bootlegged unreleased recordings by those in Tooth’s musical pantheon, like Chet Baker, Nina Simone or Neil Young, and grainy tapes of scarce film noir taped off late-night television broadcasts. Among these treasures was a videotape of a ninety-minute episode of the detective show Columbo, from 1981, directed by Paul Mazursky and starring John Cassavetes as a wife-murdering orchestra conductor, the foil to Peter Falk’s famously rumpled detective. It also featured, in roles as Cassavetes’s two spoiled children, Molly Ringwald and myself. The TV-movie was something Mazursky had tossed off around the time of the making of Tempest, a theatrical release featuring Cassavetes and Ringwald, though not, alas, me. That pretty well summed up my luck as an actor, the ceiling I’d always bumped against - television but never the big screen.
Cassavetes was among Perkus’s holy heroes, so he’d captured this broadcast, recorded it off some twilight-hour rerun. The tape was complete with vintage commercials from the middle eighties, O. J. Simpson sprinting through airports and so forth, all intact. I hadn’t seen the Columbo episode since it was first aired, and it gave me a feeling of seasick familiarity. Not that Mazursky, Falk, Cassevetes and Ringwald had been family to me - I’d barely known them - yet still it felt like watching a home movie. And it led to the odd sense that in some fashion I’d already been here in Perkus’s apartment for twenty-odd years before I’d met him. His knowledge of culture, and the weirdly synesthetic connections he traced inside it, made it seem as though this moment of our viewing the tape together was fated. Indeed, as if at twelve years old I’d acted in this forgettable and forgotten television show alongside John Cassevetes as a form of private communion with my future friend Perkus Tooth.
Of course Perkus paid scant attention to the sulky children tugging at Cassavetes’s sleeves - his interest was in the scenes between the great director and Peter Falk, as he scoured the TV-movie for any whiff of genius that recalled their great work together in Cassevetes’s own films, or in Elaine May’s Mikey and Nicky. He intoned reverently at the sort of details I never bothered to observe, either then, as a child actor on the set, or as a viewer now. Of course he also catalogued speculative connections among the galaxy of cultural things that interested him.
For instance: ‘This sorry little TV movie is one of Myrna Loy’s last-ever appearances. You know, Myrna Loy, The Thin Man? She was in dozens of silent movies in the twenties, too.’ My silence permitted him to assume I grasped these depth soundings. ‘Also in Lonelyhearts, in 1958, with Montgomery Clift and Robert Ryan.’
‘Ah.’
‘Based on the Nathanael West novel.’
‘Ah.’
‘Of course it isn’t really any good.’
‘Mmm.’ I gazed at the old lady in the scene with Falk, waiting to feel what Perkus felt.
‘Montgomery Clift is buried in the Quaker cemetery in Prospect Park, in Brooklyn. Very few people realize he’s there, or that there even is a cemetery in Prospect Park. When I was a teenager a girlfriend and I snuck in there at night, scaled the fence and looked around, but we couldn’t find his grave, just a whole bunch of voodoo chicken heads and other burnt offerings.’
‘Wow.’
Only half listening to Perkus, I went on staring at my childhood self, a ghost disguised as a twelve-year-old, haunting the corridors of the mansion owned by Cassavetes’s character, the villainous conductor. It seemed Perkus’s collection was a place where one might turn a corner and unexpectedly find oneself, a conspiracy that was also a mirror.
Perkus went on connecting dots: ‘Peter Falk was in The Gnuppet Movie, too, right around this time.’
‘Really.’
‘Yeah. So was Marlon Brando.’
Marijuana might have been constant, but coffee was Perkus Tooth’s muse. With his discombobulated eye Perkus seemed to be watching his precious cup always while he watched you. It might not be a defect so much as a security system, an evolutionary defense against having his java stolen. Once, left alone briefly in his place, among his scattered papers I found a shred of lyric, the only writing I ever saw from Perkus that wasn’t some type of critical exegesis. An incomplete, second-guessed ode, it read: ‘Oh caffeine! / you contemporary fiend screen / / through my face - ’ And yes, the sheet of paper was multiply imprinted with rings by his coffee mug.
It was impossible for me not to picture the fugue that eventually produced this writing being interrupted by