A Cold Heart

“Even with a Ferrari to soothe the angst?”

“As he reminded us three times. A Ferrari that he pumps full of high-octane gas. Think about that: He pays a hefty premium to beef up an already high-powered engine. We’re talking an aggressive guy. Toss in a difficult ex- wife whom he continued to sleep with and money issues-”

“Julie told the other artists the split was amicable.”

“How well did they know her? Did she tell anyone about her suicide attempts?”

“No,” he said. “She talked about being in rehab, but didn’t mention that. So, what, Julie reversed the terms and started hitting on Kipper for big money?”

“Maybe she got tired of the starving-artist bit, stepped back, and realized how well Kipper was doing and decided to up her own lifestyle. Kipper could’ve liked being generous when he was calling the shots. Julie’s getting assertive would’ve been something else, completely. There was a good reason for Julie to take stock. She was entering middle age, and even her second try at art fame hadn’t made headlines. I know she sold paintings, but Light and Space isn’t a New York gallery, and the prices of her canvases haven’t gone up much since she started out. In fact, in twenty-year-old dollars, they’ve dropped. So perhaps reality finally sank in: making it solely as a painter was going to be a struggle, and she was tired of scratching by. Kipper alluded to her living in a dump. How bad was it?”

“By his standards, a dump. By mine, basic. Two-bedroom apartment in Santa Monica, the east end, off Pico. The living room was her studio. Despite being an artist, she wasn’t much for interior decorating.”

“That’s the tough part of Santa Monica,” I said. “Gangs, drug traffic.” Thinking about Robin’s place on Rennie. Tim Plachette was a nice man, a mild man, always courteous to me. Would he be of any use if things got tough?

Milo was saying, “… I’ll talk to the neighbors again. Take a closer look at hubbie.”

“See what you can learn about his financial situation. Sometimes investment pros get overconfident and reckless with their funds. If Kipper leveraged heavily on a deal and lost some big bucks, ditching his obligation to Julie might be tempting.”

“Strong hands,” he said. “He’s a little guy but still bigger than Julie. He’d be tough enough to overpower her in that bathroom.”

“Maybe he didn’t have to overpower her. She trusted him. That would’ve added to the element of surprise.”

“Trusted him to what?”

“He told us they were still having sex.”

“A tryst in that scuzzy place?”

“I’ve heard of stranger things,” I said.

“So have I, but… I think your mind’s gotten eviler than mine.”

I made a U-turn and headed back to Santa Monica Boulevard. “When Julie’s uncle asked you to take the case, did you talk to him about her?”

“Sure.”

“Was he aware of her background?”

“To him she was just the sweet, talented niece who’d gone off to New York. Far as her family’s concerned, she was Rembrandt.”

“Nice to be appreciated.”

“Yeah.” A moment later, he said, “Strong hands. Whoever strangled Julie didn’t rely on their hands, they used a wire.”

“Good way to keep the hands clean,” I said. “In addition to using gloves. Reduces the risk of leaving trace evidence.”

“Clean hands.”

“In a manner of speaking.”

***

I dropped him off, drove home, and booted up the computer. Half a dozen search engines pulled up very little on either Everett or Julie Kipper.

Three hits for him: talks he’d given at private-client seminars run by MuniScope. The identical topic each time: for high-income individuals buying tax-free bonds, going for premiums rather than discount, could actually save money in the long run.

Julie’s name came up only once: Six months ago, one of her early paintings had been sold at a Sotheby’s Arcade auction. Eighteen hundred dollars for a ten-year-old oil-on-canvas entitled Marie at Her Kitchen Table. No accompanying photo. The sale had brokered low-ticket items, few of them illustrated.

The provenance of the painting told me little I couldn’t have guessed: From the Lewis Anthony Gallery, N.Y., to a “private collector.”

I looked up Anthony. Fifty references. He’d died five years ago, but the gallery was still in business.

I thought about the pathway Julie Kipper’s life had taken. Putting herself through a drug-stoked work jag to meet the demands of the gallery owner. Three paintings.

And now one of them had been dumped by its owner for less than it had cost.

Demoralizing, if she’d known.

My bet was that she had. Somehow, someone would’ve told her.

Yet, she’d decided to chance a comeback. Perhaps the sale had spurred the comeback.

Had she created what she believed to be her best work, hoping for a second chance with another high-powered gallery, only to settle for Light and Space?

Low output meant no resale market.

Low demand for her work eliminated one possible motive for murder: someone trying to up the value of an investment because dead artists often fetch higher prices than live ones. That only applied to artists who mattered. As far as the art world was concerned, Juliet Kipper had never existed, and her death wouldn’t elicit a blink.

No, this one had nothing to do with commercial intrigue. This one was personal.

A bright killer. Forward-thinking and outwardly composed, but inside… rage tempered to something cold and measured.

When he’d first called me, Milo had called it a “weird one,” but the killer wouldn’t see it that way. To him, twisting a wire around Juliet Kipper’s neck would seem eminently reasonable.

***

I had a beer, thought some more about Julie’s luminous paintings and snuffed-out talent, and got on the phone.

The Lewis Anthony Gallery was listed on Fifty-seventh Street in New York. The woman who answered the phone enunciated the way clippers snip through cuticles.

“Mr. Anthony passed several years ago.” Her tone implied knowing such should be a prerequisite for American citizenship.

“Perhaps you can help me. I’m looking for works by Juliet Kipper.”

“Who?”

“Juliet Kipper, the painter. She was represented by the gallery several years ago.”

“How many is several?”

“Ten.”

She snorted. “That’s an eon. Never heard of her. Good day.”

I sat there wondering what it would be like dealing with that kind of thing, full-time. Growing up with a head full of beauty and the gift of interpretation, being told how brilliant you were by the people who loved you- getting hooked on the oohs and ahs- only to enter what passed for “the real world” and learn that love didn’t mean a damn thing.

Julie Kipper had faced a frigid universe that regarded the gifted as fodder.