An Interview with

Sarah Booth Delaney

Carolyn Haines was too busy talking with her muse to answer Coleman Peter’s questions, so she sent him over to Dahlia House to talk to Sarah Booth. She gave strict instructions to the private investigator to cooperate with the lawman in all ways.

Coleman: Lovely day, isn’t it? Won’t be long before summer slams down on us like a lid on a boiling pot.

Sarah Booth: It’s too pretty to think about summer. I hate to sweat.

Coleman: Ladies don’t sweat, Sarah Booth, they glow. But then—

Sarah Booth: Being a lady was never one of my ambitions.

Coleman: You could be anything you wanted, Sarah Booth. I’m just glad that isn’t how you choose to define yourself. By the way, where’s your houseguest?

Sarah Booth: Is this an interrogation?

Coleman: Cut the Daddy’s Girl tactic of answering a question with a question. Where’s Kinky?

Sarah Booth: So, the two of you are on a first name basis?

Coleman: I’m a bit more interested in knowing the basis the two of you are on.

Sarah Booth: I could say he’s upstairs asleep. Or I could say he’s upstairs awake. Or I could say—

Coleman: Don’t force me to use my methods of interrogation. Just the facts, ma’am.

Sarah Booth: I love it when you do cop talk.

Coleman: Where is Mr. Friedman?

Sarah Booth: Kinky has returned to Texas. He has a book deadline. Why are you asking? Really. Don’t try to snow me.

Coleman: I worry about you, Sarah Booth. You haven’t been home a year and you’ve been tied up twice, stabbed once, shot once and nearly shot before that. It’s not the best track record.

Sarah Booth: So this is strictly professional concern?

Coleman: That’s all it can be. For the moment. Let’s just say that if my crime statistics have to go up this year, I don’t want it to be because of you.

Sarah Booth: It’s lovely to know that you see me as another number on your sliding scale of crime. I’ll ignore the insult and keep things friendly. How are things with you?

Coleman: Steady. You know, there’s a rhythm to the destruction of a relationship, just like there is to the beginning of one. You have to follow the beat, let it move at its own pace.

Sarah Booth: Can I do anything?

Coleman: Stay out of trouble for a while.

Sarah Booth: I’m the wrong person to talk to about that. You should be having this conversation with Carolyn. She throws a case at me, and I don’t have much choice.

Coleman: She must have had a tortured childhood, the way she treats you.

Sarah Booth: I didn’t think you had a lot of sympathy for that "I was the victim of bad parenting" excuse?

Coleman: I’m sure it’s true in a lot of cases, but at some point, a person has to be held accountable for his own actions. I’m holding you accountable, Sarah Booth. If the case is too dangerous, just say no.

Sarah Booth: Easy for you to say.

Coleman: Several of your friends are worried about you. They claim they’ve heard you talking to yourself.

Sarah Booth: Lot’s of people talk to themselves. I might even point out that it’s usually the most intelligent people who talk to themselves.

Coleman: I won’t dispute that fact, but I might point out that the state mental institution is full of people who also talk to themselves. They seem to have this idea that they’re talking to someone else. Someone like an invisible friend. Does this ring a bell?

Sarah Booth: What are you getting at?

Coleman: Ah, Sarah Booth. When cornered, you always revert back to the old DG behavior by asking a question. I’ll be more direct. When you talk to yourself, which you are you talking to?

Sarah Booth: I’m not a split personality.

Coleman: Did I say that you were?

Sarah Booth: If I weren’t a very secure person, I’d think you were delicately trying to infer that I’m crazy.

Coleman: No doubt about it. I know you’re crazy. But I just want to be sure you’re not delusional. Who are you talking to, Sarah Booth?

Sarah Booth: (A long pause.) My past. My future. The traditions that define my boundaries. A good friend. My conscience. A little devil that sits on my shoulder. My dark side. Take your pick.

Coleman: That’s consoling. Should I find a priest?

Sarah Booth: If I thought an exorcism would help…No. To be honest. I think I like things just the way they are.

Coleman: So has the author given you any indication of what your next adventure will be? I want to be sure my calendar is cleared so I can keep you from getting hurt.

Sarah Booth: I can’t say for certain, but I know she’s dreaming. Hey, if you want to talk about nut cases, maybe we should be discussing Ms. Haines. She lets her dreams control what she writes. I think that’s pretty sick, especially when I’m the one she’s dreaming about.

Coleman: That is troubling. But what’s she dreaming?

Sarah Booth: She’s been working Crossed Bones. There’s a lot of great blues in the background, and very sexy guitar man.

Coleman: I know you love the blues.

Sarah Booth: Who doesn’t?

Coleman: What’s the case about?
Sarah Booth: The only thing I’m certain of is that there’s a murder, and I’m hired to prove the man you arrest is innocent.

Coleman: I wish just once we could work together.

Sarah Booth: Take it up with the author. She’s very fond of tension and conflict and all of those things.

Coleman: Seems you share that trait with your creator.

Sarah Booth: She’s your creator, too. But I’m tired of sixty questions. Let’s go inside and see what clues we can find regarding my next case.

Coleman: Sounds like a plan.