Scenarios

nondescript face except for mean little eyes under thick black brows that had no doubt contributed to his career as a B-movie villain. He looked somewhat familiar, but even though I like old movies and watch them whenever I can, I couldn't have named a single film he had appeared in.

He said, 'Yes? What is it?' in a gravelly, staccato voice. That was familiar, too, but again I couldn't place it in any particular context.

I identified myself and asked if I could talk to him about Nick Damiano. 'That cretin,' he said, and for a moment I thought he was going to shut the door in my face. But then he said, 'Oh, all right, come in. If I don't talk to you, you'll probably think I had something to do with the poor fool's murder.'

He turned and moved off into the room, leaving me to shut the door. The room was larger than Dan Cady's and jammed with stage and screen memorabilia: framed photographs, playbills, film posters, blown-up black-and- white stills; and a variety of salvaged props, among them the plumed helmet off a suit of armor and a Napoleonic uniform displayed on a dressmaker's dummy.

Thane stopped near a lumpy-looking couch and did a theatrical about-face. The scowl he wore had a practiced look, and it occurred to me that under it he might be enjoying himself. 'Well?' he said.

I said, 'You didn't like Nick Damiano, did you, Mr. Thane,' making it a statement instead of a question.

'No, I didn't like him. And no, I didn't kill him, if that's your next question.'

'Why didn't you like him?'

'He was a cretin. A gibbering moron. All that nonsense about skeletons-he ought to have been locked up long ago.'

'You have any idea who did kill him?'

'No. The police seem to think it was a drug addict.'

'That's one theory,' I said. 'Iry Feinberg has another: he thinks the killer is a resident of this hotel.'

'I know what Iry Feinberg thinks. He's a damned meddler who doesn't know when to keep his mouth shut.'

'You don't agree with him then?'

'I don't care one way or another.'

Thane sat down and crossed his legs and adopted a sufferer's pose; now he was playing the martyr. I grinned at him, because it was something he wasn't expecting, and went to look at some of the stuff on the walls. One of the black-and-white stills depicted Thane in Western garb, with a smoking six-gun in his hand. The largest of the photographs was of Clark Gable, with an ink inscription that read, 'For my good friend, Wes.'

Behind me Thane said impatiently, 'I'm waiting.'

I let him wait a while longer. Then I moved back near the couch and grinned at him again and said, 'Did you see Nick Damiano the night he was murdered?'

'I did not.'

'Talk to him at all that day?'

'No.'

'When was the last time you had trouble with him?'

'Trouble? What do you mean, trouble?'

'Iry Feinberg told me you hit Nick once, when he tried to brush off your coat.'

'My God,' Thane said, 'that was years ago. And it was only a slap. I had no problems with him after that. He avoided me and I ignored him; we spoke only when necessary.' He paused, and his eyes got bright with something that might have been malice. 'If you're looking for someone who had trouble with Damiano recently, talk to Charley Slattery.'

'What kind of trouble did Slattery have with Nick?'

'Ask him. It's none of my business.'

'Why did you bring it up then?'

He didn't say anything. His eyes were still bright.

'All right, I'll ask Slattery,' I said. 'Tell me, what did you think when you heard about Nick? Were you pleased?'

'Of course not. I was shocked. I've played many violent roles in my career, but violence in real life always shocks me.'

'The shock must have worn off pretty fast. You told me a couple of minutes ago you don't care who killed him.'

'Why should I, as long as no one else is harmed?'

'So why did you kick in the twenty dollars?'

'What?'

'Feinberg's fund to hire me. Why did you contribute?'

'If I hadn't it would have made me look suspicious to the others. I have to live with these people; I don't need that sort of stigma.'

He gave me a smug look. 'And if you repeat that to anyone, I'll deny it.'

'Must be tough on you,' I said.

'I beg your pardon?'

'Having to live in a place like this, with a bunch of broken-down old nobodies who don't have your intelligence or compassion or great professional skill.'

That got to him; he winced, and for a moment the actor's mask slipped and I had a glimpse of the real Wesley Thane-a defeated old man with faded dreams of glory, a never-was with a small and mediocre talent, clinging to the tattered fringes of a business that couldn't care less. Then he got the mask in place again and said with genuine anger, 'Get out of here. I don't have to take abuse from a cheap gumshoe.'

'You're dating yourself, Mr. Thane; nobody uses the word 'gumshoe' any more. It's forties B-movie dialogue.'

He bounced up off the couch, pinch-faced and glaring. 'Get out, I said. Get out!'

I got out. And I was on my way to the elevator when I realized why Thane hadn't liked Nick Damiano. It was because Nick had taken attention away from him-upstaged him. Thane was an actor, but there wasn't any act he could put on more compelling than the real-life performance of Nick and his skeletons.

Monahan's Gym was one of those tough, men-only places that catered to ex-pugs and old timers in the fight game, the kind of place you used to see a lot of in the forties and fifties but that have become an anachronism in this day of chic health clubs, fancy spas, and dwindling interest in the art of prizefighting. It smelled of sweat and steam and old leather, and it resonated with the grunts of weightlifters, the smack and thud of gloves against leather bags, the profane talk of men at liberty from a more or less polite society.

I found Charley Slattery in the locker room, working there as an attendant. He was a short, beefy guy, probably a light-heavyweight in his boxing days, gone to fat around the middle in his old age; white-haired, with a face as seamed and time-eroded as a chunk of desert sandstone. One of his eyes had a glassy look; his nose and mouth were lumpy with scar tissue. A game fighter in his day, I thought, but not a very good one. A guy who had never quite learned how to cover up against the big punches, the hammerblows that put you down and out.

'Sure, I been expectin' you.' he said when I told him who I was. 'Iry Feinberg, he said you'd be around. You findin' out anything the cops dint?'

'It's too soon to tell, Mr. Slattery.'

'Charley,' he said, 'I hate that Mr. Slattery crap.'

'All right, Charley.'

'Well, I wish I could tell you somethin would help you, but I can't think of nothin. I dint even see Nick for two-three days before he was murdered.'

'Any idea who might have killed him?'

'Well, some punk off the street, I guess. Guy Nick was arguin' with that night-George Weaver, he told you about that, dint he? What he heard?'

'Yes. He also said he met you upstairs just afterward.'

Slattery nodded. 'I was headin' down the lobby for a Coke, they got a machine down there, and George, he come out of the elevator with his cane and this little radio unner his arm. He looked kind of funny and I ast him what's the matter and that's when he told me about the argument.'