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well as minor damage left by the alleged robber. Several paintings lay on the floor, facedown, as if somebody, presumably her aggressor, had gone through the stack, one by one, before letting each painting fall. Half a dozen were still standing, suggesting that he hadn’t had time to examine them.

    Regardless of what the intruder had been looking for, one thing was certain. He had no respect for art.

    Except for the white dust used to collect fingerprints, the rest of the room was intact. A Formica counter held a microwave and a Braun coffeemaker, as well as an assortment of frame samples and more art catalogs. A small cupboard housed containers of coffee, sugar and creamer.

    A quick check of an upper shelf revealed, of all things, a tackle box, also dusted for fingerprints. To her recollection, Steven hadn’t been much of a fisherman. In fact, he had hated the sport.

    Curious, she opened the box. It was filled with lures. Not just any lures, but some of the best available in today’s market. She should know. Her father was an avid fisherman and had introduced Grace to the sport at an early age.

    She looked at the selection in front of her. There were squid manglers, glow-in-the-dark spoons, crank baits, litterbugs, walleyes and bomber flats. She even spotted a Wigg-Lure, which die-hard fishermen claimed was the most phenomenal fishing lure ever invented.

    What in the world was Steven doing with state-of-the-art lures?

    She put the Wigg-Lure back in its compartment and the tackle box back on the shelf. Steven’s new hobbies were none of her business. She had more pressing matters to tend to.

    She walked over to the paintings and started to pick them up, one by one, inspecting them carefully as she went. Each painting had a Post-it stuck to it with the name of the artist, the title of the work and the price. Only the last painting sparked instant recognition. It was from Eduardo Arroyo, an early twentieth-century artist who had produced more than a hundred paintings in his lifetime. This particular canvas, about twenty-eight by twenty-three inches, was the sixth and last of his Santa Fe series. Showing a typical day in the town square, with merchants displaying their ware on colorful blankets, it was entitled Market Day.

    What was the work of one of the country’s premiere American West artists doing in a back room, instead of being displayed along with the other western paintings in the showroom?

    She looked at the Post-it, and blinked. Twenty-five thousand dollars? For a painting that was worth at least four times that?

    Steven had been fond of western art, but not particularly knowledgeable, which might explain his underpricing. But what about the dealer, or the collector who owned the painting? Didn’t they know what they were selling? And what it was worth?

    Fortunately, Sarah had given her carte blanche to do as she saw fit and that’s what she would do. She planned to start by taking all sixteen paintings to the front room, including the Arroyo, and check Steven’s paperwork for more information on the latter.

    She was dusting a frame when someone behind her said, “So you’re Grace McKenzie.”

Five
    A woman stood on the threshold of the gallery, leaning against the doorjamb. One hand was on her hip, while the other played with a long, blond curl. She was in her early thirties, no taller than five-three or four, with almond-shaped blue eyes and a small petulant mouth painted a bright red. She wore a celery-green denim jacket with embroidered lapels, snug jeans tucked into ankle boots, and chandelier earrings that shimmered in the October sunlight.
    Her expression was curious as she inspected Grace from head to toe. “I’ll say this for Steven. He had good taste in women.” She gestured toward the door. “I knocked. Guess you didn’t hear me.”

    “Guess I didn’t,” Grace replied, matching the woman’s casual tone.

    The visitor moved aside as Grace walked back into the showroom.