Meyers
Burke pulled the riveted steel door with World War II era chicken wire embedded glass open for me, saying, “Used to be the only way in and out was through the big overhead door.”
“Let me guess,” I side-stepped a college-age young woman in paint-splattered overalls setting brass stanchions off a flat cart pulled by a small propane forklift driven by a girl just like her. “You fixed it for them?”
“I did. I also replaced the motor that needed hands on the emergency chain to open the big door. And for that I got—”
“Excuse me,” to a third girl, a replica of the first two, except she wore a spool of nylon webbing on her chest like a marching bass drum and walked backward while a fourth slotted webbing into the stanchions. “This the only way in?”
“Yessir,” smiling like she worked for Disney. “Unless the big door comes up. But not tonight.”
“This’ll be a two-sided funnel?”
“Yessir, when we’re done.”
“Exits?” The fourth girl walked, pointed to the back wall by the bleachers like a stewardess, with the same smile. “Two left, two right, one center,” and never missed her timing for a webbing load. They outwalked us like a well-oiled machine.
I rerouted Burke outside the path of the stanchions to what looked like the business end of the warehouse that occupied roughly a third of its size. “Give me the tour.”
“The bleachers came from a high school in Reseda that—”
“Capacity?”
“One thirty-four each, stated. For ticket sales they fudge it to one-fifteen for fat—”
“The riser where the TV people are throwing cable around?”
“Eighteen inches tall, twenty-one feet square. The canvas overhangs—”
“Catwalk?” I said, scanning the light rigging over the staging area where two more people in painter’s overalls were harnessed to the overhead beams.
“Only accessible by a leveled, immobilized cherry picker. I heard about a ladder but—”
“Immobilized?”
“Wheels removed and legs in expansion bolted concrete clamshells. Safety first is—”
“The rear exits?”
“Where the girl pointed, one is behind the scrim that must be a Rialta add on. It’s not—”
“Seems like a lot of doors for less than four hundred people unless the issue is between here and the big door.”
“Fire Marshall mandated the add-ons. Too many live act stampedes—”
“They open on?”
“An alley between this warehouse and the next. The French lawyer, you met her, she helped the Painted Ladies turn this warehouse into a cash register. Marching bands and drum corps rent this place when the weather sucks.”
“With acoustics like this?”
“I was told if you can play in this place with sound bouncing around from everywhere and keep your shit together you can play anywhere.”
“Not sure I get that logic.” I skimmed the rest of the openness. It made me uncomfortable. Ambiguous acoustics induced sound localization problems, plenty of places to hide. Particularly in the stacks of wooden storage containers along the left wall that could give a half-assed climber access to the overhead. “Open,” I said. “Almost indefensible.”
“Lousy sightlines from anywhere on the perimeter except where you’d be exposed and lit up like a Christmas Tree. Except tonight behind the scrim.”
“Scrim is flush with the wall,” and pointed out the upstairs office that jutted out as a box with a big window from the same wall as the cherry picker.
“Stairs are the only access. I added the handrail as an OSHA—”
“Used as the dressing room?”
“Or in the Painted Ladies’ case, un-dressing room. And office. And coffee pot where I—”
“I said don’t forget the story you want to tell me about you and the paint ladies. But right now, I need to walk this myself and find Purcell.”
#
Val
I stopped two feet from the Smiling Pig van and said, well, sort of demanded, “So, Marco, bring me ‘up to speed.’”
“Tell me what the hell you were doing on the ledge,” trying to pull me into the naked girls’ paint pit. I planted my feet.
“I’m not going in there,” and I heard Gramma say ‘petulant’ and I wanted to tell her to fuck off but then Marco would think I was talking to voices in my head, which I was, but— and Marco was suddenly saying over my shoulder,
“What the hell is the dangerous dames duo doing here?”
“We could ask you the same, Junior.”
That’s when I said “Huh?” and turned around. Toni? Joan? And then Marco said,
“I didn’t think Toni owned anything that wasn’t camo cargos, a sports bra and a too-big heavey metal band tank top.”
“You need to remember your manners, Boy Wonder. Even in a dress I can still kick your ass.”
Junior? Boy Wonder? Did all the Meyers people know each other outside of, well, how you know your vet or, or the handyman or nurse or appliance fixer guy…
“And I’d hate to do it in front of your lady friend,” with normal person laughing eyes and that’s when I expected one of us, Marco, or me, to start some No, uh, or we’re just denials and he didn’t.
So I said, “It was really all a big—” and Joan put her hand on my nervous waving around one, and gave me one of those knowing kind of looks that gets eyebrows into it and says, Shut it. Got it? without saying anything. So I did. Get it and shut it.
She moved her hand and said, “Marco, honey?” And like everybody, he gave it up in a hurry in one big, long sentence.
“We all, that is Burke, Bishop, Val and I covered Meyers at a shithole flophouse on West Seventh where we, I, recorded the bent money drop that was supposed to close this case out but they paid for air because Meyers already put this Zane Rialta play in motion but no one in the room knew that.”
“Except Meyers. See, Toni?” Joan, another knowing look, only this one came with a smile, “I told you there was more to this affair than Meyers asking you to bring two weapons and run Hughes into a parking garage wall for fun with that old Datsun.” And the word ‘affair’ came out in that soft honeysuckle-and-lavender accent, and I wanted to hug her…
“See you two inside,” from Toni, and that’s when I noticed her form fitting floral print sundress and Joan’s black dance leotard and mid-calf summery skirt and their posture and muscle tone and demeanor – even Joan’s abalone stick barrette and I understood the French word allure I’d had so much trouble with since forever. And I wanted to go work out with both of them. I think I sorta said something like that to Marco because he said,
“They do an open yoga three or four times a week, and Toni has a weight machine at her place. You’re family. You should go.”
“Family?”
“Two cars of bad guys follow you, you get the nooner stall and cheap flowers, walk out on a ledge I’m not sure I’ll ever get the straight on and you’ve ridden in the front seat with Burke driving and didn’t puke.” And then he told me there were no paint covered naked women rolling around on canvas inside, but Zane Rialta was exposing the stuff on the disks I opened and stretched out so they could be read and then please straighten my blouse and skirt or he’d catch hell from ‘those two’ for what they might think we were doing in the van.
I fixed my skirt and blouse, which were a little off kilter, straightened up and said “Zane Rialta? The Zane Rialta. Cable channel, news and Hollywood In Sight Tonite? You met her? She’s inside?”
“This afternoon and yes. Setting this up is where Meyers has been since a mobile home blew up on him yesterday afternoon.”
Since a mobile home blew up on him? Meyers? And I felt really stupid, for everything, and to get around that I asked him, “Is she really six feet tall before the heels?”
“Six-one.”
“And she’s inside? Zane Rialta? That’s why we’re here?” And he nodded. I dug my lipstick out of my purse and stuck my face in front of the Smiling Pig’s wing mirror. “Well, Junior,” rubbing my lips together and trying on some tough window ledge girl. “Why didn’t you just say that in the first place?”