Tough Cookie

by Diane Mott Davidson

  When the gondola shuddered to a halt at the turnaround, Rorry groaned as she heaved herself up and out the clanging doors. I felt guilty about asking her to walk to the lodge to claim Nate’s camera, and was tempted to take her ID into the Lost and Found myself. Maybe I could bluff my way through. But before I could put the thought into words, she was barreling ahead of me and I had to plow through ten inches of fresh powder to catch up.

  A mob of skiers was clamoring to gain entry to the lodge. Rorry looked back at me in confusion. I pointed to the bistro. It would be inconvenient to go through the restaurant to the Lost and Found, but easier than trying to push through the people-jam at the main doors.

  The aromas inside the restaurant were tantalizing: Roasting beef melded with tarragon, rosemary, and the scent of baking bread. Several of the diners were dipping into steaming bowls of what looked like cream of asparagus soup topped with spicy grilled prawns. My peanut-butter-smeared psyche howled with pain.

  The first person I saw was Jack Gilkey. With his tall chef’s hat set at a slightly rakish angle, his handsome face filmy with sweat, he was placing bowls of the delicious-looking soup on the hot line. A half-dozen servers jockeyed to be first to shout more orders at Jack and whisk away with their soup orders. Jack caught sight of me, then smiled broadly and gave a thumbs-up sign—referring to either Eileen’s improved state or the state of his prepping for this afternoon’s show—and went back to ladling out food.

  “You’re friends with the chef?” Rorry demanded under her breath.

  “He’s living with an old friend of mine, Eileen Druckman. She owns the bistro.”

  Rorry exhaled in disgust. “He’s a jerk.”

  We pushed through the side door and walked down the hall to the Lost and Found. “What makes you say that?”

  “Jack Gilkey,” Rorry responded hotly, “is like the teacher who’s nice to the parents but treats the kids like dirt. When he thinks you have something he wants, or you’re his superior, he’s as sweet as chocolate pie. You work for him, you’re dung. A couple of our guys who load the canisters won’t come up here anymore, ’cuz Gilkey blamed them when he forgot to order all the ground beef for a day. He even tried to get them fired. Gilkey knows he needs to fax the right forms down to us at the warehouse, but when he screws up, he’s always looking for somebody to blame.” Her voice was tight with anger.

  In the Lost and Found, we were greeted by none other than Joe Magill, the brusque Killdeer Security fellow who’d asked me so many questions after the death of Doug Portman. Rorry dug into the Easter-bunny ski suit for her wallet while Magill asked what we needed. I gestured to the Lost and Found sign and said I had called about a camera and case, initials N.B. on the case. Magill tapped suspiciously on his computer, scowled at the screen, and tapped some more. He was about to say something when Jack Gilkey poked his head in the door. He was holding a plate laden with a grilled filet mignon, Duchess potatoes drizzled with melted butter, bright green edible-pod peas, and a small salade composée of marinated cherry tomatoes and baby corn. Agh!

  “Here’s your lunch, Joe,” he said to Magill.

  “You’re the man,” Magill replied, taking the plate, “you’re too much!” He frowned at us. If you two would just leave, his expression clearly said, I could eat.

  Jack turned to me. “You’ve heard the good news about Eileen?” When I nodded, he said, “I’m going down to see her tonight. Want to come?”

  “Can’t, sorry. I have to do the show, and then—”

  “Okay, that’s something else I need to talk to you about,” he interrupted. “I’ve got your five-grain-bread dough rising, plus a loaf baking now. The cereal’s in a green plastic bowl in the refrig.” He made a face. “Arthur Wakefield brought the menu up. He’s having lunch here with one of his wine customers.”

  I thanked him and he retreated quickly. Sure enough, he had not said a word to Rorry, or even taken any notice of her. She raised a telltale eyebrow at me: You see? Dung.

  “Ladies,” Joe Magill said with a tinge of impatience, “I’m not seeing your camera case in our inventory.”

  “That’s impossible! I called Killdeer Security just this morning. They said it was here!”

  “Said it was here,” Magill replied with exaggerated politeness, “or said it was in the Lost and Found safe at the base?”

  “Oh, phooey,” muttered Rorry, as she turned away. I was so angry that the Killdeer Security woman had not told me this on the phone that I said nothing. If you bite off a bureaucrat’s head, what do you get? Three more bureaucrats.

