McNally's risk

6

I had several extremely important tasks scheduled for Tuesday morning: get a haircut, visit my friendly periodontist for my quarterly scraping, and drop by my favorite men's boutique on Worth Avenue to see if they had anything new in the way of headgear. I am a hat freak, and that morning I was delighted to find and purchase a woven straw trilby. Cocked over one eye it gave me a dashing appearance-something like a Palermo pimp.

I eventually found my way back to the McNally Building, slowed by the lassitude that affects all citizens of South Florida in midsummer. Denizens of the north are fond of remarking, "It's not the heat, it's the humidity." In our semi-tropical paradise we prefer, "It's the heat and the humidity."

So I welcomed the return to my itsy-bitsy office where the air-conditioning was going full blast and the ambient temperature approximated that of Queen Maud Land in Antarctica.

Since the affair of the Chinless Wonder vs. Ms. Shirley Feebling was on temporary hold, I was free to concentrate on the investigation into the background and financial probity of Theodosia Johnson and her father. I spent a half-hour phoning my contacts at local banks, following up on my initial inquiries.

I had hoped that what I would learn might solve the riddle of those anorexic dossiers I had received from national credit agencies. But what I heard only deepened the mystery. Apparently a year ago Hector Johnson had opened a checking account at a Royal Palm Way bank with a cashier's check drawn on a bank in Troy, Mich. The identification offered had been a Michigan driver's license. He had submitted the names of two Fort Lauderdale residents as references. He had made no additional deposits, and his current balance was slightly less than $50,000.

I thought about that for a while and realized that if the Johnsons were hardly nudging poverty they soon might be if their level of spending continued and no additional funds became available. Perhaps that was the reason for Hector's business meeting with the cold-faced gent who had accosted Shirley Feebling in the pizza joint.

Another puzzle was why, with limited resources, the Johnsons had commissioned Silas Hawkin to do a portrait of Theo. Si had told me he had not yet billed for the painting, but according to Lolly Spindrift the artist charged thirty grand and up for portraits. Quite a hefty bite, wouldn't you say, from a bank balance of less than fifty?

Sighing, I donned my jacket and my new lid and ventured out again into the sauna enveloping the Palm Beach area. Walking slowly and trying to keep in the shade, I made my way to the Pristine Gallery on Worth Avenue. The portrait of Theodosia Johnson was prominently displayed in the front window with a card chastely lettered: The Last Painting by Silas Hawkin. Rather a macabre touch, wouldn't you say?

The gallery appeared empty when I entered, but a bell jangled merrily as the door opened, and Ivan Duvalnik, the corpulent owner, appeared from an inner room. I had met him when I purchased a charming watercolor of begonias in bloom as a Christmas present for my mother. Momsy had been delighted with the gift, and the painting now hung over the mantel in our second-floor sitting room.

"Mr. McNally," he said, holding out a plump hand. "A pleasure to see you again, sir."

"It's good to see you, Mr. Duvalnik," I said, briefly pressing his damp flipper. "I'm dreadfully sorry about Si Hawkin."

"He was my shining star," Ivan said dramatically. "I shall not see his like again."

"I notice you're still showing the portrait of Theo Johnson."

His mouth twitched. "An irritation," he said. "The painting has not yet been paid for. As a matter of fact, Si asked me to hold off billing for it. So now the painting is part of his estate, and I suppose I shall have to represent his widow. It's a valuable work."

"That I can believe," I said. "I'm surprised the Johnsons haven't claimed it."

He was mildly astonished. "The Johnsons?" he said. "But it isn't their legal property. The portrait was commissioned by Chauncey Smythe-Hersforth. I thought everyone knew that. He certainly made no secret of it. He intended it to be his engagement gift to Theo."

"Of course," I said. "And speaking of gifts, I was hoping to ask Hawkin to do a small portrait of my mother as a birthday present for her. Although I doubt if I could have afforded him."

"He was pricey," Duvalnik admitted. "I wanted to charge a minimum of thirty thousand for the Johnson portrait but, as I say, I could never get a firm number from Si. I think perhaps he hated to see that painting go. It was his best work and he knew it. A few fine artists are like that; they do something special and they want to hang on to it. But I represent a number of other gifted portraitists if you're really interested in a present for your mother. First let me get you something to wet your whistle."

He brought me a glass of white wine. No Chilean chardonnay this time. It was dreadful plonk, but I smacked my lips gamely and told him how splendid it was. He showed me Polaroids and color slides of the works of several other artists, none of whom had Hawkin's talent. Prices ranged from twenty-five hundred to ten thousand.

