name.
Same for Griffith D. Wark. Find-A-Person yielded several D. Crimminses but no Derricks. No G.D. Wark.
Milo said, 'I'll follow up with Social Security tomorrow. I'll even check out the death certificates for the Crimmins family, just to show you I care. Where exactly did the boat thing go down?'
'All I know is, out on the water off the coast of south Florida,' I said. 'Brother Cliff crashed on a motocross run in Pimm, Nevada.'
He scribbled, closed his pad, got up heavily. 'Whoever this Wark is, how's he contacting Peake?'
'Maybe with ease,' I said. 'Maybe he works at Starkweather.'
He grimaced. 'Meaning I need to get a look at personnel records. My old pal Mr. Swig… If this Blood Walk is a mega-snuff, you think Wark's actually hoping to sell it?'
'Or he just wants to keep it around for his own amusement. If he's Derrick and he inherited a bundle and doesn't need money, it could be one big, sick diversion.'
'A game.'
'I always thought the murders had a gamelike quality to them.'
'If only,' he said, 'you were a stupid guy and I could kiss off your fantasies… Okay, back to Planet Earth. The Oak Barrel.'
'I'll come with, if you want.'
He checked his Timex. 'What about hearth and home?'
'Too hot to light a fire in the hearth, and the home's empty for a couple more hours.'
'Suit yourself,' he said. 'You drive.'
Toluca Lake's a pretty secret sandwiched between North Hollywood and Burbank. The main drag is a curving eastern stretch of Riverside Drive lined with low-profile shops, many with their original forties and fifties facades. The housing ranges from garden apartments to major estates. Bob Hope used to live there. Other stars still do, mostly those leaning toward the GOP. Lots of the great Western flicks were shot nearby, at Burbank Studios and up in the surrounding foothills. The Equestrian Complex is just a short drive away, as is NBC headquarters.
A quick turn on either side of Riverside takes you onto quiet streets emptied at night by permit-only parking and an attentive police force. Toluca Lake restaurants tend to be dim and spacious, leaning toward that unclassifiable fare known as continental cuisine, once an L.A. staple, now nearly extinct west of Laurel Canyon. White hair doesn't elicit sneers from the wait staff, martinis aren't the retro craze of the minute, piano bars endure.
From time to time I testify in a Burbank court and find myself down here, thinking about the perfect suburbia of black-and-white TV shows: moderne furniture, fat sedans, dark lipstick. Jack Webb tippling steely-eyed at a vinyl- padded bumper, winding down after a long day on the set. Nearby might be the guy who played Ward Cleaver, whatever his name was.
I'd been to a few of the Riverside Drive restaurants, but not the Oak Barrel. It turned out to be a modest stack of bricks and stucco squatting on a southeastern corner, half-lit by streetlamps, the cask-and-tankard logo discreetly outlined in green neon above the porte cochere. A parking lot twice the size of the restaurant put the construction date at late forties, early fifties. No valet, just a well-lit asphalt skillet with scores of spaces, a quarter of them occupied. Lincolns, Cadillacs, Buicks, more Lincolns.
The front door was oak inlaid with a panel of bubbled glass. We walked in, confronted a lattice screen, stepped around it into a small reception area backed by the cocktail lounge. Four drinkers flashing elbow. TV news winking above a wall full of bottles. No sound on the set. The air was icy, seasoned with too-delicate piano music, the lighting barely strong enough to let us make out colors. But the maitre d's bright green jacket managed to work its way through the gloom.
He was tall, at least seventy, with slicked white hair, Roman features, and black-rimmed eyeglasses. A reservation book was spread out before him on the oak lectern. Plenty of open slots. The lattice blocked a view of the main dining room to his left, but I could hear silverware clatter, conversational thrum. The pianist was turning 'Lady Be Good' into a minuet.
The maitre d' said, 'Good evening, gentlemen.' Capped smile, clear diction peppered by an Italian accent. As we came closer, he said, 'Ah, Detective. Nice to see you again.' A small gold rectangle on his jacket was engraved LEW.
'Hey, you remember,' said Milo, with joviality that might've been real.
'I still got a memory. And we don't get too many police, not here. So this time you come to eat?'
'To drink,' said Milo.
'This way.' A green sleeve flourished. 'You making any progress on Richard?'
'Wish I could say I was,' said Milo. 'Speaking of which, has this woman ever been here?' A photo of Claire had snapped into his hand like a magician's dove.
Lew smiled.' 'Speaking of which,' huh? You here to drink anything but information?'
'Sure. Beer, if you carry that.'
Lew laughed and peered at the picture. 'No, sorry, never saw her. Why? She know Richard?'
'That's what I'd like to know,' said Milo. 'Tell me, is there anything else that came to mind since the last time I was here?'
The maitre d' handed back the photo. 'Nah. Richard was a good boy, quiet. Good worker. We don't usually hire the so-calleds, but he was okay.'
'The so-calleds,' I said.
'So-called actors, so-called directors-mostly they're punks, think they're overqualified for everything, doin' you a big favor to show up. Nine times outta ten they can't handle carrying a bread plate or they end up mouthing off to some regular and I gotta untangle everybody's shorts.'
He reached behind his back and tugged upward.
'We prefer old guys,' he said. 'Classy pros. Like me. But Richard was okay for a kid. Polite-'madam' and 'sir,' not that goddamn 'you guys.' Nice boy, very nice boy, that's why even though he wanted to be an actor I hired him. Also, he begged me. Said he really needed the money. And I was right about him. Good worker, got the orders right, no complaints- c'mon, let's go over, get you gents a nice drink.'
The bar was an enormous lacquered walnut parabola rimmed with red leather. Brass bar, red stools with brass legs. The four drinkers were all glassy-eyed middle-aged men wearing sport coats. One necktie, three sport shirts with open collars spread over wide lapels. Plenty of space between them. They stared into tall glasses on paper coasters, dipped thick hands into dishes of nuts, olives, roast peppers, sausage chunks, pink curls of boiled shrimp pierced by red plastic toothpicks. The bartender was pushing sixty, dark-skinned, with luxuriant hair and the face of a carved tiki god. He and a couple of the drinkers looked up as Lew showed us to the end of the bar, but a second later, everyone had settled back into booze hypnosis.
Lew said, 'Hernando, bring these gents…'
'Grolsch,' said Milo. I asked for the same and Lew said, 'Some of that sauterne for me, the reserve stuff, but just a little.'
Hernando's hands moved like a chop-sockey hero. After he'd delivered the drinks and returned to the center of the bar, Milo said, 'You ever get a customer named Wark?'
'Work?'
'Wark.' Milo spelled it. 'Mid to late thirties, tall, thin, dark hair, could be curly. Claims to be a film producer.'
The maitre d's eyes were merry. 'Plenty of claims-to-be's, but no, I don't recall any Wark.'
Milo sipped his beer. 'What about Crimmins? Derrick Crimmins. He might have come in with a woman, younger, long blond hair.'
' 'Might,' 'maybe'-this is still about Richard?'
'Maybe,' said Milo.
'Sorry, no Crimmins either, but people come in without reservations, we don't know their names.'
'We're talking eight, nine months ago. Would you remember every name-even with an excellent memory?'
Lew looked hurt. 'You want me to check the reservation books, I'm happy to do it, but I can tell you right now, weird names like that I'd definitely remember.' He closed his eyes. 'Tall and skinny, huh? Richard's customer?'
'Could be.'
