Tami Hoag: Secrets to the Grave

She watched him approach, her expression guarded. Her window was open. He guessed she probably wanted to close it, turn the car around, and leave.

“Mrs. Morgan.”

She remained in the car. “What’s going on? Has something happened? Is Marissa here? Is she all right?”

“You had an appointment with Ms. Fordham?” he asked. “What kind of an appointment?”

“Where is Marissa?” she demanded, annoyed and frightened. “You can answer my question first, Detective.”

“Ms. Fordham is deceased,” he said bluntly, and watched the color drain from her face.

“Was there an accident?” she asked in a thin voice, her hands clenching and unclenching on the steering wheel. “Did she have an accident?”

“No, ma’am,” Mendez said.

Sara Morgan looked past him toward the house, murmuring, “Oh my God. Oh God.”

Tears magnified her eyes.

“I’m sorry, ma’am,” Mendez said.

“What about Haley? Where’s Haley?”

“She’s been taken to the hospital.”

“Oh my God.” Two big crystalline tears spilled over her lashes and rolled down her cheeks. She had begun to tremble.

“How did you know Ms. Fordham?” Mendez asked. “Were you friends?”

“I can’t believe this is happening,” she murmured, her focus still on the house.

“The deputy told me you had an appointment. What kind of appointment?”

“What?” she asked, coming back to him as if she were a little startled to see him, to hear him speak.

“Your appointment was for what?”

“Marissa is—was—teaching me to paint on silk,” she said, struggling with the change of verb tense as if it were something surprising and bitter in her mouth. “She’s an extraordinary artist. Was.”

“You teach art, don’t you?” Mendez asked.

She shook her head dismissively. “Community Ed. It’s nothing. Marissa ... Oh my God. She’s dead. Why would somebody do that? Who could have done that?”

“How well did you know her?” Mendez asked.

Sara Morgan shrugged. “I don’t know. We were friends—friendly—casual friends.”

“Do you know if she was seeing anyone?”

“No. I wouldn’t know that. We never talked about anything like that.”

“You don’t know anything about the little girl’s father?”

She seemed annoyed he would ask. “No, of course not.

“I would really like just to leave now, Detective,” she said. “I’m sure I can’t help you. I would like just to go home. This is very ... I don’t even know what to say.”

Mendez ignored what Sara Morgan wanted. “I didn’t see a studio in the house. Where did she do her work?”

“The studio is in the old barn.”

“Would you show me?”

“It’s right there. Behind the house. You don’t need me,” she argued.

“You might be able to tell if something is missing.”

“Missing?” she asked. “You think someone came to rob her? You think she was killed because someone wanted to steal her art?” she said, becoming more agitated. “That’s crazy.”

“Can you think of another reason someone would want her dead?”

“Of course not!” she snapped, slapping the steering wheel in frustration. She had gauze around her hand and blue Smurf Band-Aids on three fingers. “How could I possibly know that?”

Several more tears squeezed over the edges of her lashes. Mendez took in her reactions, feeling bad for her. She had just lost a friend. He couldn’t blame her for being upset.

“Can you show me the studio, please?” he asked again.

She wanted to say no, but in the end turned her car off, resigned. Mendez opened her door for her.

They walked together beneath the pepper trees toward the barn. Sara Morgan was in bib overalls streaked with paint, splotches of yellow, swipes of red. It wasn’t hard to imagine her with paint on her hands, on her chin, on the tip of her pert nose. And it would look good on her, he thought. Even though the morning had turned warm, she hugged herself hard, as if she were freezing and trying to stop the shivers.

“What happened to your hands?” he asked, noting that the fingers on her right hand sported a couple of Smurf Band-Aids as well.

“I’m working on a multimedia piece that includes wire and metal as part of it,” she said. “It’s difficult to work with, but I don’t like to wear gloves.”

“Suffering for your art?”

She made a little sound that might have been impatience or sarcastic humor.

“How is Wendy doing?”

She frowned down at the ground and her old Keds tennis shoes. “She’s having a hard time. She still has nightmares about finding that body in the park and about Dennis Farman trying to hurt her. She misses Tommy. She thinks you should be looking for him.”

“We are,” he said. “Trying to, anyway. We just don’t have a clue where to look. Janet Crane hasn’t contacted anyone—or the relatives aren’t talking if she has. There’s no trail to follow. We just don’t have anything to work with.”

“I guess if I found out my husband was a serial killer I would take my child and disappear too.”

The big sliding door that led into Marissa Fordham’s barn/studio stood open by a couple of feet. The space had been converted to a large work area at one end, and a gallery at the other. The morning sun poured in through a wall of windows, bathing everything in buttery yellow light.

“Oh, no,” Sara Morgan said, as they stepped inside. “No, no, no ...”

It should have been a beautiful space. It probably had been a beautiful space filled with Marissa Fordham’s extraordinary art—all of which had been torn and ruined, slashed and broken. Paintings, sculpture—all of it now nothing but debris, the detritus of a murderer’s rage.

Sara Morgan put her hands to her face and started to cry, mourning not only the loss of the woman she had known, but the loss of the beauty Marissa Fordham’s soul had expressed in her art. She slipped inside the door, careful not to step on anything, and squatted down and reached out toward a small impressionistic painting cut almost in two. A small dark-haired child in a field of yellow flowers.

Mendez gently put his hand on her shoulder. “Please don’t touch anything, ma’am. This is a crime scene now.”

7

“I don’t understand why someone would do that. Any of it,” Sara Morgan said quietly. She sounded defeated, worn-out.

Mendez walked with her away from the barn as the crime-scene team moved in. There were more photographs to be taken, more fingerprints to search for. She went to an old rickety-looking park bench situated under an oak tree and stared at it.

“Can we sit?” she asked. “Is this a crime scene too?”

“It’s all right. Have a seat.”

The bench under the tree seemed a small, untouched oasis between the carnage in the house and the carnage in the barn. An old washtub had been planted with fuchsia, and delicate purple lobelia spilled over the sides. A folk art fairy suspended from a branch smiled as she reached a magic wand over the wild growth.

Sara Morgan reached out and touched the sparkling gold end of the wand, no doubt wishing for a transformation of the day and the terrible things that it had brought with it.

Do over.

“I’m sorry you’re going to be dragged into this for a while,” Mendez said, taking the opposite end of the bench. He sat with his forearms on his thighs, feeling the hours press down on him as the last blast of caffeine subsided.

Sara Morgan said nothing. She sat looking down at her bandaged hands in her lap. Blood had begun to seep through the gauze.

“Can you tell me who some of her friends were?” he asked. “People we should talk to?”

“The Acorn Gallery sells a lot of her work. The people there would know her well.” She continued to look down into her cupped hands as if she could see visions there, pictures of Marissa Fordham and the people she knew.