Cat Deck the Halls (9 page)

“Sounds like a nice guy. I saw him in the village the other day; Dallas pointed him out. He was talking with a middle-aged couple—tall, dark-haired woman, strangers. He'll have all the work he wants, as difficult as it is to get skilled craftsmen.”

“What did happen last night, Juana? You're pretty concerned about the little girl, if Max didn't tell the reporters about her.”

“I'd already gotten her away from the scene when the reporters showed up.” Juana described the events of the previous night. And the anonymous phone call, like tips they had received in so many other cases, this one telling them about the child.

“The caller said she was clinging to the dead man,” Juana said. “When Brennan found her, she was huddled in that little pump house behind the dog fountain, and those two cats were with her, Clyde's big tomcat, and the Greenlaw's cat cuddled right up to her.”

“I guess even that macho tomcat might have a soft spot,” Cora Lee said, smiling.

“She was afraid of Brennan, shrinking away from him. That's when he called for a woman. She likes Jimmie McFarland, though, maybe because he's quieter. She didn't shy away from the chief and Dallas, either. I think it was just last night, so soon after the shooting, and Brennan's voice is loud and gruff.”

“Can't she
stay
here with us?” Cora Lee said. “We're all women in the house, except for Donnie, and he's a gentle soul. She and the guard could sleep in my room, with the dogs in there, and in the daytime she could hang out with Lori and Dillon while they work on the playhouse.”

Though there was two years' difference in age between Lori Reed and Dillon Thurwell, the girls were fast friends, in part because both rode together, both keeping their horses up at Chief Harper's ranch. Lori Reed, though she was the younger, had helped Dillon in school. Lori was intently committed to “real history,” as she called it, and to English, and her eagerness had rubbed off on Dillon, an interest that had changed Dillon a great deal.

Juana looked out to the living room, where the big poodle and Dalmatian and the little girl had curled up in a tangle among the floor cushions, the dogs panting.

“There's no name tag on her clothes?” Cora Lee said. “No labels you can trace?”

“Kmart labels, could have come from anywhere. I bathed her last night, bagged her clothes for evidence, put her in one of my T-shirts. This morning Officer Kane brought me some clothes, his boy's about the same size.

“There've been no California missing reports,” Juana said, “for an adult or for a child of her description. Nothing so far on the West Coast, and nothing yet in the national reports. Taking the word of our informant that there was a dead man, we're guessing he was a tourist.”

“You think she was kidnapped?”

“It seems unlikely if, as the caller said, the child was snuggled up to him. It's possible that an estranged father could have taken her, and run, against a court order. We have no report to that effect, yet, where the child fits that description.”

Cora Lee shivered. The two women looked at each other, both touched by the horror that the child must have experienced, if she was in that man's arms when he was shot.

Though the child seemed busy with the dogs, they kept their voices low. She might not speak, but it was obvious that her hearing was just fine, turning when a dog huffed, glancing up at the women if they laughed. When they finished their pie and coffee, Cora Lee called the dogs, Juana wrapped up the child's pie for later, and they headed out the front door, across the front deck, and down the four steps to the big garage, where Lori and Dillon were building their contest entry.

P
ASSING THE WIDE
garage doors, Cora Lee and Juana stopped to wait as Jimmie McFarland pulled in, then the three adults moved, with the child between them, around the side to the pedestrian door accompanied by the two gamboling dogs. They could hear, from within, the buzz of the electric screwdriver and the rhythmic pounding of a hammer, and the two girls bantering and laughing. Pushing the door open, Cora Lee turned, looking across the yard for Donnie, but his truck was still gone. His wheelbarrow and bags of cement and tools were scattered where he'd been working, which wasn't usual for him. But he'd been at work since dawn, and was obviously coming right back—he must have run out of something unexpectedly.

When she and her housemates had bought the house, the yard was a mass of weeds. But once they'd moved into the neglected dwelling, most of their work had at first gone into the interior, painting and repairing, decorating the communal living area in a way to bring their divergent pieces of furniture and tastes together. Each of them had designed her own room as she pleased. Blond Gabrielle,
who wasn't much for yard work and who didn't like to get her hands dirty, was a fine seamstress and had made all the curtains and draperies. That, in Cora Lee's opinion, took far more patience and skill than wielding a garden trowel or a paintbrush. Holding the child's hand, she led her inside. “You have an audience,” she called, “a special visitor.”

Along the walls of the three-car garage, Cora Lee and the girls had constructed a sturdy cutting table and a paint table out of sawhorses and plywood. The permanent workbench offered ample room for hardware, nails and hinges, and the small power tools. Ordinarily the garage was Cora Lee's furniture studio, and she had orders nearly three years ahead. But until later this week, when the girls would deliver the playhouse to the contest grounds, this space belonged to them. The playhouse nearly filled it.

