That was old business. New business was the place I was living in on Long Beach Boulevard near Slauson. It was small and cheap, partly because the place had the smell of fast decline. It was one of a series of two-room, one story wooden structures L.A. management people called bungalows. To people passing by, the place looked like a motor court that had lost its license and sign. Paint was peeling from all the houses in the court like the skin from a sunburned, aging actress. Like the actress, the bungalows were functional, but not particularly appealing. When it rained, the ground in front of my place became a swamp. The furnished furnishings were faded and the shower didn’t work, but it had a great advantage: It was cheap. Jeremy Butler, the poetic wrestler who owned my office building, also owned this place and suggested that I move in and keep an eye on the property for him. In return, I paid practically nothing in rent. A few days earlier I had paid with a sore stomach when I caught a kid trying to break into one of the bungalows at night. The kid had butted me with his head and taken off. His head had hit the point where I had recently taken a bullet, and the wound had just barely scarred when the kid hit it.
When I pulled the Buick in front of my place, it was about four in the afternoon. The Sante Fe moaned, rattling the walls, and I went inside, kicking off my shoes at the door. Through the thin walls I could hear a couple with hillbilly accents arguing, but I couldn’t make out the words.
I ran the water in the bath full blast. Full blast meant it would be about three-quarters full in half an hour. The half hour was spent getting coffee and pouring myself a big bowl of Quaker Puffed Wheat with a lot of sugar. I finished the Puffed Wheat while I took a bath and read the comics. It was the day before Sadie Hawkin’s Day, but I was sure Li’l Abner would be all right. I ran through Mary Worth’s Family and Tarzan, and got happy for Dick Tracy. He said he was going on vacation.
I put on a pair of shorts, plopped on my bed, and listened to the radio for about an hour with my eyes closed. By a few minutes after six, I was dressed in my second suit and ready to go. Such was the domestic life of Toby Peters, which suited me just fine most of the time.
The hillbilly couple were still arguing when I left, but they weren’t breaking anything so I ignored them and got into my Buick. When I was a kid, my father and brother and I always named our cars. Since my dad’s car was always a heap, we needed a new one every year or so. I remember one was called Valentino, a Model A Ford. I’d thought about naming the Buick, but nothing seemed right for it. I decided to ask Butler. As a poet, he might have some ideas. I took Long Beach to Washington and went up Normandie heading for Wilshire.
It was on a stretch of Normandie near some factories that the bullet missed my head. The street was pretty well deserted, but a car pulled up behind me and gave me the horn to get out of the way. I didn’t even look in the rear view mirror. As the car passed, my neck began to itch, and I started to turn. The bullet went through the driver’s side window near my nose and right out the opposite window. I hit the brakes, held the wheel and ducked down below the door. My tires hit something and the Buick spun around and stopped. I didn’t have my. 38 with me. I crouched over, listened for a few seconds to be sure the other car had gone. When I sat up, the street was clear and the sun was still shining. The holes in both windows were small, but they sent out rays like the sun in a kid’s drawing. I rolled the windows open so no one would ask about the holes.
Then, I headed back to my place and got my. 38. It was getting late for my meeting with Victor Fleming, but I needed some solid reassurance. It could simply have been a nut. There are plenty of nuts in Los Angeles, especially kids who are looking for dangerous thrills. There is something about the monotony of L.A. that sometimes drives people mad. Maybe it’s coming to the ocean and finding there is no place further to take your life. It was also possible that an enemy had been laying for me. I had a few old enemies and some recent ones. It was also possible that it had something to do with the dead Munchkin. That seemed just as wild, since I didn’t know anything the cops didn’t know. Or did I? I went over everything in my head as I drove, keeping my eyes open for another attack. I came up with one idea. Late or not, I had to check it out. I stopped at a gas station and called my office while a guy with a Brooklyn Dodgers cap and an old, grey sweater gave me half a buck’s worth.
Shelly was still in the office. He wanted to talk about his root canal, but I didn’t have the time and he sounded a little hurt.
“You had a call, Toby,” he said, accepting temporary defeat. “A guy with a high voice. Said he wanted to hire you and had to get to you fast. So I gave him your address. Did he find you?”
“He found me, Shelly, thanks.” I found out the caller had no accent and told Shelly I’d see him when I could.
It didn’t make sense, at least not to me. I dropped it, after deciding to bill the cost of new car windows to M.G.M., and headed for the Brown Derby. It was almost seven when I got there. I found a space a few blocks away and jogged. The Derby was a greyish dome with a canopy in front and a single line of rectangular windows running around it. Perched on top of the dome and held up by a tangle of steel bars was the replica of a brown derby. The place looked something like an erupted boil wearing a little hat.
I told the waiter that Fleming was expecting me and was led to a table in a corner. The room was jammed but the noise level was low.
Fleming got up and shook hands when I introduced myself. He was a tall guy, about sixty, with well-groomed grey hair. His nose looked as if it had taken one in the past. He was wearing a tweed suit, a checkered tie and a brown sweater. He looked very English, but his voice was American.
