Tough Cookie (16 page)

"Of course not." Never tell clients the problems they're causing you, even if you long to strangle them for their sudden changes of plans. As he packed up the wine-invitations, I said, "There's dinner in the refrigerator for you, Arthur. Gift from me. Instructions are on the counter."

"Okay, thanks." He spoke with more fatigue than gratitude. He glanced at the paper on the counter, then gave me a curious look. "That's what you did while I was changing? Wrote out all those instructions?"

"Well, yes - " What did you think I was going to do, just sit here?

"Hmm," was his only comment as his eyes flicked around his kitchen. I had the distinct feeling that he suspected I'd stolen something while he was out of the room. Without saying more, he picked up the box of bottles and led me toward the front door. In the hallway, he clumsily turned to check that a door beside the kitchen entry was locked. Then he glanced at one of the figurines on the hall table.

It was a Dresden shepherdess, I noted. Gee Arthur, I thought, why not hoist a neon sign saying Valuables Here! Why else would he lock a door inside his house? What did Arthur have that was so valuable?

Wines? Duh, Mom.

I carefully reversed the Rover down the snowy driveway, then waited as Arthur's garage door slid open and he backed out. No Subaru for him, but a huge, shiny, black Escalade, the Cadillac of four-wheel-drives. He'd decorated the grille with a bushy green Christmas wreath. His vanity plate read: VinGeek. Either he'd inherited a bundle or the wine business was great. But if either possibility were true, why would you work as a PBS floor director? Arthur was an enigma, I decided, as I drove into Killdeer to find the Gorge-at-the-Gondola Café.

I knew her as soon as I stepped into the restaurant: the golden mane of hair, the strong-featured, slender face. Boots Faraday even looked artistic. With her head tilted, she'd fixed her gaze out the window. She wasn't expecting me, so I watched her while coming up with my lines of introduction.

A sudden crash made her turn. Next to her table, a chubby, tow-headed toddler had tripped over his ski boots and toppled to the floor. He was crying with fear. Without missing a beat, Boots leaned over and scooped the boy up. In one fluid movement, she lifted him, boots and all, to his mother. When the mother declined to take him - he had to weigh over fifty pounds in those boots - Boots playfully threw the child up into the air and caught him. Both of them squealed with laughter.

So: artistic-looking, and strong as an ox. Her angular, British-film-star face was complemented by a long, lithe, muscular body. Unfortunately, as soon as she had the delighted boy righted on his boots, she straightened and caught sight of me. If you could chill someone with a look, I'd say I'd just been flash-frozen.

I gripped her wine bottle and made my way resolutely across the crowded room. If what Tom had said the previous day was true, my own motives for meeting with Doug Portman could be called into question. I really needed to chat with Boots, to find out what she'd seen the previous morning, and, if I was lucky, what she knew. But did she know who I was? Why had I received that icy look? Boots Faraday did not exactly look thrilled at the prospect of chatting with me. My heart sank.

"You're the artist, right?" I blurted out when I arrived at her table. "Boots Faraday, the collage person? This wine and buffet invitation is for you. It's from Arthur Wakefield, but he had to go to Denver. A little problem with Customs."

Intense blue eyes assessed me: Was I friend or foe? I introduced myself and said I was a caterer and personal chef, maybe she'd seen Cooking at the Top! She nodded slightly, and I plunged recklessly on: "I love your work. I've just bought one of your collages for my husband for Christmas. I'd love to hear a bit about how you create your collages. I'll pay for my own meal, of course. Or, do you not like to eat with fans?"

In the face of my obnoxiousness, she stared down at her silverware and ran a long-fingered hand along the knife. Her face remained unreadable.

"It's okay if you don't want to lunch with a stranger," I gushed. "People are always wanting me to talk about recipes. Frankly, I'd rather not talk than hear tales about substituting cooking sherry for Dry Sack - "

She lifted her eyes at that, and smiled, Mona Lisa-ish. "You're the one with the eggshells in the cookies." Her voice was deep and pleasant. "I saw the show." She paused. "The annual fund-raiser in memory of Nate Bullock is very dear to my heart."

I placed the wine on the table. "Oh, really? How I come?"

Arthur probably told you Nate Bullock and I were good friends."

"That Arthur! No, he didn't mention it."