"Let me think about it," I said. "If it's to be a surprise birthday gift I can hardly ask mother to sit for a portrait. I presume some of these people can do a painting from photographs."

"Naturally," he said. "No problem at all. Si Hawkin refused to work that way; he insisted on several sittings. He was a real pro."

"Was he working on anything new at the time of his death?" I asked casually.

"Not to my knowledge," the gallery owner said sadly. "Like the card in the window says, that portrait of Theo Johnson was Hawkin's final work."

"What a shame," I said. "Thank you for your help, Mr. Duvalnik. You'll be hearing from me."

And I tramped back to the McNally Building through parboiled streets, having picked up a few more tidbits of information that might prove valuable or might turn out to be the drossiest of dross. My investigations usually depend on the amassing of minor facts rather than major leaps of inspiration. When it comes to tortoise versus hare, I'm no cottontail.

It took a few minutes in my gloriously chilled office for my temperature, pulse, and respiratory rate to regain some semblance of normality. Then I phoned Lolly Spindrift at his newspaper, hoping to add a few truffles to my collection of bonbons.

"Hi, darling," Spindrift said in his high-pitched lilt. "Have you called to invite me to another lunch of champagne and caviar?"

"You mock," I said. "I haven't yet recovered from the last one."

"Wasn't that a kick?" he said. "We were talking about Silas Hawkin, and the next day the man is defunct. Let that be a lesson to you. Gather ye rosebuds while ye may, laddie."

"I fully intend to," I said. "Lol, I need some information."

"So do I," he replied. "Every day, constantly. My lifestyle depends on it. You've heard of quid pro quo, haven't you, darling? English translation: You scratch my back and I'll scratch yours. Not literally, of course, since we're of different religions. But if you've got nothing for me, I've got nothing for you."

"I have a little nosh that may interest you," I said. "You will, of course, refuse to reveal your source?"

"Don't I always?" he demanded. "Jail before dishonor. What have you got?"

"Si Hawkin had sex just before he was killed."

I heard Lol's swift intake of breath.

"Beautiful," he said. "That I can use. Can I depend on it?"

"Would I deceive you?" I asked. "With your authenticated file on the peccadilloes of Archy McNally?"

"Okay," he said, "I'll run with it. Now what do you want?"

"Have you heard any rumors that Silas Hawkin may have had, ah, intimate relations with any of the women whose portraits he painted?"

His laughter exploded. "Any of the women?" he said, gasping. "You mean all of the women! Darling, the man was a stallion, a veritable stallion."

"Odd you should say that. I recently heard him described as a goat."

"More of a ram," Spindrift said. "Absotively, posilutely insatiable."

"Thank you, Lol," I said. "Keep fighting for the public's right to know."

"And up yours as well, dearie," he said before he hung up.

And that, I decided, was enough detecting for one morning. I reclaimed my horseless carriage in our underground garage and drove directly to the Pelican Club to replenish my energy. I might even have something to eat.

And so I did. I sat at the bar, ordered a Coors Light from Mr. Pettibone, and asked daughter Priscilla to bring me a double cheeseburger with home fries and a side order of coleslaw. She spread this harvest before me and shook her head wonderingly.

"On a diet, Archy?" she inquired.

"None of your sass," I said. "I have been engaged in debilitating physical labor and require nourishment."

She shrugged. "They're your arteries," she said.

As I made my way through all that yummy cholesterol I pondered the murder of Silas Hawkin and wondered if one of his clients with whom he had been cozy had slid that palette knife into his gullet. I could imagine several motives: jealousy, revenge, fury at being jilted for another woman.

If it was my case, and it wasn't, I would concentrate on the missing painting. Find "Untitled," I thought, and you'd probably find the killer. I had enough faith in Sgt. Al Rogoff's expertise to reckon he was on the same track.

But why would the murderer risk making off with the painting? It couldn't be sold, at least not locally, and if it was unfinished, as it apparently was, it would be of little value anywhere. The only logical conclusion was that the importance of "Untitled" lay in its subject matter. The killer didn't want it to be seen by anyone.

But if that was true, why wasn't the painting destroyed on the spot? After slaying the artist it would have taken the assassin only a few minutes to slash "Untitled" to ribbons, or even douse it with one of the inflammables in the studio and set it afire. But instead, "Untitled" was carried away.

