D Is for Deadbeat

marble torches affixed to the wall with inexplicable half shells mounted underneath. The style is an anomaly in this town, falling as it does between the Spanish, the Victorian, and the pointless. Still, the building is a landmark, housing a movie theater, a jeweler's, and seven stories of office space.
    I checked the wall directory in the marble foyer for Wayne Smith's suite number, which turned out to be 702. Two elevators serviced the building and one was out of order, the doors standing open, the housing mechanism in plain view. It's not a good idea to scrutinize such things. When you see how elevators actually work, you realize how improbable the whole scheme is… raising and lowering a roomful of people on a few long wires. Ridiculous.
    A fellow in coveralls stood there, mopping his face with a red bandanna.
    "How's it going?" I asked, while I waited for the other elevator doors to open.
    He shook his head. "Always something, isn't it? Last week it was that one wouldn't work."
    The doors slid open and I stepped in, pressing seven. The doors closed and nothing happened for a while. Finally, with a jolt, the elevator began its ascent, Stopping at the seventh floor. There was another interminable delay. I pressed the "DOOR OPEN" button. No dice. I tried to guess how long I could survive on just that one ratty piece of chewing gum at the bottom of my handbag. I banged the button with the flat of my hand and the doors slid open.
    The corridor was narrow and dimly illuminated, as there was only one exterior window, located at the far end of the hall. Four dark, wood-paneled doors opened off each side, with the names of the professional tenants in gold-leaf lettering that looked as if it had been there since the building went up. There was no activity that I could perceive, no sounds, no muffled telephones ringing. Wayne Smith, C.P.A., was the first door on the right. I pictured a receptionist in a small waiting area, so I simply turned the knob and walked in without knocking. There was only one large room, tawny daylight filtering in through drawn window shades. Wayne Smith was lying on the floor with his legs propped up on the seat of his swivel chair. He turned and looked at me.
    "Oh sorry! I thought there'd be a waiting room," I said. "Are you okay?"
    "Sure. Come on in," he said. "I was resting my back." He removed his legs from the chair, apparently in some pain. He rolled over on his side and eased himself into an upright position, wincing as he did. "You're Kinsey Millhone. Marilyn pointed you out at the funeral yesterday."
    I watched him, wondering if I should lend him a hand. "What'd you do to yourself?"
    "My back went out on me. Hurts like a son of a bitch," he said. Once he was on his feet, he dug a fist into the small of his back, twisting one shoulder slightly as if to ease a cramp. He had a runner's body-lean, stringy muscles, narrow through the chest. He looked older than his wife, maybe late forties while I pegged her in her early thirties. His hair was light, worn in a crewcut, like something out of a 1950s high school annual. I wondered if he'd been in the military at some point. The hairstyle suggested that he was hung up in the past, his persona fixed perhaps by some significant event. His eyes were pale and his face was very lined. He moved to the windows and raised all three shades. The room became unbearably bright.
    "Have a seat," he said.
    I had a choice between a daybed and a molded plastic chair with a bucket seat. I took the chair, doing a surreptitious visual survey while he lowered himself into his swivel chair as though into a steaming sitz bath. He had six metal bookcases that looked like they were made of Erector sets, loosely bolted and sagging slightly from the weight of all the manuals. Brown accordion file cases were stacked up everywhere, his desk top virtually invisible. Correspondence was piled on the floor near his chair, government pamphlets and tax law updates stacked on the window sill. This was not a man you'd want to depend on if you were facing an I.R.S. audit. He looked like the sort who might put you there.
    "I just talked to Marilyn. She said you came by the house. We're puzzled by your interest in us."
    "Barbara Daggett hired me to investigate her father's death. I'm interested in everyone."
    "But why talk to us? We haven't seen the man in years."
    "He didn't get in touch last week?"
    "Why would he do that?"
    "He was looking for Tony Gahan. I thought he might have