There were twenty-three entries, most of them produced by adult teams and professional builders. Once the winner was chosen, all the other entries would be auctioned off. Given the popularity of custom playhouses along the coast, Cora Lee had no doubt they'd all sell at a profit—in her mind, it was a win/win situation; but the girls were set on getting the first prize.

Above them, Dillon Thurwell was perched atop a six-foot-high platform of joists, the red-haired fourteen-year-old carefully balancing as she screwed lightweight cedar boards onto the raised deck—the playhouse, which was nearly finished, could be taken apart in three sections to be transported by truck. If the girls' dream came true, their entry would win twenty thousand dollars to be split between them, to add to their college funds.

Dillon's parents had started her college fund long ago,
and added to it regularly; but Dillon's mother was a real estate agent, and her father a college professor. Lori, on the other hand, with her father in prison and her mother dead, had little more than odd jobs and her own ingenuity with which to amass the huge sum she would need for her education. And Lori Reed was dead set on college, no matter what it took. Lori had lived with the four women since her father was sent to San Quentin to serve a sentence for second-degree murder, a crime that everyone who knew him felt they might have committed themselves, considering that the man he killed had brutally murdered innocent and very bright children, and had intended to kill Lori.

The little child beside Cora Lee stared up round-eyed at the bright, multicolored playhouse; it was a confection of brilliant colors, of closed and open spaces and ascending levels, and of wild cutouts for air and light, and all the surfaces were painted in amazing patterns. There were three ways to climb to the top—a knotted rope, a ladder, and a vertical bar with protruding rungs. Standing on the tumbling mats that were scattered underneath, to make the low work easier, the little girl stared up at the wonderful confection, her eyes wide, her mouth curving in the tiniest hint of a smile.

“Paint dry?” Cora Lee asked, keeping the dogs back, worrying that they would smear Lori's careful work.

“It's dry,” Lori said. Kneeling beside the front of the playhouse, she was nailing on freshly painted, bright persimmon trim. The younger girl had long, straight brown hair, light brown eyes that could look achingly hurt and needy—or could look as secretive and feisty as could Dillon's impish glance. But Lori's attention was on the little girl, clearly seeing the child's shy fear. Lori put out her hand.

The little girl came to her slowly at first, but then with trust. This was not an adult bid for contact, this was child to child, as nonthreatening as the earlier, guileless greetings of Joe Grey and Kit, and then of the two dogs. Above them, Dillon remained still, her red hair catching a shaft of light through the garage windows, her cropped, flyaway locks gleaming like flame.

At the sound of a car pausing on the street, Davis stepped to the door, but then it moved on by, and she returned to watch the child explore the bottom part of the playhouse then scramble up the ladder. Forgetting the adults, the little girl disappeared into the three rooms and out again in a little dance across the various decks, so losing herself to wonder that Davis and Cora Lee beamed at each other—and Davis dared to think, now, that the child might find her voice, and be able to speak to her.

 

S
O THIS WAS
where they meant to hide the kid, at least part of the time. This, and that detective's condo. What a laugh—those women had no clue that he knew all about this place. Kuda watched the woman cop lift the kid out of the car, and he smiled. The kid was a sitting duck.

He waited warily but with patience while they were in the house. Watched the second, lone uniform pull in. So the kid had two guards. Oh, this was too good. This was security?

And still he waited.

Kid hadn't said a word, so far, he could bet on that. Hadn't, or the cops wouldn't be so relaxed. They were just
normally watchful, but not sweating it. No, the kid hadn't told anything she saw, and he didn't think she would—and how much could they believe, from a kid? Kid was no kind of witness.

So why mess up a good thing? Kill her, and they'd be after him for sure. No, for now, let sleeping dogs lie. So far he was home free. Keep it that way. Body disposed of, and only some passing witness's word there ever was a body. How far would the cops go to investigate hearsay? This was Christmas, the stores had to be full of enough shoplifters and petty thieves to keep the street patrol plenty busy.

No, he thought, leave the kid for now. Leave her, and he'd be able to slide right out of this berg, once he got what he came for. Disappear so the law would never find him.

He'd disposed of the clothes and duffels pretty well, scattering them in several places. He hadn't wanted to leave stuff in the car that might be traced, even though he'd checked the labels. All were generic. Kmart. Penney's. Wal-Mart.

He'd dumped the empty billfold, after wiping it down, in a bin out on the highway at the edge of the state park as he pedaled back toward the village in the predawn dark. Had left his own shoes there, too. Waffle soles, that had been foolish. Was afraid they'd left prints. Best place to dump them was the highway, where some homeless man walking that stretch might pick through, might put them on. And then, who'd ever find them?

