Free The Fourth Durango by Ross Thomas, Sarah Paretsky

settled back down into the leather seat. “About two dozen streets running east and west,” he said, “and maybe two and a half dozen running north and south. Too many vacant lots. No architectural landmarks to speak of, unless you count a lot of Victorian piles all tarted up in that green and cream they like to use. Probably bed-and-breakfast inns now—or lawyers’ offices. Wonder why they always use cream and green?”
    After Vines said he didn’t know, Adair asked another question. “And since I sure as hell didn’t see any of them down by the tracks, where do you think the rich folks live?”
    “Up here in the hills,” Vines said as he drove slowly down the cul-de-sac called Don Emilio Drive. “Where they always live.”
    At the end of the dead-end street they could see Mayor Huckins’s neat blue two-bedroom bungalow and admire her fine stand of jacarandas. The other six houses that lined the short drive were no more grand than the mayor’s. Appraising each house as they drove by, Jack Adair said, “Well, if this is how the rich live, God help the poor.”
     
    It was the mayor herself who opened the door after Vines rang the bell. She wore a black skirt, a gray silk blouse and not much makeup. Her jewelry consisted of a man’s gold tank watch that may have come from Cartier and a pair of plain gold earrings that may have come from a drugstore. Vines thought she looked as though she didn’t much care where either came from.
    B. D. Huckins looked first at Adair, then at Vines and back at the older man. “You’re Jack Adair,” she said, holding out her hand. As they shook hands, she said, “How’d you like to be called—Judge, Mr. Chief Justice or Mr. Adair?”
    “Jack, if it won’t make you uncomfortable.”
    Huckins smiled a noncommittal smile and looked at Kelly Vines. “Mr. Vines,” she said, holding out her hand.
    “Mayor Huckins,” said Vines, accepting the hand and finding that it reminded him strangely of the blond Dixie’s. The mayor’s hand was as slim and cool and firm as Dixie’s, but the handshake didn’t last nearly as long because it was of the quick squeeze and even quicker release variety favored by seasoned campaigners.
    She led them from a small foyer into the living room, whose principal piece of furniture was a long cream couch from the 1930s in remarkable repair. There was also a chocolate-brown leather club chair, which, from a carefully positioned brass floor lamp, was obviously where she did her reading. Both chair and couch were drawn up to a coffee table that was actually an old steamer trunk, laid on its side and plastered with bright labels from ancient European hotels and extinct steamship lines.
    On the well-polished oak floor was a large and gaudy woven wool rug that Vines suspected of being from the Yucatán. There was no television set but plenty of books and on the walls were three Monet prints and two posters.
    One of the posters displayed a tasty-looking bunch of wet purple grapes with a slogan that read: “The Wrath of Grapes. Join the Boycott Again!” The other poster showed a highly stylized worker banging away at something with a couple of hammers. Below him was Bertolt Brecht’s forlorn hope: “Art is not a mirror held up to reality, but a hammer with which to shape it.”
    Vines followed Adair and Huckins around the dining area’s glass and chrome table, into the kitchen, out the back door and onto a used-brick patio where Chief of Police Sid Fork, wearing an apron made out of what looked like mattress ticking, presided over the charcoal grill.
     
    They talked first about the weather and, after exhausting that, turned to the presidential primary campaigns whose earlier stages Adair said he had followed from behind the penitentiary walls. He introduced his fifteen-month stay in Lompoc by referring to it as, “When I was in jail.” With that out of the way, Vines noticed that both Fork and Huckins relaxed, although he thought the bourbon