It was when he came across the graduation picture of Laura's class that Jake's eyes widened. He used a magnifying glass to examine the faces of the graduates. Laura, of course, looked beautiful, with her long hair spilling over her shoulders. She even managed to be attractive while wearing that stupid mortarboard. It was Jean Sheridan's picture that shocked him. Her hands were clasped together. There were tears welling in her eyes. She looks sad, Jake thought, really sad. You'd never guess she'd just walked off with the History medal and a full scholarship to Bryn Mawr. From the expression on her face, you'd swear she'd just been told she had two days to live. Maybe she was sorry to leave this place. Go figure.

He moved the magnifying glass from one to the other of the graduates, looking for the honorees. One by one he picked them out. They've all changed a lot, he thought. A couple of them looked like real losers back then. Gordon Amory, for example, was almost unrecognizable. Boy, was be ugly, he thought. Jack Emerson was Fat Boy even then. Carter Stewart needed a haircut-no, make that a total makeover. No-neck Robby Brent was already going bald. Mark Fleischman looks like a beanpole with a head on it. Joel Nieman was standing next to Fleischman. Some Romeo, Jake thought. If I were Juliet, I'd have killed myself at the thought of being stuck with him.

Then he noticed something. Most of the graduates had inane grins on their faces, the kind people save for group pictures. The biggest smile, however, was on the face of one guy who wasn't looking directly at the camera but instead was staring at Jean Sheridan. Talk about contrasts, Jake thought. She looks as if she's lost her last friend, and he's wearing an ear-to-ear grin.

Jake shook his head as he looked at the pile of pictures on the table in front of him. I have enough now, he thought. Next he would talk to Jill Ferris, the teacher in charge of the Gazette. She's a good sport, Jake thought. I'll convince her to let me use the picture of Laura dancing on the front page of the next issue, and the graduation picture on the back page. Between them, they bring out the theme of the story-the had-it-all girl who's now on the skids and the nerds who made it big-time.

His next stop was the studio where the camera equipment was kept. There he ran into Ms. Ferris, who let him sign out the heavy old-fashioned camera that he delighted in using when he was on a photo shoot. In his opinion it had a sharpness that no digital camera could possibly match. The fact that it was a backbreaker did not faze him when he was on an important assignment, especially since this assignment was one he had dreamed up himself.

He did admit to himself that his newly acquired driver's license and the ten-year-old Subaru his parents had bought for him made his jaunts around town considerably easier than when he used to play roving reporter on his bicycle.

Camera over his shoulder, notebook and pen in one pocket, recorder in the other in case he happened to run into someone worth interviewing, Jake was on his way.

Can't wait to do the house where Laura Wilcox grew up. I'll shoot from both the front and the back. After all, it was the house where that medical student, Karen Sommers, was murdered, and the police were sure then that the killer went in the back door. That will add another human interest touch to the story, he decided.

71

Carter Stewart spent the better part of Wednesday morning in his suite at the Hudson Valley Hotel. He had arranged to meet that afternoon with Pierce Ellison, the director of his new play, and would be going to Ellison's home. They were scheduled to discuss fixes the director wanted, but first Stewart wanted to make some script changes on his own.

Thank you, Laura, he thought, smiling maliciously as he made subtle alterations to the character of the scatterbrained blonde who is murdered in the second act. Desperation, he thought-that's what I was missing. On the surface she's twinkling, but we've got to feel how frantic and frightened she really is, that she'll do anything to save herself.

Carter despised interruptions when he was writing, a fact his agent, Tim Davis, knew very well. But at eleven o'clock the jarring ring of the phone shattered his concentration. It was Tim.

He began with a profuse apology: "Carter, I know you're working, and I promised I wouldn't bother you unless it was absolutely necessary, but-"

"It had better be absolutely necessary, Tim," Carter snapped.

"The thing is, I just got a call from Angus Schell. He's Robby

Brent's agent, and he's going nuts. Robby promised to send in his edits on the scripts for his new TV show by yesterday at the very latest, and they still haven't arrived. Angus has left a dozen messages for Robby but hasn't heard from him. The sponsor is already furious about the publicity stunt the media say Robby is pulling with Laura Wilcox. They're threatening to bail out on the series."

"Which is of no importance to me whatsoever," Carter Stewart said, his tone frigid.

"Carter, you told me the other day that Robby was going to show you the edits he made. Did you see them?"

"No, I did not. As a matter of fact, when I took the trouble to go over to his hotel for the purpose of reviewing those edits, he was not there, nor have I heard from him since. Now, if you'll excuse me, I was working very well until you interrupted me."

"Carter, please. Let me get this straight. You think that Robby did make the edits he promised the sponsor?"

"Tim, try to get this straight. Yes, I assume Robby made the edits. He told me he had. He asked me to look at them. I told him I would look at them. Then he wasn't there when I went to his hotel. In other words, to repeat in order to make myself perfectly clear, he made the edits and he wasted my time."

"Carter, I'm sorry. Look, I'm really sorry," Tim Davis said, anxious to placate his client. "Joe Dean and Barbara Monroe have already been cast for running parts and it means the world to them to get that series on the air. From what we read in the papers, both Wilcox and Robby left just about everything in their rooms at that hotel. Could you, would you, I beg you, could you see if by any chance he left the scripts there? The last time I spoke to Robby, he bragged that his rewrites were going to make the scripts hilarious. He hardly ever used that word, and when he did, he meant it. If we can get our hands on them by overnight mail, we might be able to salvage the show. The sponsor wants a surefire comedy, and we all know Robby is capable of delivering it."

Carter Stewart said nothing.

"Carter, I don't like to overplay my hand, but twelve years ago when you were still knocking on doors, I took you on and got your first play produced. Don't misunderstand me. It's been great for me ever since, but right now I'm calling in that chip, not for myself but for Joe and Barbara. I gave you your break. Today I want you to give them the chance to have theirs."

"Tim, you are so eloquent, you almost bring tears to my eyes," Carter Stewart said, his tone now reflecting amusement. "Surely there's something in all of this for you besides friendship for your old buddy Angus and paternal feelings for young talent. Someday you must tell me what it is. However, since you have totally ruined my creative concentration, I will go over to Robby's hotel now and see if I can bludgeon my way into his room. You might prepare the way by phoning ahead, claiming you're his agent, and explaining that Robby has instructed you to send me to pick up the scripts."

"Carter, I don't know how-"

"To thank me? I'm sure you don't. Good-bye, Tim."

Carter Stewart was wearing jeans and a sweater. His jacket and cap were on the chair where he had thrown them earlier. With an irritated sigh he got up, put on the jacket, and reached for the cap. Before he could leave the room, the phone rang. It was President Downes, inviting him to cocktails and dinner at his residence at Stonecroft.