  The main entrance was still crammed with skiers. The impossibility of fighting through them meant that Rorry and I had to retrace our steps. Unfortunately, it was my bad luck to run into Arthur Wakefield as I pushed open the door to the bistro. And I do mean run into.

  Arthur sprawled backward, but managed to tuck his silver wine flask under his arm. My first paranoid thought was that he must have been watching me through the door’s glass square. He just hadn’t retreated quickly enough when I’d pushed through the entrance. He righted himself with dignity, then begged us to come over to his table for a minute. More bad luck: Arthur was having lunch with Boots Faraday. Boots smiled at me and nodded awkwardly at Rorry, who’d stiffened instantly at the sight of her.

  “So, what are you two doing up here? Scoping out the last show? Having lunch?” Arthur, seemingly oblivious to the female hostility, asked his questions as he wiggled up next to us, unscrewed the flask, and poured white wine into two glasses. I looked longingly at their plates of baby-vegetable strudel napped with a creamy sauce, probably béarnaise. Arthur leaned in close to my shoulder, sniffed, and cried triumphantly. “I smell peanut butter!” He looked at both of us expectantly. “How about some ten-year-old Grand Cru chablis, then?”

  Rorry moaned in disgust. “I go out, nine months pregnant, and all everybody offers me is booze.”

  Boots’s expression said: Didn’t I tell you this woman was difficult? She said abruptly, “Did you get my message, Goldy?”

  “I didn’t get your message, I just talked to you a few hours ago—” But I stopped when Boots shot me a stern look. Aha: She was trying to ask me if I’d told Rorry her story about Nate making an extreme sports film the day he died.

  “That’s okay.” Two spots of color flamed on Rorry’s cheeks; she was glaring at Boots. “You don’t have to try to send Goldy some kind of secret message, the way you used to do with Nate and your early morning calls. I know your code. One ring means, Call me back. Two rings mean, Meet me for lunch. He finally told me, you know.” Rorry’s tone was angrily triumphant. Boots looked flabbergasted. “He swore it was all innocent. That you were just afraid of my jealousy. If it was all innocent, how come I had the phone company trace your calls to a pay phone outside the Killdeer Art Gallery? Why didn’t you call from your house? Too afraid I had caller ID?” She whirled on Arthur. Startled, he cradled the wine to his shoulder. “Are you married, Arthur? That’s the kind of guy Boots goes for.”

  Arthur’s voice squeaked, “Rorry, please! Boots Faraday is a customer!” Boots clamped her mouth into a forbidding line. Arthur gulped, set the wine flask down, and frowned. He repeated his question: “What exactly are you and Rorry doing up here, Goldy?”

  Luckily, Rorry remembered my warning about not divulging the purpose of our trip. I told him I just wanted to make sure Jack and his staff were prepping the last show. Arthur nodded, and Rorry announced that we had to go. During the gondola trip down, I endured Rorry’s litany of complaints about Boots Faraday, who, Rorry insisted, had tried desperately to break up her marriage.

  “Boots does have a really nice body, for an older woman,” Rorry conceded as the car door opened at the base. “I even thought Nate might have been doing a porno film of her, and she’d use photo clips from it in one of her stupid collages.”

  “Well, we’ll find out, won’t we,” I commented as we headed for the building marked Base Security—Patrol Office and pushed through
to the Lost and Found. Rorry, again distinctly uncomfortable, insisted she had to sit down.

  “Are you all right?” I asked desperately.

  “Yes, it’s just that damn woman,” Rorry replied as she lowered herself into a padded chair. “She gives me indigestion.”

  “Item?” inquired the patrolman behind the desk. It was Hoskins! These people must run on a six-day rotation, I thought. My helper from the day of Doug Portman’s accident asked if I was doing all right, and if my son was okay. I told him we were both fine, but that my friend and I desperately needed help finding something. Hoskins said seriously, “And the item is …”

  “A camera case.” Rorry reached up to slap her ID onto the counter. “Initials N.B. It’s in the safe, we called.”

  Hoskins tapped keys on his computer, disappeared, then returned with a dirty, crumpled case made of heavy-duty gray fabric, frayed in places. When Rorry saw it, she cried out in surprise and alarm, and began to weep. Damn, had I done the wrong thing? She held out her hands and I gave the case to her. She hugged it to her huge belly, rocking back and forth and sobbing as if her heart were broken.