Boots glanced out the window again. Was she looking for someone? "I thought my old friendship with Nate Bullock was the reason Arthur asked me to do some collages for the set." She turned back and regarded me. Her formidable blue eyes were clouded, inscrutable. "You can sit down."

Her table afforded a panoramic view of the base of Killdeer Mountain. The investigators must have finished, for skiers and snowboarders now raced down the runs. When our waitress shuffled up, 1 ordered while Boots tucked the wine bottle into her large leather handbag. Boots said, "Ditto," to a Chicken Caesar Salad. Not sure where to start with her, I launched us into an emotionally flat exchange of pleasantries about food, wine, and living in Killdeer.

Boots seemed enigmatic, almost on her guard. Maybe it was because she was famous and met adoring fans all the time. I gabbled on, pretending not to notice. By the time we were taking dainty bites of crisp romaine lettuce sprinkled with hot grilled chicken, freshly grated Parmesan, and butter-sautéed croutons, every innocuous subject had been exhausted.

I moved my plate aside. Now or never. How to broach the subject of Doug Portman without seeming nosy? On the other hand, I'd probably already hit the top of the Intrusivity Chart by crashing her lunch.

"The collage I bought was 'Spring Detritus,' " I began. "And I've seen your work allover. Being in a small town like Killdeer, was it hard to establish an art-making career?"

Her deep laugh was rich and seductive, and made me smile. Then she narrowed those startling blue eyes. "You must think I'm pretty dumb."

My smile melted. "Excuse me?"

The eyes once again turned chilly. "What's this about, really?"

I fiddled with the side of the plate. Uh-oh. "What is what about?"

"Just tell me what you really want to know. Aside from" - she raised her voice to mimic my question - "if it was hard to establish an art-making career?" Her eyes mocked me.

"Uh, I'm just a caterer who bought one of your - "

"Cut the crap."

"I - "

"Why are you here?"

"Well, I am doing a personal-chef gig for Arthur Wakefield, and he did ask me to bring you the wine. I bought one of your pieces and I do want to know about your career. And" - I took a fortifying breath - "since you're a local artist, then you must know, have known, Doug Portman. The local art critic."

She tilted back in her chair and narrowed her eyes. "You want to know if I knew Doug Portman? Why?"

"I . . . was supposed to meet him after the show yesterday," I confessed. "As you no doubt have heard, he was killed skiing down from the bistro before we could meet." Time to tell the truth. "The sheriff's department is classifying his accident as a suspicious death. That's why they had to close the mountain for so long this morning." Boots lifted her eyebrows. "As I'm the only one who seems to know why he was carrying a lot of cash when he died, the police are asking me a bunch of questions. Believe me, you don't want to be the one the cops are questioning, when it's a suspicious death."

"Really."

"Anyway," I continued, "once I figured out you were the artist who was hanging work yesterday morning, I was wondering if you saw anything. . . you know, strange. With Doug, I mean."

"No, I didn't," she replied immediately, then looked away, out the window.

"No, you didn't? Did you see Doug at all? Was he talking to anybody during the show? Did he seem upset? Sick? Can't you tell me anything?"

She swiveled to face me. "I read that article on you, you know. The one in the Killdeer Courier that Arthur placed to publicize your cooking show."

"An article? Actually, publicity for the show is Arthur's department - "

"You should have read the article," she interrupted me sharply. "It said you were a caterer, and that you were starting in the personal chef business." I shook my head and opened my eyes wide, as in So? "And that's not all. Let's – see -'Goldy Schulz is also known for occasionally, and unofficially, helping her husband - a homicide investigator - solve crimes. So if she cozies up to you for a chat, you might want to call your lawyer.' "

"Is that why you think I did Arthur's wine delivery for him? To cozy up to you?"

"Isn't it? Everyone knows I was no friend of Doug Portman. Doug Portman was a rotten judge of art who thought he was very smart. His ignorance hurt people. Including me. So what's the real point of you asking me about Doug Portman at the bistro?"

"Whoa. Listen. I do love your work. I do want to know how you got started. And it would be helpful if you could tell me if you saw anything suspicious on Friday. That's it. You don't want to talk, just say so."

She snorted impatiently. "I'll let you know if I mind talking. Regarding your first question. I tried to make a living as a painter of large abstract oils. Critics, including Doug Portman, loved them. I didn't sell a single one."

