"He seems like such a nice man," she said when Michael had gone.
"He's some guy," Tony said.
"You like him a great deal."
"I love him. He was a perfect partner when we worked homicide together."
They fell smoothly into a discussion of policework and then screenwriting. He was so easy to talk to that Hilary felt she had known him for years. There was absolutely none of the awkwardness that usually marred a first date.
At one point, he noticed her looking at the wall mural. "Do you like the painting?" he asked.
"It's superb."
"Is it?"
"Don't you agree?"
"It's pretty good," he said.
"Better than pretty good. Who did it? Do you know?"
"Some artist down on his luck," Tony said. "He painted it in exchange for fifty free dinners."
"Only fifty? Michael got a bargain."
They talked about films and books and music and theater. The food was nearly as good as the conversation. The appetizer was light; it consisted of two stubby crèpes, one filled with unadulterated ricotta cheese, the other with a spicy concoction of shaved beef, onions, peppers, mushrooms, and garlic. Their salads were huge and crisp, smothered in sliced raw mushrooms. Tony selected the entrée, Veal Savatino, a specialita of the house, incredibly tender white-white veal with a thin brown sauce, pearl onions, and grilled strips of zucchini. The cappuccino was excellent.
When she finished dinner and looked at her watch, Hilary was amazed to see that it was ten minutes past eleven.
Michael Savatino stopped by the table to bask in their praise, and then he said to Tony, "That's number twenty-one."
"Oh, no. Twenty-three."
"Not by my records."
"Your records are wrong."
"Twenty-one," Michael insisted.
"Twenty-three," Tony said. "And it ought to be numbers twenty-three and twenty-four. It was two meals, after all."
"No, no," Michael said. "We count by the visit, not by the number of meals."
Perplexed, Hilary said, "Am I losing my mind, or does this conversation make no sense at all?"
Michael shook his head, exasperated with Tony. To Hilary he said, "When he painted the mural, I wanted to pay him in cash, but he wouldn't accept it. He said he'd trade the painting for a few free dinners. I insisted on a hundred free visits. He said twenty-five. We finally settled on fifty. He undervalues his work, and that makes me angry as hell."
"Tony painted that mural?" she asked.
"He didn't tell you?"
"No."
She looked at Tony, and he grinned sheepishly.
"That's why he drives that Jeep," Michael said. "When he wants to go up in the hills to work on a nature study, the Jeep will take him anywhere."
"He said he had it because he likes to go skiing."
"That too. But mostly, it's to get him into the hills to paint. He should be proud of his work. But it's easier to pull teeth from an alligator than it is to get him to talk about his painting."
"I'm an amateur," Tony said. "Nothing's more boring than an amateur dabbler running off at the mouth about his 'art.'"
"That mural is not the work of an amateur," Michael said.
"Definitely not," Hilary agreed.
"You're my friends," Tony said, "so naturally you're too generous with your praise. And neither of you has the qualifications to be an art critic."
"He's won two prizes," Michael told Hilary.
"Prizes?" she asked Tony.
"Nothing important."
"Both times he won best of the show," Michael said.
"What shows were these?" Hilary asked.
"No big ones," Tony said.
"He dreams about making a living as a painter," Michael said, "but he never does anything about it."
"Because it's only a dream," Tony said. "I'd be a fool if I seriously thought I could make it as a painter."
"He never really tried," Michael told Hilary.
"A painter doesn't get a weekly paycheck," Tony said. "Or health benefits. Or retirement checks."
"But if you only sold two pieces a month for only half what they're worth, you'd make more than you get as a cop," Michael said.
"And if I sold nothing for a month or two months or six," Tony said, "then who would pay the rent?"
To Hilary, Michael said, "His apartment's crammed full of paintings, one stacked on the other. He's sitting on a fortune, but he won't do anything about it."
"He exaggerates," Tony told her.
"Ah, I give up!" Michael said. "Maybe you can talk some sense into him, Hilary." As he walked away from their table, he said, "Twenty-one."
"Twenty-three." Tony said.
Later, in the Jeep, as he was driving her home, Hilary said, "Why don't you at least take your work around to some galleries and see if they'll handle it?"
"They won't."
"You could at least ask."
"Hilary. I'm not really good enough."
"That mural was excellent."
"There's a big difference between restaurant murals and fine art."
"That mural was fine art."
"Again, I've got to point out that you aren't an expert."
"I buy paintings for both pleasure and investment."
"With the aid of a gallery director for the investment part?" he asked.
"That's right. Wyant Stevens in Beverly Hills."
"Then he's the expert, not you."
"Why don't you show some of your work to him?"
"I can't take rejection."
"I'll bet he won't reject you."
"Can we not talk about my painting?"
"Why?"
"I'm bored."
"You're difficult."
"And bored," he said.
"What shall we talk about?"
"Well, why don't we talk about whether or not you're going to invite me in for brandy."
"Would you like to come in for brandy?"
"Cognac?"
"That's what I have."
"What label?"
"Remy Martin."
"The best." He grinned. "But, gee, I don't know. It's getting awfully late."
"If you don't come in," she said, "I'll just have to drink alone." She was enjoying the silly game.
"Can't let you drink alone," he said.
"That's one sign of alcoholism."
"It certainly is."
"If you don't come in for a brandy with me, you'll be starting me on the road to problem drinking and complete destruction."
"I'd never forgive myself."
Fifteen minutes later, they were sitting side by side on the couch, in front of the fireplace, watching the flames and sipping Remy Martin.
Hilary felt slightly light-headed, not from the cognac but from being next to him--and from wondering if they were going to go to bed together. She had never slept with a man on the first date. She was usually wary, reluctant to commit herself to an affair until she had spent a couple of weeks--sometimes a couple of months--evaluating the man. More than once she had taken so long to make up her mind that she had lost men who might have made wonderful lovers and lasting friends. But in just one evening with Tony Clemenza, she felt at ease and perfectly safe with him. He was a damned attractive man. Tall. Dark. Rugged good looks. The inner authority and self-confidence of a cop. Yet gentle. Really surprisingly gentle. And sensitive. So much time had passed since she'd allowed herself to be touched and possessed, since she'd used and been used and shared. How could she have let so much time pass? She could easily imagine herself in his arms, naked beneath him, then atop him, and as those lovely images filled her mind, she realized that he was probably having the same sweet thoughts.
Then the telephone rang.
"Damn!" she said.
"Someone you don't want to hear from?"