In Death 25 - Creation in Death

a glance around the room. “But she’s got that snap to her. Not just that she knows what’s what, but like she’s always known.
    “Hey, these cookies are mag. And so thin you can practically see through them.” She took another. “See-through food can’t have many calories. Eat one, or I’m going to feel like an oinker.”
    Absently, Eve took a cookie. “He doesn’t donate to the Met. Goes to a function now and then, but doesn’t lay out any real bucks. Tickets cost, events cost, but he’s getting something out of those. There’s the control again. If you donate, you can’t direct, not precisely, where your scratch is going.”
    She looked over as Jessica returned.
    “The mystery’s solved, but remains mysterious. Lyle reports that our Mr. Pierpont requested all tickets, all correspondence, invitations, begging letters, and so on, be held for him at the box office.”
    “Is that usual?” Eve asked.
    “It’s not.” Jessica sat, picked up her tea. “In fact, it’s very unusual. But we try to accommodate our patrons, even those we have to squeeze funds out of.”
    “When was the last time you saw or spoke with him?”
    “Let me see. Oh, yes, he attended our winter gala. Second Saturday in December. I remember I tried, again, to convince him to join the Guild. It’s a hefty membership fee, but has lovely benefits. He’s the type who enjoys the opera, who knows and appreciates it, but isn’t interested in funding. Tight-fisted. I’ve seen him come or go to performances over time. Always on foot. Doesn’t even spring for a car. And always alone.”
    “Did he ever speak to you at all about his personal life?”
    “Let me think.” Crossing her legs, she swung one foot back and forth. “Drawing on the personal is an essential tool of the wheedle. A longtime widower, travels a great deal. He claims to have attended performances in all the great opera houses of the world. Prefers Italian operas. Oh!”
    She held up a finger, closed her eyes just a moment as if to pull together a thought. “I remember, some years ago, pumping him a bit—as he’d had a couple of glasses of wine, I thought I might slide that membership fee out of him. I had him discussing whether true appreciation for art and music is inherent or learned. He told me he’d learned his appreciation from his mother when he was a boy. I said that was, arguably, inherent. But no, he said, though she had been the only mother he’d known, she had been his father’s second wife. She had been a soprano.”
    “A performer.”
    “I asked him just that. What did he say? It was a bit odd. She had been, but circumstances had denied her, and time had run out. I’m sure that’s what he said. I asked him what had happened, but he excused himself and abruptly walked away.”
    “Would Lyle know when Pierpont last picked up anything from the box office?”
    “He would, and I asked him, anticipating you. Just last week.”
    “How does he pay?”
    “Cash, Lyle tells me. Always, and yes, that’s unusual. But we don’t quibble about eccentricities. He always wears black-tie to the theater, which is also a bit eccentric, I suppose. So do his guests.”
    “You said he’s always alone.”
    “Yes. I meant whenever he gives his performance ticket to a guest.” An obliging hostess, she lifted the pot to pour more tea into Peabody’s cup. “I’ve occasionally seen other men in his box. In fact, there was a guest in his seat at the opening of Rigoletto last week.”
    “Can you describe him?”
    “Ah, black and white. That’s how I thought of him, actually. Black-tie—very formal—white hair, white skin. I remember wondering if he might be a relation of Mr. Pierpont. There was a resemblance, or it seemed to me there was. I didn’t see him before or after the performance, or at intermission. Or I didn’t notice.”
    “Can you dig up the names of those who have been in the same box with Pierpont?”
    “There never is anyone when Pierpont or one of his guests attend.” Jessica smiled as she held out the plate of cookies. “That’s rather odd, isn’t it?”
     
    B uys up the other tickets in the box,” Eve said when they were in the car. “Doesn’t want anyone else nearby, disturbing him, or getting too close.”
    “We’ll stake out the opera.” Peabody pulled out her book to key in some notes. “Maybe he’ll need another fix.”
    “Yeah, we’ll set that up. His stepmother. That’s who the women represent. That’s