, raccoons, rabbits, and even a pair of armadillos, I tiptoed my way across the room to the next room. There was a light switch in there, just inside the doorway. I hit it and looked around what must once have been a dining room. Now it was just an extension off the living room. More paintings on the wall. Stuffed animals, some as small as mice, covered the chairs and filled a huge china cabinet whose doors were open. The big wooden table with claw feet was crowded with animals in various states of stuffing. A possum, its belly open and half filled with sawdust, lay on its back surrounded by sharp metal instruments.
I wanted to whistle “Violets for Your Furs” and go for the door, but I backed out of the room and went on. The house was small. There couldn’t have been much left. Somewhere in the darkness I could hear the serious ticking of a clock. I went through a kitchen, which had not yet been completely overtaken by dead animals but was well on the way, and found a bathroom. I hit the light and saw a sink, tub, wicker clothes hamper, and one stuffed animal, a small alligator, perched on the toilet bowl.
I moved back into the hall and found the first bedroom, or what should have been the bedroom but was the reptile room. Tables of snakes, lizards, and things I didn’t want to look at too closely. One wall was free of paintings. It was filled by a floor-to-ceiling bookcase. All the books were, I was sure, about animals and how to do them in or do them up.
I figured it for a two-bedroom house and I was right. I found the switch in the second one and saw a stuffed grizzly bear in the middle of the room, guarding a big bed on which a man lay in roughly
the same position as the possum in the dining room. There was a black, bloody hole in his forehead and a surprised look on his face. At the foot of the bed on a little table sat a big clock, Gala Dali’s clock, ticking, its face toward the dead man, now beyond time. The bed, neatly made, was covered in blood.
Over the bed on the wall was a painting. Dali was right. It was unmistakably his. It wasn’t very big and nothing like the other paintings in the house, except that the biggest figure was clearly an animal, a big white bird with a long neck and the head of a man wearing a derby hat. The bird was full of holes you could see through to a ridge of rocks behind it in sand. The Swiss cheese bird didn’t seem to be uncomfortable.
The bird wasn’t easy to make out because someone had used white paint to splash across the picture the words:
Señor, 13th Street at midnight tomorrow in the Town of the Spectator.
I checked the time on Gala’s clock. It was ten after midnight. Tomorrow had already started. I moved to the bed and pushed the dead guy over just enough to reach into his pocket and pull out his wallet with the not-too-clean handkerchief I had in my pocket. I didn’t get much blood on the handkerchief.
The dead guy was Adam Place, or someone carrying Place’s wallet. There were two tens and a single in the wallet, plus some pictures of the dead guy in an army uniform—World War I, not the current one. I dropped the wallet and moved to the phone near the clock. I got a cop on duty at the Wilshire Station and with my best Polish-Hungarian-Czech accent said, “Is man dead here.”
Melting Clock Page 4
