Sue Grafton - I is for Innocent

"Hey, wait a minute. I got news for you. I don't make up the facts. I'm being paid to investigate-"

She cut in. "Oh, right. That's a good one. And who paid you? David Barney, by any chance? He's good-looking and single, I'm sure he'd be willing to cut you in on the deal."

"Of course it wasn't David. What's the matter with you? If she committed a crime-"

"The girl was sixteen years old!"

"The girl was drunk," I said. "I don't care what age she was. She has to take responsibility-"

"Don't try that righteous tone on me. I don't have time for this," she said and began to walk away. She reached her car and fumbled with her keys. She got in and slammed the door shut.

"You're pissed because this gets David Barney off the hook."

She rolled the window down. "I'm pissed because David Barney is a horrible man. He's despicable. I'm pissed because good people have to suffer while the bad people walk away with everything."

"You think just because you don't like some guy it's okay to see him falsely convicted of murder?"

"He hated Iz." She put the key in the ignition, turned the engine over, and released the hand brake.

"That doesn't mean he killed her. You were not exactly without a motive yourself."

"Me?"

"The accident you were involved in was her fault, wasn't it? I heard she was drunk and left the car in the drive without the brake pulled on. Because of her, you lost any hope of having children. That's a big price to pay when you'd been cleaning up after her for most of your life. It couldn't have sat well with you-"

"That's ridiculous. People don't murder other people over things like that."

"Of course they do. Pick up the newspaper any day of the week."

"David Barney's full of shit. He'd do anything to shift the blame."

"This didn't come from him. It came from someone else."

"And who was that?"

"I'd rather not go into that…"

"Well, you're a fool if you believe it."

"I didn't say I believed it, but the point is a good one."

"Which is what?"

"Other people had a motive for wanting her dead. We've all been so busy believing David Barney did it, we haven't looked at anyone else."

She seemed momentarily stumped by the thought and then her gaze shifted slyly. "Well, then. Why don't you look in the right direction?"

"What are you saying?"

"I'm saying Yolanda Weidmann. Isabelle wrecked Peter's business pulling out when she did. He really promoted her career. He put in a lot of time and money when no one else would lift a finger. You have to understand just how crazy Isabelle was. Erratic, self-destructive, all the booze and the dope. She didn't have a degree. She didn't have a reputation until Peter took her up. He was her mentor and she shafted him royally. She turned her back on him after all he did. And then, that heart attack of his. That was the finishing touch. In theory, it was brought on by stress and overwork. The truth is, she broke his heart. That's the long and short of it."

"But he didn't seem bitter when I talked to him."

"I didn't say he was bitter. Yolanda's the one. She's really a spider, not a woman you'd want to cross."

"I'm listening."

"You've met the woman. You tell me."

I shrugged. "Personally, I couldn't stand her. I spent half an hour over there and she put him down constantly, all these barbs and zingers, little ha-has at his expense. I'd rather see a knock-down, drag-out fight. At least it's honest. She seemed… I don't know… wily."

Simone smiled slightly. "Ah, yes. She's very cunning. Under it all, I assure you, she's fiercely protective. She can treat him any way she likes, but you try it and look out! I think it makes her a very good candidate."

"But the woman must be sixty-five years old if she's a day. It's hard to believe she'd turn to murder."

"You don't know Yolanda. I'm surprised she didn't do it sooner. As for her age, she's in better shape than I am." She broke off eye contact and her manner became brisk. "I have to go. I'm sorry I blew my stack." She put the car in reverse and backed out of the slot. I stared after her with interest as she pulled away.

I retraced my steps, moving toward the entrance. I could see Henry heading off across the parking lot toward his car. The first cluster of mourners had dispersed to some extent and those who remained in the chapel were just emerging. William appeared from the cool depths of the funeral home, looking somehow offended and confused. He was holding his fedora, which he placed squarely on his head with a slight adjustment to the brim. "I don't understand what denomination that was."

"I think the service is meant to cover all bets," I said.

He looked back over his shoulder at the facade with disapproval. "The building looks like a restaurant."

"Well, you know, eating out is close to a religion these days," I said dryly. "People used to tithe to the church. Now the ten percent goes to the waiter instead."

"It wasn't very satisfactory as funerals go. In Michigan, we conduct these services properly. I understand there's not even going to be a graveside ceremony. Very disrespectful, if you ask me."

"It's just as well," I said. "From what I know of Morley, he didn't have a highly developed spiritual side and he probably wouldn't have wanted any kind of fuss made about his death. Anyway, his wife is ill and might not have been up for more than this." I didn't mention that the body would probably be whisked over to the coroner's office within the hour.

"Where did Henry go?" William asked.

"He's bringing the car around, I think."

"Will you be coming back to the house with us? We're having a light lunch on the patio and we'd be happy to have you join us. We invited Rose, hoping to reciprocate her many courtesies."

"I wish I could, but I have something to take care of. I'll stop by a little later and see what you're up to."

Henry pulled up beside us in his five-window coupe. It's a 1932 Chevrolet that he's had since it was new. It's been meticulously maintained, boasting the original paint, headliner, and upholstery. If William were driving it, I suspect the car would seem prissy. With Henry at the wheel, there was something rakish and sexy about the vehicle. You have to keep an eye on Henry as he's still very appealing to 'babes' of all ages, including me. I could see people turning to admire the car, checking him out afterward to see if he was someone famous. Because Santa Teresa is less than two hours away from Hollywood, a number of movie stars live in town. We all know this, but it's still disconcerting when some guy at the car wash who looks just like John Travolta turns out to be John Travolta. I saw Steve Martin driving through Montebello once and nearly rammed into a tree trying to get a good look at him. He's Technicolor handsome, in case you're wondering.

William got into Henry's car and the two rumbled off. There was still not a hint about the trap Rosie meant to spring. Whatever her intention, it was still early in the game. William did seem less self-absorbed today. We'd actually made it through a three-minute conversation without reference to his health.

I drove back into town, taking the freeway south on 101. I got off at the Missile off-ramp and headed east until I reached State Street, where I hung a right. The Axminster Gallery, where Rhe Parsons's show would be opening that night, was located in a complex that included the Axminster Theater and numerous small businesses. The gallery itself was located along a walkway that ran behind the shops. I parked on a side street and cut through a public lot. The entrance was marked by a hand-forged iron sign. A panel truck had been backed in close to the door and I could see two guys unloading blocks wrapped in heavily quilted moving pads. The door was standing open and I followed the workmen in. The entry was narrow, probably scaled down for effect, because I quickly passed into a large room with a thirty-foot ceiling. The walls were a stark white and light cascaded down through wide skylights, currently cranked open to admit fresh air. A complicated arrangement of canvas, cording, and pulleys was affixed at ceiling height so that the fabric shades could be drawn across the opening if the light needed to be cut. The floors were gray concrete carpeted with Oriental rugs, the walls hung with batiks and framed watercolor abstracts.