We were in the elevator with half a dozen other people. I held my response down to a "Yeah?"
He had a Chrysler roadster parked around the corner. We got into it and began bucking traffic and traffic signals towards Pacific Avenue.
I asked: "Who is Joseph?"
"Another cult. He's the head of it. He calls his place the Temple of the Holy Grail. It's the fashionable one just now. You know how they come and go in California. I don't like having Gabrielle there, if that's where she is-though-I don't know-they may be all right. He's one of Mr. Leggett's queer friends. Do you know that she's there?"
"Maybe. Is she a member of the cult?"
"She goes there, yes. I've been there with her."
"What sort of a layout is it?"
"Oh, it seems to be all right," he said somewhat reluctantly. "The right sort of people: Mrs. Payson Laurence, and the Ralph Colemans, and Mrs. Livingston Rodman, people like that. And the Haldorns-that's Joseph and his wife Aaronia-seem to be quite all right, but-but I don't like the idea of Gabriclie going there like this." He missed the end of a cable car with the Chrysler's right wheel. "I don't think it's good for her to come too much under their influence."
"You've been there; what is their brand of hocus-pocus?" I asked.
"It isn't hocus-pocus, really," he replied, wrinkling his forehead. "I don't know very much about their creed, or anything like that, but I've been to their services with Gabrielle, and they're quite as dignified, as beautiful even, as either Episcopalian or Catholic services. You mustn't think that this is the Holy Roller or House of David sort of thing. It isn't at all. Whatever it is, it is quite first-rate. The Haldorns are people of-of-well, more culture than I."
"Then what's the matter with them?"
He shook his head gloomily. "I honestly don't know that anything is. I don't like it. I don't like having Gabrielle go off like this without letting anybody know where she's gone. Do you think her parents knew where she had gone?"
"No."
"I don't think so either," he said.
From the street the Temple of the Holy Grail looked like what it had originally been, a six-story yellow brick apartment building. There was nothing about its exterior to show that it wasn't still that. I made Collinson drive past it to the corner where Mickey Linehan was leaning his lop-sided bulk against a stone wall. He came to the car as it stopped at the curb.
"The dark meat left ten minutes ago," he reported, "with Dick behind her. Nobody else that looks like anybody you listed has been out."
"Camp here in the car and watch the door," I told him. "We're going in," I said to Collinson. "Let me do most of the talking."
When we reached the Temple door I had to caution him: "Try not breathing so hard. Everything will probably be oke."
I rang the bell. The door was opened immediately by a broad-shouldered, meaty woman of some year close to fifty. She was a good three inches taller than my five feet six. Flesh hung in little bags on her face, but there was neither softness nor looseness in her eyes and mouth. Her long upper lip had been shaved. She was dressed in black, black clothes that covered her from chin and ear-lobes to within less than an inch of the floor.
"We want to see Miss Leggett," I said.
She pretended she hadn't understood me.
"We want to see Miss Leggett," I repeated, "Miss Gabrielle Leggett."
"I don't know." Her voice was bass. "But come in."
She took us not very cheerfully into a small, dimly lighted reception room to one side of the foyer, told us to wait there, and went away.
"Who's the village blacksmith?" I asked Collinson.
He said he didn't know her. He fidgeted around the room. I sat down. Drawn blinds let in too little light for me to make out much of the room, but the rug was soft and thick, and what I could see of the furniture leaned towards luxury rather than severity.
Except for Collinson's fidgeting, no sound came from anywhere in the building. I looked at the open door and saw that we were being examined. A small boy of twelve or thirteen stood there staring at us with big dark eyes that seemed to have lights of their own in the semi-darkness.
I said: "Hello, son."
Collinson jumped around at the sound of my voice.
The boy said nothing. He stared at me for at least another minute with the blank, unblinking, embarrassing stare that only children can manage completely, then turned his back on me and walked away, making no more noise going than he had made coming.
"Who's that?" I asked Collinson.
"It must be the Haldorns' son Manuel. I've never seen him before."
Collinson walked up and down. I sat and watched the door. Presently a woman, walking silently on the thick carpet, appeared there and came into the reception room. She was tall, graceful; and her dark eyes seemed to have lights of their own, like the boy's. That was all I could see clearly then.
I stood up.
She addressed Collinson: "How do you do? This is Mr. Collinson, isn't it?" Her voice was the most musical I had ever heard.
Collinson mumbled something or other and introduced me to the woman, calling her Mrs. Haldorn. She gave me a warm, firm hand and then crossed the room to raise a blind, letting in a fat rectangle of afternoon sun. While I blinked at her in the sudden brightness, she sat down and motioned us into chairs.
I saw her eyes first. They were enormous, almost black, warm, and heavily fringed with almost black lashes. They were the only live, human, real things in her face. There was warmth and there was beauty in her oval, olive-skinned face, but, except for the eyes, it was warmth and beauty that didn't seem to have anything to do with reality. It was as if her face were not a face, but a mask that she had worn until it had almost become a face. Even her mouth, which was a mouth to talk about, looked not so much like flesh as like a too perfect imitation of flesh, softer and redder and maybe warmer than genuine flesh, but not genuine flesh. Above this face, or mask, uncut black hair was tied close to her head, parted in the middle, and drawn across temples and upper ears to end in a knot on the nape of her neck. Her neck was long, strong, slender; her body tall, fully fleshed, supple; her clothes dark and silky, part of her body.
I said: "We want to see Miss Leggett, Mrs. Haldorn."
She asked curiously: "Why do you think she is here?"
"That doesn't make any difference, does it?" I replied quickly, before Collinson could say something wrong. "She is. We'd like to see her."
"I don't think you can," she said slowly. "She isn't well, and she came here to rest, particularly to get away from people for a while."
"Sorry," I said, "but it's a case of have to. We wouldn't have come like this if it hadn't been important."
"It is important?"
"Yeah."
She hesitated, said: "Well, I'll see," excused herself, and left us.
"I wouldn't mind moving in here myself," I told Collinson.
He didn't know what I was talking about. His face was flushed and excited.
"Gabrielle may not like our coming here like this," he said.
I said that would be too bad.
Aaronia Haldorn returned to us.
"I'm really very sorry," she said, standing in the doorway, smiling politely, "but Miss Leggett doesn't wish to see you."
"I'm sorry she doesn't," I said, "but we'll have to see her."
She drew herself up straight and her smile went away.
"I beg your pardon?" she said.
"We'll have to see her," I repeated, keeping my voice amiable. "It's important, as I told you."
"I am sorry." Even the iciness she got into her voice didn't keep it from being beautiful. "You cannot see her."
I said: "Miss Leggett's an important witness, as you probably know, in a robbery and murder job. Well, we've got to see her. If it suits you better, I'm willing to wait half an hour till we can get a policeman up here with whatever authority you make necessary. We're going to see her."