Which led me to reflect on the size of the painting. The portrait of Theo Johnson, I estimated, was approximately 3? ft. tall by 2? wide. If "Untitled" had the same dimensions it was hardly something one could tuck under one's arm and then saunter away, particularly if the painting was still wet. A puzzlement.

I knew that art supply stores carried blank canvases already framed. But I also knew that most fine artists preferred to stretch their own canvas, buying the quality desired in bolts and cutting off the piece required for a planned endeavor. It would then be tacked to a wooden frame.

Still, it might be worthwhile to check the store where Silas bought his supplies. It was just barely possible he had recently purchased a stretched canvas that was to become "Untitled." And so, after I had consumed that cornucopia of calories in toto, I inserted myself behind the wheel of the Miata with some difficulty and set out for the Hawkin residence.

As I said, it was not my case, but it was of interest to me because of the peripheral involvement of Theo and Hector Johnson.

Also, I had nothing better to do on that sultry afternoon.

It had been my intention to ask the housekeeper for the information I sought, but when I rang the chimes at the main house the door was opened by Mrs. Louise Hawkin.

"Oh," I said, somewhat startled. "Good afternoon, Mrs. Hawkin. May I speak to Mrs. Folsby for a moment?"

"She is no longer with us," she said in a tone that didn't invite further inquiries.

But I persisted. "Sorry to hear it," I said. "Could you tell me where I might be able to contact her?"

"No," she said shortly. Then: "What did you want to talk to her about?"

"I just wanted to ask if your late husband used prepared canvases or if he stretched his own."

She stared at me. "Why on earth would you want to know that?"

I have a small talent for improv. "A young friend of mine is a wannabe artist," I told her. "He is a great admirer of Mr. Hawkin's technique and requested I ask."

She bought it. "My husband stretched his own canvas," she said. "A very good grade of linen. Good day, Mr. McNally."

And she shut the door. What I should have said was, "No more interest in a divorce lawyer, Mrs. Hawkin?" But I knew the answer to that.

I glanced toward the studio building. It seemed to be unguarded, and the crime scene tape drooped in the heat. I wandered over and tried the scarred oak and etched glass door, but it was locked. I turned away, then heard a "Psst!" that whirled me back. Marcia Hawkin was standing in the opened doorway, beckoning to me.

She drew me inside, then locked the door after us.

"What did she tell you?" she said fiercely.

Bewilderment time. "Who?" I asked.

"Her," she said, jerking a thumb in the direction of the main house. "Did she say anything about me?"

"Not a word," I assured her. "We had a very brief conversation about your father's work."

She clutched my arm and pulled me into the sitting area on the ground level. She leaned close and almost whispered. "She's a dreadful woman. Dreadful! Don't believe anything she says. Do you want a drink?"

"I think I better," I said, and she went into the kitchenette. I watched with horror as she poured me a tumbler of warm vodka.

"Miss Hawkin," I said, "if I drink that I'll be non compos mentis. Please let me do it."

I moved to the sink and mixed myself a mild vodka and water with plenty of ice. Meanwhile Marcia had thrown herself on the couch and lay sprawled, biting furiously at a fingernail. An Ophelia, I decided.

It would be difficult to describe her costume in detail without sounding indecent. I shall merely say that she wore an oversized white singlet, soiled and possibly belonging to her dead father, and denim shorts chopped off so radically that they hardly constituted a loincloth. But her lanky semi-nakedness made her seem more helpless than seductive. She was long and loose-jointed; a puppeteer had cut her strings.

"My stepmother is a bitch," she declared. "You know what that means, don't you?"

"I've heard the word," I acknowledged.

"What am I going to do?" she cried despairingly. "What am I going to do?"

Never let it be said that A. McNally failed to respond to a damsel in distress. But when the damsel in question appears to be a certifiable loony-well, it does give one pause, does it not?

"What seems to be the problem, Miss Hawkin?" I asked, speaking as slowly and softly as possible.

My soothing manner had the desired effect. She suddenly began talking rationally and with some good sense.

"Money," she said. "Isn't that always the problem?"

"Not always," I said, "but frequently. Surely your father left you well-provided for."

"I have a trust fund," she admitted, "but I can't touch it until I turn twenty-one."

That was a shocker. I had guessed her to be in the mid-twenties. "How old are you, Miss Hawkin?" I asked gently.

"Nineteen," she said. "I look older, don't I?"

"Not at all," I said gallantly.

"I know I do," she said defiantly. "But you don't know what my life has been like. When daddy was alive, money made no difference. He was very generous. Anything I wanted. But now I'm totally dependent on her. My food, the house, spending money-everything. It just kills me."

