I had it and was flipping the pages. “Here we are. Business on Broad Street, residence on Park Avenue. There’s only one Herman.”
“Get him.”
“I don’t think so. He may be a poop. It might take all day. Why don’t I go to the residence without phoning? It’s probably there, and if I can’t get in you can fire me. I’m thinking of resigning anyhow.”
He had his doubts, since it was my idea, but he bought it. After considering the problem a little, I went to the cabinet beneath the bookshelves, got out the Veblex camera, with accessories, slung the strap of the case over my shoulder, told Wolfe I wouldn’t be back until I saw the picture, wherever it was, and beat it. Before going I dialed Talento’s number to tell him not to bother to keep his appointment, but there was no answer. Either he was still engaged at the DA’s office or he was on his way to Thirty-fifth Street, and if he came during my absence that was all right, since Jet was there to protect Wolfe.
A taxi took me to the end of a sidewalk canopy in front of one of the palace hives on Park Avenue in the Seventies, and I undertook to walk past the doorman without giving him a glance, but he stopped me. I said professionally, “Braunstein, taking pictures, I’m late,” and kept going, and got away with it. After crossing the luxurious lobby to the elevator, which luckily was there with the door open, I entered, saying, “Braunstein, please,” and the chauffeur shut the door and pulled the lever. We stopped at the twelfth floor, and I stepped out. There was a door to the right and another to the left, and I turned right without asking, on a fifty-fifty chance, listening for a possible correction from the elevator man, who was standing by with his door open.
It was one of the simplest chores I have ever performed. In answer to my ring the door was opened by a middle-aged female husky, in uniform with apron, and when I told her I had come to take a picture she let me in, asked me to wait, and disappeared. In a couple of minutes a tall and dignified dame with white hair came through an arch and asked what I wanted. I apologized for disturbing her and said I would deeply appreciate it if she would let me take a picture of a painting which had recently been shown at the Pittsburgh Institute, on loan by Mr. Braunstein. It was called “Three Young Mares at Pasture.” A Pittsburgh client of mine had admired it, and had intended to go back and photograph it for his collection, but the picture had gone before he got around to it.
She wanted some information, such as my name and address and the name of my Pittsburgh client, which I supplied gladly without a script, and then led me through the arch into a room not quite as big as Madison Square Garden. It would have been a pleasure, and also instructive, to do a little glomming at the rugs and furniture and other miscellaneous objects, especially the dozen or more pictures on the walls, but that would have to wait. She went across to a picture near the far end, said, “That’s it,” and lowered herself onto a chair.
It was a nice picture. I had half expected the mares to be without clothes, but they were fully dressed. Remarking that I didn’t wonder that my client wanted a photograph of it, I got busy with my equipment, including flash bulbs. She sat and watched. I took four shots from slightly different angles, acting and looking professional, I hoped; got my stuff back in the case; thanked her warmly on behalf of my client; promised to send her some prints; and left. That was all there was to it.
Out on the sidewalk again, I walked west to Madison, turned downtown and found a drugstore, went in to the phone booth, and dialed a number.
Wolfe’s voice came. “Yes? Whom do you want?”
I’ve told him a hundred times that’s a hell of a way to answer the phone, but he’s too damn pigheaded.
I spoke. “I want you. I’ve seen the picture, and I wouldn’t have thought that stallion had it in him. It glows with color and life, and the blood seems to pulsate under the warm skin. The shadows are transparent, with a harmonious blending-”
“Shut up! Yes or no?”
“Yes. You have met Mrs. Meegan. Would you like to meet her again?”
“I would. Get her.”
I didn’t have to look in the phone book for her address, having already done so. I left the drugstore and flagged a taxi.
There was no doorman problem at the number on East Forty-ninth Street. It was an old brick house that had been painted a bright yellow and modernized, notably with a self-service elevator, though I didn’t know that until I got in. Getting in was a little complicated. Pressing the button marked “Jewel Jones” in the vestibule was easy enough, and also unhooking the receiver and putting it to my ear, and placing my mouth close to the grille, but then it got more difficult.
A voice crackled. “Yes?”
“Miss Jones?”
“Yes. Who is it?”
“Archie Goodwin. I want to see you. Not a message from Victor Talento.”
“What do you want?”
“Let me in and I’ll tell you.”
“No. What is it?”
“It’s very personal. If you don’t want to hear it from me I’ll go and bring Richard Meegan, and maybe you’ll tell him.”
I heard the gasp. She should have known those house phones are sensitive. After a pause. “Why do you say that? I told you I don’t know any Meegan.”
“You’re way behind. I just saw a picture called ‘Three Young Mares at Pasture.’ Let me in.”
Another pause, and the line went dead. I put the receiver on the hook, and turned and placed my hand on the knob. There was a click, and I pushed the door and entered, crossed the little lobby to the elevator, pushed the button and, when the door opened, slid in, pushed the button marked 5, and was ascending. When the elevator stopped I opened the door and emerged into a tiny foyer. A door was standing open, and on the sill was