“Have a seat, Peters,” he said. There was another guy at the table and Fleming introduced him as Dr. Roloff, a psychiatrist.
Roloff was equally tweedy and even more grey than Fleming, though about ten years younger.
“Dr. Roloff has been kind enough to give me some ideas for my next picture,” Fleming explained. “A version of Dr. Jekyll and Mr. Hyde.”
I must have looked surprised because Fleming added, “I know it’s been done with Freddie March. A good film, but I have some ideas and Spencer Tracy is interested. But that’s another game. What can I do for you, Peters? Can we get you something to eat?”
“Nothing to eat, just some information and I’ll get out of your conference. The police talked to you today about an argument you saw between two people dressed in Munchkin suits.”
Fleming nodded and I went on.
“What exactly did you see and hear?”
“Very little,” said Fleming, taking a belt of coffee. “I was coming back from breakfast with Clark Gable, and we saw the two little people arguing. Clark looked. I wanted nothing to do with it. I had a year of working with them. Most of them were fine, but a lot of them were a pain in the ass. They argued, disappeared, showed up late. Once they screwed up a take on purpose by singing ‘Ding Dong the Bitch is Dead.’ I didn’t notice it. The sound man didn’t notice it. We had to reshoot it.”
“It’s not surprising,” Roloff put in. “Short people, midgets especially, are sometimes inclined to be highly aggressive toward normal size people. They’re also inclined to use obscenity more than the average to assert their adultness, to overcompensate. I had one midget as a patient who knew he was overcompensating with big cigars and sexual overtures to full-sized women. He knew he looked ridiculous and obscene to others, but he couldn’t stop. It was a kind of self hate, a punishment for himself. It’s hard to live your life knowing that whenever you go out on the street people will stare at you. Exhibitionism may result, or the person may become a shy and bitter recluse.”
“Just like movie stars,” I added.
“Sure,” said Roloff.
“Sorry I can’t help you, Peters,” Fleming joined in. “I can give you a lot of stories about Munchkins, but I don’t think it will help. It just supports what Dr. Roloff has been saying. I’ll give you an example. One of them got drunk one day and almost drowned in a toi
let. Another time one of them pulled down his drawers in a crowd scene. We didn’t even notice that the first time through the rushes. As for the fight this morning, when I saw it was two little people in Munchkin suits, I paid no attention. I stepped in between them a few times when we were shooting the picture, and I had no desire to take the abuse again. When I saw those two this morning, I didn’t know why they were wearing costumes from the movie and I didn’t give a Hungarian crap.”
He paused to look around the room and regain his composure. The thought of the Munchkins had sent his temper flying.
“I like what we did on that picture,” he continued, patting down his hair. “I came in on it late after a couple of other directors, and I was pulled off it early to take over Gone With The Wind. Still, I spent more than a year on Oz and it was the toughest damn thing I’ve ever done. Those two pictures have been damn good for me, but I wouldn’t want to make either one of them again. Even if no one remembers Oz, I will, and with mixed memories.”
“I like it,” I said.
“It’s a strange movie,” said Roloff, pushing his cup away and fiddling with his pipe. “Depending on who views it and what’s going on in his or her life, it can be a lot of things.”
“Like what?” I asked.
“It’s a child’s dream of accepting the adult world. A girl at puberty dreams of seeking the aid of a magical wizard, aided by three male figures, each not quite a man. Her jealous rival is an old witch who wants the slippers the girl wears. The ruby red slippers can be seen as a menstrual sign. In the book they were silver. The girl in the movie learns to accept power of the ruby slippers-her womanhood-with the help of three flawed male admirers and a mysterious, frightening father figure. The slippers are given to her by a mother figure, a beautiful witch. Did you ever think of having her wake up and find she’s had her first period, Victor?”
Fleming laughed.
“I had no such interpretation in mind when I made the movie, and neither did anyone else who worked on it,” Fleming said.
Roloff lit his pipe and puffed a few times. Then he raised his hand.
“That’s just the point I was making about the Jekyll film,” he said. “It doesn’t matter if it is consciously in your mind. A dream doesn’t necessarily have a conscious meaning. You simply tell the story because you find it interesting and others do, too. My job is to find out why you find it interesting and what it means.”
“You said there were other interpretations,” I said.
“Well,” Roloff said, “how about this one? A lot of people may be reacting to the film as a kind of parallel to the current world situation. If we see the Munchkins as the Europeans-foreign, different, in need of help-and the witch as Hitler, we have a situation in which an All-American girl is forced to take up arms against evil, to help the innocent foreigners, to destroy the well guarded militant Hitler-Witch and to be rewarded in her effort by the human-father-God, the Wizard of Oz.”
“But it turns out to be only a dream,” Fleming said shaking his head and motioning to the waiter for more coffee. This time I took some.
“Right,” said Roloff. “It’s just a dream, to a great extent a nightmare with a happy ending. The film says if we have to enter the war, we will, and we will triumph to return from it as if from a dream. Perhaps we will have to face the fear of death in a colorful and far off place before we can return to the dull security of Kansas. In any case, the message might simply be, if we have to handle it, we can. Would you like another possible meaning?”
