She owed herself some pleasure this morning, which was the reason she’d stopped here in the first place. She’d been on her way into Hilliard with a load of dirty laundry when she’d spotted the gallery and decided to stop in and put off her chores a little longer. Not that anything she experienced today would be truly pleasurable; she was tired and had one of those scratchy headaches that come from a restless night. Jan had not returned until almost midnight, long after she had crawled into the four-poster; and when he’d come in he had tiptoed around, obviously thinking her asleep and trying not to wake her. If she could have asked him why he’d lied to her, perhaps found out that he’d simply overlooked the half-full tobacco pouch, then she might have rested better. But somehow she had preferred uncertainty to the prospect of a long middle-of-the-night confrontation. And now she was paying for it with a headache.
Ignoring the pain, she stepped back and studied the canvas from a different angle. No, it wasn’t really good, but she had to admire the artist’s raw talent. She herself had that talent, a compulsion to translate her perceptions and thoughts into lines, shapes, and colors. Once, when she’d first moved to New York after graduating from Stanford, she’d thought she might become a serious painter. But there had been a semi-famous painter (married) under whom she had studied (in more ways than one). He had claimed to understand and appreciate her talent, but what she had taken for professional ardor had in reality been simple middle-aged desperation and need for sexual reassurance. When their affair had ended (back to wife, reassured), she had emerged wiser and a touch cynical. She had set aside her dreams of serious work, studied and learned the craft of a commercial artist. She was good at it, too, she’d always known that, even if it had taken her a long time to become established.
The years they’d spent on the East Coast had been lean ones professionally. Jobs were few, commissions for free-lancers even scarcer. But once they’d returned to California, her career had taken an upward turn. Over the years she’d done whimsical watercolors and bold sketches for children’s books; botanically accurate pastels of regional plants and trees for a series of textbooks; pen-and-ink drawings for a special edition of a Jack London novel; illustrations for trade magazines and house organs. Once she’d even illustrated a crochet book-endless diagrams of wool being manipulated with a hook, until she could have crocheted an afghan in her sleep. And next there would be the partnership in the design firm, and the new challenges that would bring. But first there were the drawings for Jan’s book-a challenge also, if not a particularly difficult one. What appealed to her about the project was the chance for the two of them to work together, bringing one of Jan’s dreams to fruition. They’d never had anything they could work together on before…
Alix turned as the dark-haired woman reappeared and came around the sales desk. She was about forty, handsome in a strong-featured way, and the lines of her face spoke more of worldly experience than of age. In spite of her wiry appearance, she had large breasts and gracefully curved hips that were evident even though she wore a loose brown tunic top. Alix noted her full figure with a certain envy; she’d always wished she’d been better endowed.
“Sorry to keep you waiting,” the woman said. “I was wrapping a painting for shipment. A couple from Washington bought it this morning, for their daughter.”
“Sounds as if business is good.”
“Not really. Even the summer is slow. Trouble is, I’m too far off Highway One.” The woman shrugged and then smiled. “Is there something I can help you with?”
“Yes and no. I’m not a customer. Actually, I’m one of your new neighbors. My name’s Alix Ryerson; my husband Jan and I moved into the lighthouse last week.”
“Oh, of course. You’re from California, aren’t you?”
“Palo Alto. My husband teaches at Stanford.”
“Stanford,” the woman said. She sounded impressed. “Well… don’t you find living conditions out on the cape awfully primitive? I mean, compared to what you’re used to.” “No, it’s surprisingly comfortable. Not an interior decorator’s dream-challenge is more like it-but quite liveable.” “I’m surprised, what with old Seth Bonner living there the past three years. Nothing against Seth,” she added at Alix’s inquiring look. “He’s all right once you get used to him. But he’s mildly retarded and I wouldn’t guess much of a housekeeper. But I’m being rude. My name’s Cassie Lang, I’m the owner of this place.”
Alix clasped the hand extended to her and found it strong, almost sandpapery in texture. “Nice to meet you.”
“Same here.” Cassie seemed to mean it, which was a relief. “Look, why don’t we have a cup of coffee? Or tea, if you’d prefer?”
“Coffee sounds good.”
“I have a pot going in back. We can sit and talk back there, if you like.”
“Fine.”
Cassie led the way through a door behind the sales counter, into a narrow back room half-full of shelves piled with cardboard cartons. A worktable cluttered with tools, pieces of driftwood, and other items took up most of the remaining floor space; but at the back, next to a window that gave a good view of the nearby Victorian house and garage and the bay beyond, was a table supporting a Mr. Coffee. A yellow paisley armchair flanked the table and matching curtains were hung in the window. Cassie motioned for her to sit, then bustled around collecting cups, inspecting them for cleanliness, pouring and serving.
Alix asked, “You are the C. Lang who did the paintings out front?”
Cassie set her cup down and pulled a swivel chair, the kind secretaries use for typing, over from the worktable. Her expression was guarded as she said, “Yes, they’re mine.”
“I found them very interesting. They grab your attention.” Alix paused, then decided to lie for kindness’ sake. “I like them.”
Cassie relaxed and smiled, pleased. Like many artists of modest talent, she had probably been hurt many times by casual and thoughtless criticism. “Thank you. They’re the main reason this gallery exists. All the rest of the stuff-well, you’ve seen it.”
“Where do you get your seascapes?”
“A fellow up the coast. He turns them out to order.”
“And the shell things?”
“Most are from a mail-order house in Portland. The nicer ones come from Florida.” She gestured at the worktable. “I do the driftwood birds myself. They’re awful, but easy to make; and they sell better than anything else I stock.”
Alix shook her head sympathetically and sipped her coffee. Her headache had lessened, and she felt warmed by both the hot drink and the company. “You’re somewhat isolated here,” she said. “Do you live alone?”
“Yes.”
“Doesn’t it worry you sometimes?”
“Not really. I have a handgun and I’m a good shot.”
“Oh. I’m afraid of guns myself.”
“I grew up handling them. My father belonged to the NRA.” Fortunately for Alix-who was pro-gun control-Cassie did not want to discuss the subject any further. She said, “But tell me about you. Are you interested in art?”
“Actually, I’m an artist myself.”
“You are? For heaven’s sake!” The woman seemed genuinely pleased. “What kind of work do you do?”
Alix told her, describing some of her more interesting projects and mentioning both her sketches for Jan’s book and her future business venture. When she had finished, Cassie looked so impressed and wistful that she quickly said, “But that’s enough about me. Tell me how you came to start this gallery. Have you always lived in Hilliard?”
The other woman looked startled, almost shocked. “Oh no! I was born in Eugene, lived there most of my life.”
“When did you move here?”
A certain reticence had come into Cassie’s expression, a kind of closing off. “Only a year ago. I… I was divorced, and I’d always liked this part of the coast. Hilliard seemed like a good place to start over.” She smiled wryly. “Too bad I didn’t know about the lack of tourist trade.”