“You may be right. He’s certainly arrogant. Now, I’m here on business.” I got out my notebook and pencil. “You moved into this place nine days ago. Please tell me exactly how you came to take this apartment.”
He glared. “I’ve told it at least three times.”
“I know. This is the way it’s done. I’m not trying to catch you in some little discrepancy, but you could have omitted something important. Just assume I haven’t heard it before. Go ahead.”
“Oh, my God.” His head dropped and his lips tightened. Normally he might not have been a bad-looking guy, with blond hair and gray eyes and a long bony face, but now, having spent the night, or most of it, with Homicide and the DA, he looked it, especially his eyes, which were red and puffy.
He lifted his head. “I’m a commercial photographer — in Pittsburgh. Two years ago I married a girl named Margaret Ryan. Seven months later she left me. I didn’t know whether she went alone or with somebody. She just left. She left Pittsburgh too, or anyway I couldn’t find her there, and her family never saw her or heard from her. About five months later, about a year ago, a man I know, a businessman I do work for, came back from a trip to New York and said he’d seen her in a theater here with a man. He went and spoke to her, but she claimed he was mistaken. He was sure it was her. I came to New York and spent a week looking around but didn’t find her. I didn’t go to the police because I didn’t want to. You want a better reason, but that’s mine.”
“I’ll skip that.” I was writing in the notebook. “Go ahead.”
“Two weeks ago I went to look at a show of pictures at the Institute in Pittsburgh. There was a painting there, an oil, a big one. It was called ‘Three Young Mares at Pasture,’ and it was an interior, a room, with three women in it. One of them was on a couch, and two of them were on a rug on the floor. They were eating apples. The one on the couch was my wife. I was sure of it the minute I saw her, and after I stood and studied it I was even surer. There was absolutely no doubt of it.”
“We’re not challenging that,” I assured him. “What did you do?”
“The artist’s signature looked like Chapple, but of course the catalogue settled that. It was Ross Chaffee. I went to the Institute office and asked about him. They thought he lived in New York but weren’t sure. I had some work on hand I had to finish, and it took a couple of days, and then I came to New York. I had no trouble finding Ross Chaffee; he was in the phone book. I went to see him at his studio — here in this house. First I told him I was interested in that figure in his painting, that I thought she would be just right to model for some photographs I wanted to do, but he said that his opinion of photography as a medium was such that he wouldn’t care to supply models for it, and he was bowing me out, so I told him how it was. I told him the whole thing. Then he was different. He sympathized with me and said he would be glad to help me if he could, but he had painted that picture more than a year ago, and he used so many different models for his pictures that it was impossible to remember which was which.”
Meegan stopped, and I looked up from the notebook. He said aggressively, “I’m repeating that that sounded phony to me.”