For The Love Of Lilah

He knew Caufield was good. The fact was, there were few better at lifting locks and dancing around the police. In the ten years of their association, they had pulled off some very smooth operations. Which was why he was worried.

There was nothing smooth about this job. Damn college boy had messed things up good and proper. Hawkins resented the fact that Caufield wouldn't let him take care of Quartermain. He knew Caufield didn't think he had any finesse, but he could have arranged a nice, quiet accident.

The real problem was that Caufield was obsessed with the emeralds. He talked about them day and night–and he talked as though they were living things rather than some pretty sparklers that would bring in some good, crisp cash.

Hawkins was beginning to believe that Caufield didn't intend to fence the emeralds after all. He smelled the double cross and had been watching his partner like a hawk. Every time Caufield went out, Hawkins would pace the empty house, looking for some clue to his partner's true intentions.

Then there were the rages. Caufield was well–known for his unstable temper, but those ugly tantrums were becoming more frequent. The day before, he had stormed into the house, white–faced and wild–eyed, his body trembling with fury because the Calhoun woman hadn't been at her station in the park. He'd trashed one of the rooms, hacking away at furniture with a kitchen knife until he'd come to himself again.

Hawkins was afraid of him. Though he was a stocky man with ready fists, he had no desire to match Caufield physically. Not when the man got that gleam in his eyes.

His only hope now, if he wanted his rightful share and a clean escape, was to outwit his partner.

With Caufield out of the house again, haunting the park, Hawkins began a slow, methodical search. Though he was a big man, often considered dull wit–ted by his associates, he could toss a room and hardly raise the dust. He sifted through the stolen papers, then turned away in disgust. There was nothing of use there. If Caufield had found anything, he would never have left it in plain view. He decided to start with the obvious, his partner's bedroom.

He shook out the books first. He knew Caufield liked to pretend he was educated, even erudite, though he'd had no more schooling than Hawkins himself. There was nothing in the volumes of Shakespeare and Steinbeck but words.

Hawkins searched under the mattress, through the drawers in the bureau. Since Caufield's pistol wasn't around, he decided the man had tucked it into his knapsack before setting off to find Lilah. Patient, Hawkins looked behind the mirrors, behind drawers, beneath the rug. He was beginning to think he had misjudged his partner when he turned to the closet.

There, in the pocket of a pair of jeans, he found the map.

It was crudely drawn on yellowed paper. For Hawkins, there was no mistaking its meaning. The Towers was clearly depicted, along with direction and distance and a few out–of–proportion landmarks.

The map to the emeralds, Hawkins thought as he smoothed out the creases. A bitter fury filled him while he studied each line and marker. The double–dealing Caufield had found it among the stolen papers and hidden it away for himself. Well, two could play that game, he thought. He slipped out of the room as he tucked the paper into his own pocket. Wouldn't Caufield have a fine rage when he discovered his partner had snatched the emeralds out from under his nose. Hawkins thought it was almost a pity that he wouldn't be around to see it.

He found Christian. It was so much easier than Max had supposed that he could only sit and stare at the book in his hand. In less than a half day in the library, he'd stumbled across the name in a dusty volume titled Artists and Their Art: 1900–1950. He had patiently dug away through the A's, was meticulously slogging through the B's, when there it was. Christian Bradford, 1884–1976. Though the given name had caused Max to perk up, he hadn't expected it to be so easy. But it all fell into place.

Though Bradford did not come to enjoy any real success until his last years, his early work has become valuable since his death.

Max skimmed over the treatise on the artist's style.