I smiled and said two were quite enough, and Fleming said if we weren’t careful, colleges would start teaching courses about the “meaning” of movies. What Roloff said was interesting, but I didn’t see any way I could use it. I was wrong, but I wouldn’t find out till it, was almost too late. As far as I was concerned, the meeting with Fleming provided nothing.
“Sorry again I couldn’t be of more help, Peters,” Fleming said. “Clark paid some attention to the incident, and he has a hell of a memory. He might be able to give you more.”
I said good-bye to Roloff and Fleming and left the Derby. It was after nine. I stopped at a stand for two tacos and a chocolate shake.
A year, several thousand memories, and a dozen broken bones ago I had seen The Wizard of Oz. It had been on one of those nights when I was feeling sorry for myself. There had been nothing on the radio and nothing to read. I decided to see the movie again. I wanted to try to pick out Cash and Grundy, wanted to look at Judy Garland and see if she had changed as much as I thought.
I stopped at a newsstand and got a Times. The picture wasn’t playing anywhere. I was going to give up, and head home, but I didn’t want to think about what or who might be looking for me at home. I had to see The Wizard of Oz.
I called Warren Hoff at home. He answered and told me I didn’t need to see the picture. I suggested that he handle the publicity business and I’d handle the detective business, and both of us would probably meet at the funny farm. He said he’d set up a screening in the morning. I pushed, for the moon was high, my blood was up, and I had no lead to follow.
“Wait,” said Hoff. “I’ve got an idea.” He put the phone down, and I looked out of the booth at a thin blonde woman in a grey suit. She caught me looking and stared me down. I pretended to start talking even before Hoff came back.
“Right,” I said.
“What’s right?” said Hoff.
“I don’t know,” I said. “What did you find?”
“There’s a charity screening of the picture tonight.” I could hear him crunching through some papers. “I’ve got a list of extra screenings on… here it is. Holy Name Church of God’s Friends in Van Nuys, on Van Nuys just South of Victory.”
“I know the place,” I said. “What time?”
“Nine-thirty. Enjoy yourself.” He hung up.
I drove in the dark, listening to the end of the San Jose-Loyola game. San Jose won 27 to 12, and a back named Gene Grady ran ninety-seven yards for a touchdown.
The church was where I remembered it. A few years before, I had waited for a bus outside of that church for an hour, listening to a skinny woman with a red wig tell me her life story. It was a hell of a sad life. I remember her face when the rain came down in the middle of her tale about a draining liver.
“See?” she had said, shaking her head knowingly. The rain had been another proof of the hell of her life. She didn’t seem to notice that the rain was falling on me, too.
The Holy Name Church of God’s Friends was a four-story red brick building with a big sign. When I stepped through the thick wooden doors I could tell what kind of church it was. The ceiling went up about ten feet and I didn’t see any second floor. The front of the church was a facade, a store front, a prop to make it look as if the church went up four stories, three closer to God than the truth. I wondered who the people of the church were trying to fool, God or the street trade. I didn’t much care.
A guy with a thick, white, turned-around collar greeted me at the door. He had red cheeks and messy white hair. He looked like a priest.
“You’re a little late,” he whispered. “The short is already on.”
I gave him a nod and headed for the door in front of me and behind him. He touched my hand gently.
“We would appreciate a donation to the church,” he said humbly.
“And if I don’t want to give a donation?”
“Well,” he whispered, “I’ll just call a few people and throw your ass out of here.” The benevolent look never left his face.
I smiled and coughed up a buck. He took it and stuffed it in his pocket.
“Enjoy the movie, son,” he said.
“Thank you, Father,” I said.
“No,” he corrected. “In this church I am called Friend. Friend Yoder.”
I left him standing in the hall and stepped into the dark room. I couldn’t see much except the beam of light from the projector and restless shadows. The projector grinded, feet shuffled, old women cou
ghed, and a baby revved up for a hell of a cry.
The short was an English thing about a train carrying mail to Scotland. I watched for a minute or two while my eyes got used to the dark. An English narrator was reading a poem about postal orders. It sounded kind of sing-songy. It had something to do with carrying mail and how great it was. I found a wooden seat next to a woman holding a kid who couldn’t have been more than three. The kid decided to look at me instead of the picture. I couldn’t tell if the kid was a boy or a girl, but I could tell that someone should have wiped his nose when he was two.
I played goo with the kid till the picture ended. The lights went on and I could see the place was crowded, mostly with old people and a couple of women with kids falling asleep or trying to get away from the arms that held them. I moved to another seat near the front and the kid at my side whined. The old man next to me smiled. I smiled back, and the picture started.
The old man chuckled when the Bert Lahr character Zeke told a pig to get in the pen before he made a dime bank out of him. No one else chuckled. Things picked up when Dorothy got to Munchkinland. I recognized the set and the soldier costume on a bunch of midgets marching. They all looked the same to me.
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