"Surely you have relatives or friends who'd be willing to help out."

She shook her head. "No one. I'm on my own, and I'm frightened, I admit it."

"Don't be frightened," I counseled her, "because then you won't be able to think clearly. You must keep your nerve and review your options calmly and logically as if you were called upon to advise someone else."

She looked at me queerly. "Yes," she said, "you're right. If I have the courage to act I can solve my own problems, can't I?"

"Of course. Courage and energy: That's what it takes."

She laughed. I didn't like that laugh. It came perilously close to being a hysterical giggle.

"Thank you, Archy," she said. "I may call you Archy, mayn't I?"

"I'd be delighted."

"And you must call me Squirrel," she said. "That's what daddy always called me."

"What an unusual nickname," I said, smiling.

"You think so?" she challenged, and abruptly she was back in her manic mood again. "I see nothing unusual about it. You just don't understand. No one can ever understand. I think you better go now."

My first impression had been correct: definitely an Ophelia.

I finished my drink hastily, bid her a polite farewell, and left her still sprawled, starting on another fingernail. I was thankful to be going. Those moments with her were too intense, too charged with things unsaid, furies suppressed and threatening to break loose.

I drove away without a backward glance. The master of that home might be deceased but it was still the Villa Bile.

When I arrived at the McNally digs, a much happier household, I found Jamie Olson in the garage hosing down my mother's antique wood-bodied Ford station wagon. He was smoking one of his ancient briars, the one with the cracked shank wrapped with a Band-Aid.

"Jamie," I said, "Mrs. Jane Folsby was the live-in at Silas Hawkin's residence, but she has suddenly left their employ. Do you think you can find out where she's gone?"

"Mebbe," he said.

"Try," I urged. "She's a nice lady, and I'd like to talk to her."

I had a pleasant ocean swim, the family cocktail hour that followed was just as enjoyable, and dinner that night capped my pleasure. Mother went upstairs for an evening of television in the sitting room, father retired to his study to continue his wrestle with Dickens, and I climbed to my suite to update my journal, sip a small marc, and listen to a tape of Hoagy Carmichael singing "Star Dust."

It was a normal evening at the McNally manse, all quiet, peaceful, content. But just when you start believing the drawbridge is up, the castle is inviolate, and the rude world can't possibly intrude, along comes leering fate to deliver a swift kick to your gluteus maximus.

On that particular evening the boot came at approximately 9:30 p.m. in the form of a phone call from Sgt. Al Rogoff. He spent no time on greetings.

"I'm beginning to wonder about you," he said.

"Are you?" I said, thinking he was joshing. "Wonder about what?"

"Do you know a guy named Chauncey Smythe-Hersforth? Lives in Palm Beach."

"Of course I know him," I said. "He and his mother are clients of McNally and Son."

"Uh-huh. And do you know a woman named Shirley Feebling? In Fort Lauderdale."

"I don't know her," I said warily, beginning to get antsy about this conversation. "I met her once for an hour. Why the third degree, Al?"

"Son," he said, "you're just too free with your business cards. About an hour ago I got a call from a dick I know who works out of Lauderdale Homicide. This afternoon they found Shirley Feebling in her condo shot through the back of her head. Much dead. They also found your business card and a batch of hot letters from this Smythe-Hersforth character."

I closed my eyes. Her T-shirt had been lettered PEACE. What a way to find it.

"Your father still awake?" Rogoff asked.

"Of course he's still awake. It's only nine-thirty."

"I think I better come over," he said. "Okay?"

"Don't tell me I'm a suspect," I said with a shaky laugh.

"Right now you and Smythe-Hersforth are the only leads that Lauderdale's got. I promised to check you out, both of you. Makes sense, doesn't it?"

"I guess," I said, sighing. "The second time my business card has landed me in the soup. You're correct, Al; I've got to stop handing them out. Sure, come on over."

"Be there in fifteen minutes," he said and hung up.

I sat there a few moments remembering that ingenuous and not too bright young woman with her firm belief in True Love and a sunny future. It didn't take long for sadness and regret to become anger and a seething desire for vengeance. The murder of Shirley Feebling affected me more keenly than the killing of Silas Hawkin. I could conceive that his actions might have led to his demise. But hers, I was convinced, was the death of an innocent.

I prepared to go downstairs and alert father to the arrival of Sgt. Rogoff. I glanced nervously at the darkness outside my window. Our snug home no longer seemed secure.