king can't make a legal move out of check. In real life, of course, it's different. PXK isn't the name of an individual; it's what they called the operation! Pawn takes king. Well, we know who the king was. And the pawn, of course.'
'Oswald.'
'Uh-huh. Oswald. The pawn. The necessary nut. So now we have all the pieces, so to speak.' V.T. laughed bitterly. 'No, one's still missing. There's a queen on this board, and I doubt very much if it's Mr. Kelly of Baton Rouge.' He laughed again, a laugh edged with hysteria. 'It's the perfect paranoid confection. Of course there has to be a mastermind behind all this, pulling the strings-no, that's mixing metaphors. Controlling the pieces.'
He got off the desk and walked toward the door.
'Where are you going?' Karp asked.
'To see if my resignation is ready for signature. If you want me, I'll be outside the building wearing a red hat and carrying a shopping bag full of old clippings.'
Karp went back to his office and sat at his desk for a few minutes before it really hit him that he had nothing to do. He called Clay Fulton in New Orleans and left a message, and then waited around for Fulton to call back. He pulled a few files from various hiding places and stuffed them in the red envelope, tattered now from being carried around with him nearly everyplace he had gone for many weeks. He spread the material from the envelope out on his desk and looked at it. For an instant he felt a thrill of panic when he realized that the Depuy film was missing and then recovered when he recalled that he had left it at home, on the kitchen table among Marlene's films. Or had he?
Frantically, he dialed his home number.
Marlene picked up on the first ring. 'God, this is weird!' she exclaimed. 'I was just about to call you.'
'You were? Is anything wrong?'
'No, I… I just found out something you need to know.' She paused. 'Maybe we shouldn't talk about it on the phone.'
'Is my, is the thing I, um, left on the kitchen table…?'
'Oh, yeah, it's here,' said Marlene in a peculiar voice. 'I've been playing with it. We'll talk when you get here.'
Karp packed the red envelope and left his office, informing his secretary that he'd be working from home for the rest of the day.
'You want me to forward calls?' she asked with a knowing look; 'working at home' was a well-understood Washington euphemism for looking for another job while remaining on the payroll. He nodded and left.
When Karp walked into the apartment, Marlene met him with a finger to her lips. She then turned on the radio in the kitchen to a rock station at considerable volume. Lucy was in the living room happily watching cartoons at a similar noise level.
'I was going through some of Dobbs's later films, to finish up my notes on the case and to check whether he left any other little surprises in them.'
'Did he?'
'No,' she said. 'But watch this!'
Marlene sat down behind the editor and rolled it. 'A pleasant backyard barbecue. Nice house, pool. A bunch of Mexican-looking servants roasting a side of beef on a spit. Prosperous guys and women in western gear, drinking and laughing. It says 'Texas' doesn't it. It is. Notice how steady the shot is? The camera's on a tripod, panning back and forth. Everybody's mugging for the camera. Okay, watch this! The cameraman wants to get in the frame. There's his back, now he's turning around and posing for the group.'
She stopped the film on one frame and Karp saw a largish, intelligent-looking man with an even-toothed smile and short, dark hair, wearing a western shirt and jeans.
'Harley Blaine,' said Marlene. She rolled the film rapidly. It flickered like an old silent movie. The partying people jumped around like fleas, gobbling their ribs, jerking their elbows as they drank. The film ended with some sort of ceremony; a fat man got a plaque from another fat man. Marlene slowed it to normal speed. There was a blackout and then the scene showed a forest at night, tropical swamp foliage, a white, open road, and then a line of military trucks approaching.
'Jesus! It's our film!' cried Karp.
'Yep. Your film. Shot by Harley Blaine. He did his little memento of a civic party at his ranch and then he trucked on down to Louisiana to take some pictures of the counterrevolution-to-be. Which means he was up to his neck in the Cuban business too, a dozen years after he retired from the CIA.'
'But how did Depuy get hold of this?'
'No problem. We know he got it from Ferrie. Ferrie was at the training exercise. He just snitched the film. Maybe Depuy paid him for it. Maybe Blaine didn't miss the film. Selma Dobbs's letters have some stuff about him misplacing cameras. It was a family joke.'
'Hilarious,' said Karp. 'So Ferrie gets the film and shows it to Depuy. No big deal, just Ferrie boasting and Depuy fishing for a story. After the assassination, that's a whole different situation. Whoever did it found out that Ferrie has some evidence linking Blaine and some other CIA types to Oswald and a guy who looks a lot like Oswald, via the anti-Castro stuff. It wouldn't have been difficult; Ferrie had the biggest mouth in Louisiana. So they ace him with a drug overdose and get the film. Meanwhile, Depuy's on the sauce, he's forgotten his copy of the film, or doesn't realize its significance. He dies and his wife gives all his stuff to the AP archive.'
'So now we have the connection that explains why Hank Dobbs is jamming up the investigation,' said Marlene. 'He's working for the man who saved his father, even though Blaine has to know that Richard Dobbs was really guilty.'
'You think Blaine was blackmailing Dobbs? You think he said he'd spill the beans on the old man if Dobbs didn't help him protect Blaine's old CIA buddies?'
'No, that's not it,' said Marlene definitively. 'Blaine saved Richard Dobbs in 1951, in the teeth of the CIA. Why would he have pulled a switch at this late date? No, the Dobbs family was the core of his life: he loved the husband and he loved the wife. That wouldn't change, even if he pulled the trigger on JFK himself. No, he didn't need blackmail at all. Hank Dobbs was covering for Blaine from sheer gratitude.'
'But what the hell was he covering?' asked Karp, his brows knotting in frustration. 'Blaine's not directly tied to anyone we've turned up except Gaiilov, who's peripheral to the Oswald story, as far as we know. Like you said, Blaine retired from the CIA long before JFK became president. He was on the CIA shit list, in fact, because of the Dobbs thing, and we have no evidence that he knew the one guy we've identified as being central to the whole thing.'
'Who?'
'Paul David, aka Maurice Bishop.'
'Oh, yeah. But wait a minute-isn't Bishop in this film?'
'Yeah, but so're a hundred other people. Because Blaine took the film doesn't mean he was in bed with Bishop. Nobody we've talked to has ever mentioned Blaine.'
Something tugged at Marlene's memory. She had an extraordinary memory for faces, the product of years of going through mug books, looking at the faces of sex criminals, of hours and hours spent with victims trying to tease a face out of violence-clouded memory.
'Bishop slash David is on the film, huh? Let me see if I can pick him out.'
She started to wind the film, but Karp stopped her and got out the black loose-leaf book that V.T. had assembled, consulted it, and turned to a glossy blowup of the best David/Bishop shot on the film.
Marlene looked at it and cried 'Yesss! It was nagging me. I knew I'd seen that guy before, and of course, I was thinking of Blaine when I watched the film, so I was ready for the connection. This guy, ten years younger, is in a picture with Harley Blaine that's hanging in the hallway behind Richard Dobbs's study. Blaine knew Bishop, all right, from way back. His protege, you might say.'
Karp sat on his excitement and tried to argue against the most obvious conclusion. 'Okay, great, Blaine knew David/Bishop way back when. He took home movies of a Bishop operation. He's still a retired guy, a lawyer, not an active spook like the rest of them.'
'Okay,' Marlene conceded, 'then let's look at this joker you were talking about, this Kelly guy in Baton Rouge? We know he's connected because Guel was getting all that cash from PXK. Maybe we should check that out, if Blaine knows him too.'