"That's too bad - "

She lowered her voice and held up an imaginary magazine. "'Ms. Faraday's groundbreaking canvases depict violence with passion, color, and ontology.' "

"Doug said that?"

"Are you kidding? Doug Portman wouldn't have known the difference between 'ontology' and 'on-line trading.' Those lines were from some Denver critic. Anyway, I needed to pay the rent, so I tried my hand at making collages. Some critics dismissed them as 'craftwork.' Most ignored them. Unfortunately, our one local critic, Doug Portman, hated them because they were small and intimate, not grand or grandiose."

"I'm sorry." Her smile was a thin slash. "Don't be. I sold every one of those first collages. I even enjoyed ignoring Doug when he referred to my work as” - here she lowered her voice again - " 'saccharine and domestic.' I formed the Killdeer Artists' Association, so the artists in town could network to make money instead of being jealous and competitive. Eventually, a few magazine writers did pieces on my work, and I received a stream of orders. Now I have a tidy little business, and I don't give a hoot about passion and ontology." She speared a piece of chicken. "Ready for the answer to Question Two? No, I didn't see anything Friday morning."

Watch it, I warned myself. I stalled by taking a sip of water. Actually, I had thought of a couple more questions, on the subject of Nate Bullock and his pregnant widow. If Boots Faraday felt so close to Nate that she came to the annual fund-raiser held in his name, maybe she knew what was going on with my old friend Rorry.

"I admire your spunk," I commented with a smile, then pretended to ponder a bit. "The Bullocks used to live in Aspen Meadow, where I'm from. You mentioned an artists' association. Is that how you got to know Nate?"

"Yes, I met Nate through KAA." Her answer was curt, as if she were suddenly under legal cross-examination. "He was a good cameraman, but public television doesn't pay that much. He joined the artists' association when he was trying to make some extra money. Then he died."

"Nate wanted to make extra money? Doing what?"

Her face turned rigid. "I really can't say."

"But. . . he's been dead for three years. Look, Boots, Rorry was my friend. A long time ago, we taught Sunday school together. She seemed so terribly unhappy yesterday - "

Boots snarled: "Don't get me started on Rorry," then seemed to regret it. After a moment, she continued in a steadier voice: "I'll tell you why Nate wanted extra money. When you taught Sunday school with Rorry, was she complaining about wanting to have children, but not being able to afford it?"

I thought back. Had she? I only remembered her wistful admiration for Arch, then a toddler. "No. . . but that was years ago. I'd love to get in touch with her again - "

"She works for Killdeer Corp. I think she's still in the same trailer where she and Nate lived. Shouldn't be hard to find."

"Was Nate trying to make that extra money when he died?"

Boots glanced out at the gondola whizzing along, high above the beautiful, treacherous mountain. "I told you: I can't say exactly. He had some film ideas, he had his PBS work. That's what I know."

I got the distinct feeling that that was not all she knew. But I said only, "Rorry is pregnant now. Do you know if she's seeing someone?"

"Man, you don't quit, do you? I don't know anything about Rorry Bullock's social life. She doesn't confide in me." She took a bite of salad and regarded me warily over her fork. "The gallery called and told me you were in this morning. You turned your nose up at their show and went straight to my stuff. Now all of a sudden you're my biggest fan, pumping me with questions about my career, Doug Portman, and Nate and Rorry Bullock. Why?"

The waitress reappeared. I ordered a double espresso and a brownie with vanilla ice cream. Boots declined anything.

"I just wanted to find out more about Doug Portman. That's all. Asking about Rorry popped into my head when you mentioned Nate. Honest."

"And why do you want to know about Portman?"

I sighed. "I told you that already. If you don't want to believe me, don't."

Again she tilted her chin back in appraisal. "How do you take to criticism? I find myself wondering what you thought of the first two sentences under your photo in the Killdeer paper? 'Some call her the corpulent Queen of Cream. But this caterer is one tough cookie'?"

I shook my head. The Killdeer paper was not part of my regular reading material, I was happy to say. Which was probably a good thing, since discussing it filled Boots's voice with vitriol. How she must have hated Doug Portman, with his uncomplimentary critiques. I replied tentatively, "I'd say I'm a tad shy of corpulent - "