  “Rorry,” I said softly as I knelt down beside her chair. “I’m sorry. What can I—”

  “You want me to get a paramedic in here?” Hoskins asked me. “She doesn’t seem well.”

  “She’s not going into labor. Could you please just get her a glass of water?”

  “Take the camera,” Rorry moaned when Hoskins had left. “See if the cassette’s in there, watch it somewhere, and then let’s get out of here. I can’t take any more in one day. Please, Goldy.”

  When Patrolman Hoskins returned with water for Rorry, I asked if there was a VCR in another office where I could watch something quickly. He shook his head, then asked dubiously, “Are you sure your friend is going to be all right?”

  “Yes, I think so. This camera belonged to her dead husband, and … It’s a long story.”

  “You need a VCR?”

  “Yeah.”

  Hoskins lifted his chin at the wide front window. “Cinda’s got a couple of VCRs at her place. Why don’t you try her?”

  Of course. I thanked him and went back to Rorry. I unzipped the case and checked the camera, which was spotted with rust. The word Sony was still visible. I rezipped the bag, patted Rorry’s shoulder, and murmured that I would be right back.

  The snow seemed to be letting up a bit as I made my way to the Cinnamon Stop. The café was still hopping with business, though, and a video showing a freestyle snowboarding competition was drawing oohs and aahs from the enthralled crowd. I shouted my request to Cinda, who was steaming milk for a latté. Did she have an extra machine in the back where I could watch a film?

  She gave me a puzzled look, then cried “Sure!” and muttered something to the waiter I recognized as Ryan. He pointed to a door and I waded through the boisterous crowd to join him.

  “You need help with a video?” Ryan asked.

  “Yeah, my friend’s pregnant and about to pop. My Lamaze teacher gave me a childbirth video,” I improvised blithely, “and I need to see if it’s in good enough shape to show.”

  Ryan shrugged, as if my lie were the most ridiculous thing he’d ever heard, which it probably was. He turned on the VCR while I struggled to open the camera, first with my fingernails, then with a pair of scissors from Cinda’s desk. When the latch finally gave, the shears snapped. Ryan took the cassette and showed me how to operate Cinda’s VCR.

  Fast-forwarded, Nate Bullock’s tape was spotty with visual static. When the film opened with the first shot, the snow-capped rustic sign for Elk Valley and Elk Ridge, I grabbed the remote control from Ryan and hit “Stop.”

  Ryan turned to me. “Lamaze at a ski resort? What is this, ‘Cliffhanger Childbirth’?”

  I opened the office door to usher him out. “It’s women’s stuff. Not a place you want to go, Ryan.”

  He muttered something like You can say that again and zipped out. Worried about Rorry in the present, and what this video was going to show me about the past, I took a nervous breath. Then I hit the Play button.

  Nate Bullock’s garbled-but-familiar PBS voice gave me a jolt. I couldn’t make out a word of what he was saying. From the tone of it, it sounded like an introduction. After the shot of the sign, his next shot was of the path beyond it. Next the camera panned to his companion, whom I couldn’t quite make out. Rorry was right about one thing: She was a female. The woman had a snowboard slung under her arm. Nate went from a long shot to a close-up.

  I cried out: A conservative form-fitting navy-blue ski suit, no psychedelic outfits. A short cap of brown hair, no spill of pink curls. No jewelry. But her athleticism, her pretty face with its freckle-sprayed pixie nose, her bright, lopsided smile: All these were unmistakable.

  Cinda Caldwell.

  Barton Reed’s words in the hospital echoed in my brain: Said she was hurt, but that was crap. Just chickened out. Of course, Cinda was the most famous female snowboarder in Killdeer. Young, pretty, and as adept at snowboarding as anyone. She was the best. Got hurt. Wanted to be famous. Never happened.

  No, it never happened, I thought as I watched. Nate expertly clicked off the camera and then resumed taping from the valley. Cinda was far above, on the right edge of Elk Ridge. Nate zoomed in on her doing a smooth right to left, then left to right maneuver on the steep white slope. Cinda’s flowing movements were as effortless and breathtaking as big-wave surfing.

