behavior of a mouse, either.
She looked around at the high-ceilinged kitchen and decided it was too dark. The walls were a muddy blue. The frosted globes of the overhead lights were opaque, shedding a drab, wintry glow. She considered having the kitchen repainted, the lights replaced.
Merely to contemplate making major changes in Violet Devon’s house was dizzying, exhilarating. Nora had redone her own bedroom since Violet’s death, but nothing else. Now, wondering if she could follow through with extensive redecoration, she felt wildly daring and rebellious. Maybe. Maybe she could. If she could fend off Streck, maybe she could dredge up the courage to defy her dead aunt.
Her upbeat self-congratulatory mood lasted just twenty minutes, which was long enough to put the cake pans in the oven and whip up the icing and wash some of the bowls and utensils. Then Streck returned to tell her the TV set was repaired and to give her the bill. Though he had seemed subdued when he left the kitchen, he was as cocky as ever when he entered the second time. He looked her up and down as if undressing her in his imagination, and when he met her eyes he gave her a challenging look.
She thought the bill was too high, but she did not question it because she wanted him out of the house quickly. As she sat at the kitchen table to write the check, he pulled the now-familiar trick of standing too close to her, trying to cow her with his masculinity and superior size. When she stood and handed him the check, he contrived to take it in such a way that his hand touched hers suggestively.
All the way along the hall, Nora was more than half-convinced that he would suddenly put down his tool kit and attack her from behind. But she got to the door, and he stepped past her onto the veranda, and her racing heart began to slow to a more normal pace.
He hesitated just outside the door. “What’s your husband do?”
The question disconcerted her. It was something he might have asked earlier, in the kitchen, when she had spoken of her husband, but now his curiosity seemed inappropriate.
She should have told him it was none of his business, but she was still afraid of him. She sensed that he could be easily angered, that the pent-up violence in him could be triggered with minor effort. So she answered him with another lie, one she hoped would make him reluctant to harass her any further: “He’s a . . . policeman.”
Streck raised his eyebrows. “Really? Here in Santa Barbara?”
“That’s right.”
“Quite a house for a policeman.”
“Excuse me?” she said.
“Didn’t know policemen were paid so well.”
“Oh, but I told you—I inherited the house from my aunt.”
“Of course, I remember now. You told me. That’s right.”
Trying to reinforce the lie, she said, “We were living in an apartment when my aunt died, and then we moved here. You’re right—we wouldn’t have been able to afford it otherwise.”
“Well,” he said, “I’m happy for you. I sure am. A lady as pretty as you deserves a pretty house.”
He tipped an imaginary hat to her, winked, and went along the walk toward the street, where his white van was parked at the curb.
She closed the door and watched him through a clear segment of the leaded, stained-glass oval window in the center of the door. He glanced back, saw her, and waved. She stepped away from the window, into the gloomy hallway, and watched him from a point at which she could not be seen.
Clearly, he hadn’t believed her. He knew the husband was a lie. She shouldn’t have said she was married to a cop, for God’s sake; that was too obvious an attempt to dissuade him. She should have said she was married to a plumber or doctor, anything but a cop. Anyway, Art Streck was leaving. Though he knew she was lying, he was