And Four To Go Read Free

I wanted to console him by telling him that everything would be rosy by Christmas, only three days off, but of course that wouldn't do.
    I had a notion to toss a coin to decide whether I would have a look at the new exhibit of dinosaurs at the Natural History Museum or go to the Bottweill party, but I was curious to know how Margot was making out with the license, and also how the other Bottweill personnel were making out with each other. It was surprising that they were still making out at all. Cherry Quon's position in the setup was apparently minor, since she functioned chiefly as a receptionist and phone-answerer, but I had seen her black eyes dart daggers at Margot Dickey, who should have been clear out of her reach. I had gathered that it was Margot who was mainly relied upon to wrangle prospective customers into the corral, that Bottweill himself put them under the spell, and that Alfred Kiernan's part was to make sure that before the spell wore off an order got signed on the dotted line.
    Of course that wasn't all. The order had to be filled, and that was handled, under Bottweill's supervision, by Emil Hatch in the workshop. Also funds were required to buy ingredients, and they were furnished by a specimen named Mrs. Perry Porter Jerome. Margot had told me that Mrs. Jerome would be at the party and would bring her son Leo, whom I had never met. According to Margot, Leo, who had no connection with the Bottweill business or any other business, devoted his time to two important activities: getting enough cash from his mother to keep going as a junior playboy, and stopping the flow of cash to Bottweill, or at least slowing it down.
    It was quite a tangle, an interesting exhibit of bipeds alive and kicking, and, deciding it promised more entertainment than the dead dinosaurs, I took a taxi to the East Sixties.
    The ground floor of the four-story building, formerly a de luxe double-width residence, was now a beauty shop. The second floor was a real-estate office. The third floor was Kurt Bottweill's workshop, and on top was his studio. From the vestibule I took the do-it-yourself elevator to the top, opened the door, and stepped out into the glossy gold-leaf elegance I had first seen some months back, when Bottweill had hired Wolfe to find out who had swiped some tapestries. On that first visit I had decided that the only big difference between chrome modern and Bottweill gold-leaf modern was the color, and I still thought so. Not even skin deep; just a two-hundred-thousandth of an inch deep. But on the panels and racks and furniture frames it gave the big skylighted studio quite a tone, and the rugs and drapes and pictures, all modern, joined in. It would have been a fine den for a blind millionaire.
    'Archie!' a voice called. 'Come and help us sample!'
    It was Margot Dickey. In a far corner was a gold-leaf bar, some eight feet long, and she was at it on a gold-leaf stool. Cherry Quon and Alfred Kiernan were with her, also on stools, and behind the bar was Santa Claus, pouring from a champagne bottle. It was certainly a modern touch to have Santa Claus tend bar, but there was nothing modern about his costume. He was strictly traditional, cut, color, size, mask, and all, except that the hand grasping the champagne bottle wore a white glove. I assumed, crossing to them over the thick rugs, that that was a touch of Bottweill elegance, and didn't learn until later how wrong I was.
    They gave me the season's greetings, and Santa Claus poured a glass of bubbles for me. No gold leaf on the glass. I was glad I had come. To drink champagne with a blonde at one elbow and a brunette at the other gives a man a sense of well-being, and those two were fine specimens-the tall, slender Margot relaxed, all curves, on the stool, and little slant-eyed black-eyed Cherry Quon, who came only up to my collar when standing, sitting with her spine as straight as a plumb line, yet not stiff. I thought Cherry worthy of notice not only as a statuette,