  Nate’s garbled voice came on again; the tape clicked off. The next time Cinda appeared she was up higher, near the top edge of the steep, forest-lined bowl that Arthur had pointed out to Marla and me the day before. Nate zoomed in. Poised unafraid at the edge of the bowl, Cinda’s face was happy but determined. Then her concentration broke. She stared, puzzled, into the distance. A look of horror spread over her face, and she gestured to the camera.

  “Over there,” I could lip-read her saying. She pointed and mouthed the words again. Nate lowered the camera. You could hear him yelling. Then the camera rose and panned vertiginously. I blinked and realized I was looking through treetops at Bighorn Overlook. In the distance, Cinda screamed. Her voice sounded as if she were underwater.

  A small noise made me jump. The office door had opened. Cinda, her flaming pink hair backlit by the café’s bright lamps, stood rigidly in the oblong of light. She stared at the initials on the camera case in my hands, then lifted her eyes to meet mine.

  She said, “What are you going to do with that? Get me killed, too?”

  CHAPTER 21

  No,” I said immediately. “At least, I’m trying not to. Is this film why you quit snowboarding? You were afraid?”

  “Yes. Still am. Not to mention feeling guilty about Nate.”

  I took a deep breath. “And do you feel afraid because you saw who pushed Fiona Wakefield over the cliff?”

  She sighed. “Yes. But all I saw was people struggling on Bighorn Overlook. Does the tape show what happened?”

  “I haven’t gotten that far.”

  Cinda closed the door, muffling the noise of the café behind her. “What are you planning on doing?”

  I shrugged and glanced at my watch. Desperate as I was to see the rest of the tape, my fear of interruption and my desire to protect evidence, not to mention my need to do the last PBS program, dictated that I not view any more of the tape just then. I needed to find out what Cinda knew, and then I needed to split. Fast. “I haven’t got immediate plans,” I answered noncommitally.

  “Goldy, please. Don’t turn in that tape. It’ll be the end of me. I was hoping you could figure out what happened, and leave me out of it—” She bit her lip.

  “What are you talking about?” I stared at her. “Leave you out of it? You were so eager to get me to figure things out, you left the articles and ordered The Stool Pigeon Murders and the avalanche book, didn’t you?” She nodded bleakly. “For crying out loud, Cinda, you took my frigging library card?”

  “It dropped out of y
our wallet here a few weeks ago. I’d been meaning to give it back to you. But then you got involved looking into Portman’s death. And I thought, well, Goldy’s the one who’s supposed to be so good at solving crimes, why not let her solve this one?”

  “Did you call me pretending to be a journalist named Reggie Dawson?”

  She grimaced. “Of course not.” She sighed. “Look, I know you’re angry, but please, think about what I’ve gone through since the avalanche. That day changed my life, for the worse. Who killed Fiona Wakefield? And did whoever do it see me up on the ridge? Did Nate tell anyone that I was the one he was filming? Does anyone know I’m the one who started the avalanche that killed Nate Bullock?”

  “What do you think?” I asked her. Again, I was aware of the tape in her VCR. I was also aware that I suddenly did not trust Cinda Caldwell.

  “I followed Jack Gilkey’s criminal trial,” she was saying. “I don’t think Gilkey knew I was the one snowboarding in the out-of-bounds area on Elk Ridge. But Gilkey, or whoever pushed his wife off the overlook, knew some snowboarder was on Elk Ridge. It was in the papers when Nate died. In jail, Gilkey befriended my old buddy Barton Reed. Maybe it was just to be friendly, but Gilkey asked Barton a million questions about scofflaw snowboarders in Killdeer. Barton wrote me about his new friend; told me the two of them would be out soon; we could all go snowboarding. I wrote back that I hadn’t done any boarding since my knees gave out the year before.”

  “Why didn’t you tell me all this last week, when you were so upset that Barton had made a threat against someone in law enforcement?”

  The freckled skin around Cinda’s pale eyes crinkled in sudden fury. “Oh, sure. And then have the cops ask me, ‘How do you happen to know so much about Fiona Wakefield’s death, Ms. Caldwell?’ And I say, ‘Well, Officer, I think I saw something just before I caused an avalanche in an out-of-bounds area, an avalanche that killed a PBS star!’ Do you think that kind of confession would keep me out of prison?”