Sarah.'
'You do?'
I nodded. 'That you had to tell Detective Bonnell that Denny and my ex-wife had a small affair.'
She put her head down, stared at her lap, at her fingers knotted around her handkerchief. 'I'm sorry.'
'I understand.'
'Really?'
'Yeah. Really, Sarah.'
'I was afraid you'd…' She shook her head, started crying again. '…afraid you'd hate me.'
I can't tell you why, but watching her just then I was struck by a false note. Maybe it was the way she started and stopped crying with such regularity. Maybe it was the curious lack of conviction in her apology. Whatever, I was aware that I was watching a performance rather than anything spontaneous-but I couldn't pinpoint why.
Which led me to wonder for the first time-letting my anger and suspicions come out-why she'd 'had to' tell Bonnell about Denny and my ex-wife at all. Had he come right out and asked her if she suspected that I was the killer? Damned unlikely. How had the subject come up unless she'd brought it up herself?
'Why don't you go home, Sarah,' I said, as kindly as possible.
She glanced up. Started sniffling again. She was a bad actress.
Looking at her, I realized I was in the throes of a kind of madness. I didn't trust Sarah, Clay Traynor, Cindy Traynor, Bonnell, or Merle or Julie Wickes-and I saw all of them as knowing far more than they were letting on. I needed to turn to somebody, talk to somebody-but who? When you get that sense of isolation, that sense that you can confide in no one, then you're easing open the door of madness and peering inside.
Sarah stood up.
'I just can't imagine who'd do anything like this,' she said. 'He… he had his faults but…'
That was the only genuine-sounding thing she'd said since coming in here. Even when he was dead, she wanted to mother and protect him. Maybe in a curious way I felt jealous-that she'd never expressed any protective feelings toward me. Apparently I wasn't the kind of guy women enjoy mothering.
I walked her to the door. She kissed me on the cheek with her warm, wet face, then clutched my hand. It was the kind of thing you expected at graveside, very dramatic rather than low-key and earnest.
Then she turned back and stared at me a moment. 'I know you may not believe this, but deep down, he really respected you. I know he did.'
Sure he did, Sarah. About as much as I respected Hitler.
I spent the next few hours going over the work load that lay ahead for the next few weeks. If I needed any reminder of how critical the Traynor account was to the preservation of Harris-Ketchum, this was it.
Two television and six radio spots and four print ads needed to be produced for the Traynor account, along with forty-two different pieces of collateral, meaning brochures, catalog pages, point-of-purchase cards, etc. Much of the work would yield us fifteen percent for placing it in various mediums, all of which amounted to several hundred thousand dollars, and this for a very small campaign. In the parlance of the trade, Traynor was a 'cash cow,' meaning it could be milked for our sustenance.
And-if we were to meet overhead-it needed to be milked for every possible penny.
Not noble, perhaps, but true.
Around three, with a headache starting to work through my frontal lobes, I decided to walk through the shop, kind of an inspection now that I would be running the place myself. I wasn't sure what provisions Denny had made in his will for his part of the agency, but I felt sure he would have left it to somebody outside the business.
Ordinarily, I didn't like walking the length and breadth of the shop because it was too much like spying: Douglas Mac-Arthur inspecting all the funny little yellow troops at his command. Today, though, alone, I picked up layouts, looked at copy, played some videotapes, and in general learned that we could turn out good creative work on a rather consistent basis.
I was headed back toward my office after spending an hour in the shop when I heard the noise coming from Denny's office.
At first I thought it might be Bonnell back again, but there was a furtive edge to the sounds of drawers being opened and closed, closets being searched…
On impulse, I picked up a knife used for cutting packing tape as I moved closer to Denny's office…
They were so busy they didn't even hear me. Both of them looked sweaty, almost feverish, they were working so quickly.
'Hello,' I said.
Sarah Anders looked up first. Her tears were long gone, replaced now with a resolute kind of anger.
Then Gettig whirled to look at me. He had been working on the wall safe Denny kept behind the framed photograph of his father, while Sarah had been working through the bookcase, dropping books as she went.
As usual, Gettig was dressed like the lead in a beer commercial. Today he was trying to look like a Jack London seaman-thick black turtleneck, heavy belt holding up designer jeans. I almost expected him to call me 'matey.' Instead, he said, 'Get the hell out of here.' Then he started stalking toward me.
I'm not going to pretend that I'm tough, or even especially physically adept. But at that precise moment I had two things going for me. One, I was composed enough that I could set my balance; two, I genuinely disliked Gettig, which made what I was about to do a very pleasant task.
I got him a good clean shot across the jaw and he sagged before I could get him with another one. He slumped against the desk, his eyes vague.
Sarah grabbed my arm. 'Don't hit him again, Michael. Please.'
It was in her voice and gaze, something I wouldn't have ever suspected. I wondered how and when they'd gotten together-and why. I couldn't imagine an intelligent, sensitive woman like Sarah with a cartoon like Gettig. But there it was-pity and fear and passion in her eyes and voice all at the same time.
'What are you looking for Sarah?' I snapped.
'Just…' She seemed on the verge of talking when Gettig regained his feet.
'Don't tell him a damned thing!' he said.
Sarah flushed. 'Ron, please…'
I thought of Sarah's plump, friendly husband sitting out in the suburbs somewhere. Well, I supposed that for all his flaws, Gettig was exciting in his foolish way…
'Get out,' I said. Obviously neither of them was going to talk.
'He's got something of mine,' Gettig said, rubbing his jaw. 'I want it.'
'Take it up with his estate.'
Sarah, sensing that the punches were going to start flying again, took Gettig's arm. He wrenched it away violently. She looked as if God had just spurned her.
Then Gettig said, 'C'mon,' and stormed out.
She stared at me then followed him out, turning back only at the last. 'Denny really did have something that belonged to Ron.'
I thought of Clay Traynor using similar words to explain why he'd gone out to Denny's last night.
'Sarah, why the hell would you get mixed up with somebody like Gettig?'
Anger flashed across her eyes. 'You don't have a right to judge me!'
Her words hurt me just enough-obviously I did have a tendency to be overly judgmental-that I could do nothing but shake my head.
Then she followed her lover out and disappeared down the hall.
For the next ten minutes the echoes of all the anger rang in the room. I sat in Denny's desk chair and thought of the better times when we'd been younger and gotten along. I looked at the awards that covered one entire wall and thought of all the great work we'd done over the years, despite any number of personal ups and downs.
It was while I was mellowing out that I started wondering again what it was that Gettig and Sarah had been looking for. On the floor around my feet were small piles of stuff they'd left from their search. I started putting the things back into the drawers they'd been taken from.
Which was when I found the newspaper clipping about the robbery.
At the time it didn't make the least bit of sense to me and I wondered why Denny had kept it in his desk at
