Which I did on the sixteenth floor, where the operator pointed to a door and hung around until it opened to admit me. It opened just a couple of inches until the chainlock stopped it, but that was far enough for Onderdonk to get a look at me and smile in recognition. “Ah, Mr. Rhodenbarr,” he said, fumbling with the lock. “Good of you to come.” Then he said, “Thank you, Eduardo,” and only then did the elevator door close and the cage descend.

“I’m clumsy tonight,” Onderdonk said. “There.” And he unhooked the chainlock and drew the door open. “Come right in, Mr. Rhodenbarr. Right this way. Is it as pleasant outside as it was earlier? And tell me what you’ll have to drink. Or I’ve a pot of coffee made, if you’d prefer that.”

“Coffee would be fine.”

“Cream and sugar?”

“Black, no sugar.”

“Commendable.”

He was a man in his sixties, with iron gray hair parted carefully on the side and a weathered complexion. He was on the short side and slightly built, and perhaps his military bearing was an attempt to compensate for this. Alternatively, perhaps he’d been in the military. I somehow didn’t think he’d ever served as a doorman, or an Ecuadorian admiral.

We had our coffee at a marble-topped table in his living room. The carpet was an Aubusson and the furniture was mostly Louis Quinze. The several paintings, all twentieth-century abstracts in uncomplicated aluminum frames, were an effective contrast to the period furnishings. One of them, showing blue and beige amoeboid shapes on a cream field, looked like the work of Hans Arp, while the canvas mounted over the Adam fireplace was unmistakably a Mondrian. I don’t have all that good an eye for paintings, and I can’t always tell Rembrandt from Hals or Picasso from Braque, but Mondrian is Mondrian. A black grid, a white field, a couple of squares of primary colors-the man had a style, all right.