She refused to look at him. “No, it isn’t! It’s not over ’til I say it’s over!”
“Come on, honey,” Shamus entreated. “Back off, okay? You’re scaring the crap out of me… and, besides, you’re tearing the poor man’s dress.”
Abruptly, Carmela released her hold on Monroe Payne. He fell back against the wall, angry, shaken, and nervous that a one-hundred-and-twenty-pound woman had been poised to clean his clock.
Carmela turned and stared into Shamus’s brown eyes, allowing his words to slowly penetrate her consciousness. “What did you say?” she asked.
He shrugged gently. “You were tearing his dress?”
A hint of a grin dimpled Carmela’s face. Shamus stared at her for a second, then his mouth began to twitch as well. “I thought you were gonna kill him,” said Shamus. He gave an elaborate mock wipe at his brow. “Cripes.”
Then the tension fell away and Carmela and Shamus threw their arms around each other, hugging and patting each other on the back, reassuring one another that everything was okay.
“Did I just miss something?” asked Quigg Brevard, scratching his head.
Ava shook her head. “Jeez, Carmela. Just when it looked like you were over that louse…”
Sweetmomma Pam crinkled her old eyes and beamed. “Soul mates,” she whispered. “I can see it in their eyes.”
Chapter 23
MONROE Payne confessed to everything. First in drips and drops, then in a long, rambling, self-effacing story in which he also named two other art dealers from Miami whom he swore were also “embroiled” in the scam.
“So this was all about art forgeries,” said Carmela.
Everyone had trooped back to Quigg’s restaurant afterward for some rapid decompression. Of course, in New Orleans, rapid decompression could easily allow for generous drinks and seriously fine food.
Baby and Del, Tandy and Darwin, and Gabby and Stuart had also been summoned. And now they were gathered around the tables at Bon Tiempe, as well.
“They found oil paintings with museum labels still on them stashed in those old blast freezers,” said Quigg. “Apparently Monroe Payne and Bartholomew Hayward were in cahoots. Monroe would steal an original and paint a forgery. Then Bartholomew Hayward would handle the sale of the original painting via the crooked art dealers in Miami.”
“With the forged piece going back on the walls of the New Orleans Art Institute,” said Carmela.
Now Lt. Edgar Babcock spoke up. “It looks that way. I think when all this gets out, the board of directors at the New Orleans Art Institute is going to have a lot of explaining to do. They’re going to have some very unhappy donors.” He looked around at the still-stunned faces. “The Norton Museum, too. In Palm Beach. They had someone working on the inside there, too. With the dealers trading stolen paintings back and forth.”
“So no one would recognize them,” said Baby. She shook her head sadly and Del clasped her hand. Baby was still stunned that her beloved Art Institute was part of such a terrible scandal.
Carmela took a sip of wine and thought about the photos Quigg had given her. The ones that depicted Barty Hayward hosting his American Painters Expo. Had those been stolen paintings? Probably. Probably stolen from the Norton Museum or whatever other Florida museum had been part of the scam. And she remembered something else, too. Natalie Chastain sitting in her office, accepting a painting from Monroe Payne and frowning when she touched the frame. And… what else? Maybe wiping a bit of gilt paint from her hand?
Carmela nodded to herself. Of course. Gilt paint that wasn’t completely dry. It was probably the same gilt paint that had been on the murder weapon.
Carmela stood up and wandered over to the marble sideboard to pour herself another glass of wine. No wonder Bartholomew Hayward had such an endless supply of paintings. He was part of a major conspiracy to rob public museums and reap obscene profits. Of course, with such high stakes, it wasn’t surprising Barty Hayward and Monroe Payne had gotten into some kind of argument. One that had ended disastrously for Barty Hayward.
Shamus noticed Carmela standing alone and casually walked over to join her. Touching her shoulder gently, he asked, “Are you okay?”
She managed a smile. “I’m fine.”
“God, you’re feisty.” There was nothing but admiration in his voice.
Her smile wavered. “I am? Really?”
Shamus snorted. “ ’Course you are.” He paused, gazed down at his shoes. Normally talkative and glib, Shamus seemed at a loss for words.
Carmela put a hand on Shamus’s jacket, then walked her fingers up his lapel. “You don’t really look like a mime, you know.”
A smile twitched on his face. “Thanks. You had me worried.” Shamus looked suddenly sheepish. “Carmela… I didn’t mean those things I said before. You’re still very much a part of the family.”
Carmela’s voice was soft, barely above a whisper. “I know.”
They stood for a few moments, shoulders touching. Carmela noticed that Ava was snuggled in the protective arms of Chef Ricardo. She grinned to herself. Some matchmaker she was. She’d had her eye on Lieutenant Babcock for Ava, but Ava had ended up with the hot-tempered chef. That was the thing about chemistry between men and women. Kapow-you never knew what would happen.
“I’ve been thinking,” said Carmela.
“About what?” asked Shamus.
“A joint photography show.”
A look of surprise spread across Shamus’s handsome face. “Aren’t you the creative thinker.”
“Of course, I’ll have to go meet with Clark Berthume. Show him your stuff, try to get him to agree to it…,” said Carmela.
“He will,” said Shamus determinedly. “You’re a world-champion finagler, Carmela. Always have been. You can talk anybody into anything.”
“You really think so?” said Carmela.
Shamus nodded vehemently. “Oh yeah.”
They stood together in silence, shoulders and hips touching now.
Hmm, wondered Carmela. Could I talk Shamus into giving it another shot? Into giving us another shot? She gave him a sideways glance. It’s sure worth a try, she decided. Well worth a try.
Scrapbook and Stamping Tips from Laura Childs
You can use your favorite rubber stamps to decorate beverage glasses, glass votive candles, or even mirrors and windows. When it’s time to clean up, colorful stamp pad ink can be removed in a flash using ordinary glass cleaner.
Using a piece of fabric as background for your photographs adds texture, dimension, and color. Also consider snippets of embroidery, antique lace, scraps of baby clothing, or a piece from a wedding veil.
Glassine envelopes, incorporated into your scrapbook pages, are perfect for holding photos, old letters, valentines, beads, trinkets, sand dollars, a bird feather, dried rose petals, a single earring, etc. Envelopes also give your scrapbooks a fun, interactive quality.
Scrapbook pages are more interesting when you tell the complete story surrounding an event. Get pictures of the before, the during, and the after. For example, a page detailing a child’s birthday could be told with the before (getting dressed or decorating), the during (the party), and the after (the family dog lapping a plate of cake crumbs).
The same scrapbooking techniques you’ve perfected for your albums can also be used to create beautiful collages that can be framed. Family photos, old letters, and precious documents can be mounted together in a picture frame, then displayed on a wall or desk.
Use your paper punches to create other interesting shapes. For example, if you have a heart punch and a circle punch, you can create a flower. Punch out a single circle to use as the center, then a dozen or so heart shapes to use as petals.