He'd worried about the two duffels, even empty. Hadn't wanted to leave them in the garage, and for some reason didn't want to leave them in the car. He'd decided to bring them with him, tied on the back of the bike, riding along like a homeless person, himself.

He'd emptied some of the pants and shirts down into the bottom of the highway Dumpster, too, and pulled debris over them. Rolled the bigger, emptied duffel in mud and stuffed it down in there. But the kid's stuff had worried him. Pretty little girl's clothes, too new to throw away. That'd attract attention.

Coming into the village, he'd cruised the streets, passing three charity shops, all closed, of course, then circled back when he saw a car stop before one of them. And luck had smiled on him, big-time.

Woman got out, hauled out four big black plastic garbage bags, tucked them up against the shop's door with a note pinned on. Got back in her car, all dressed up for work, sleek black suit and high heels, and took off.

It had taken him only a minute to tuck the kid's clothes down inside. He used three of the bags, a few garments in each, the small cloth duffel rolled up and stuffed in, too, and that ragged doll—had to get rid of the doll. Sealed them up again with the twisties, swung on his bike, and took off, wanting to hide the bike or get rid of it. Thinking again that the cops weren't going to spend a lot of time digging through charity shops—not this time of year, not with organized crime working the shoplifting rackets so they were more than just random events. How thin could that small department spread its uniforms? They only had two detectives, only two that he'd seen.

Going over his routine of last night, he watched the tall house, watched the kid come out with the two women, heading around the garage. He watched the lone uniform pull up and join them, and then he turned away, and headed on down into the village.

T
HE THREE CATS
crouched shivering on the roof of the Molena Point Little Theater, able only to listen to the music of
The Nutcracker
; on this cold night they could not enjoy the dancing and costumes and sets. Ordinarily, they would have slipped inside at the last minute behind the crowding audience, but with the icy wind blowing in through the open doors, those doors had been closed too quickly.

But even though they were shut out in the cold, the music filled their heads, dancing up through the roof. Kit's fluffy tail twitched in delighted rhythm to the lilting cadences, to visions of Marie and Clara and the Nutcracker and the King of the Mice, to all the convoluted and interwoven scenes of the tale so sharply brought to life in the bright music. And now, as the theater let out, they peered down at the happy, departing crowd, looking for their friends.

Charlie Harper and Dorothy Street were the first of their party to emerge, presumably leaving their companions in the lobby lost in scattered conversations. As the two
women headed up the street, the cats followed, padding across the icy roofs and across slippery oak branches and more roofs, making straight for the Patio Café. There the cats paused on the clay tiles looking down to the restaurant's outdoor terrace as Charlie and Dorothy were seated. In the center of the terrace, a fire burned in the round brick fire pit, sending up welcome heat to warm their fur and paws and their cold noses. The patio, decorated with red swags along the eaves and huge pots of poinsettias, was crowded with late, cheerful diners, most of them talking about the ballet.

“Charlie had a ticket for Max,” Joe said. “I don't think he's into ballet, he opted out. Said because of the murder.”

“If not for the murder, he'd have gone,” Dulcie said shortly. “He'd go almost anywhere, to enjoy an evening out with Charlie.” She looked hard at Joe. “You like
The Nutcracker,
you just don't want to admit it.” But then she turned her attention to Charlie and Dorothy.

The two women had been seated at a big round table beside the fire pit; though they were almost directly beneath the cats, their low conversation was hard to hear among the rising tangle of voices. Only Charlie was aware of them on the roof above. She glanced up once as they basked in the warmth from the blaze; she watched them sniffing at the heady scents of broiled shrimp and lobster, and she raised an eyebrow, then looked away again, hiding her smile.

The brick patio was enclosed on two sides by the restaurant itself, the other two by a two-foot-high wall topped with the pots of poinsettias and bright red winter cyclamens separating the café from the sidewalk. The street beyond was busy with tourists and locals coming from the theater
or enjoying last-minute, late-evening Christmas shopping. The whole village was festive tonight, the shop doors hung with wreaths, the overhanging oaks and pines strung with colored lights—and their friends looked festive, too. The cats seldom saw Charlie in anything but jeans. Tonight she wore a soft, metallic-gold tunic over slim black pants, her untamable, kinky red hair bound back with a heavy gold clip, and a thick, golden stole over her shoulders. Dorothy Street was sharply tailored, very handsome with her sleek, dark hair, and her winter tan from running the beach, her clean beauty set off by a black silk blazer over crisp white pants and white boots. She had let her dark hair grow long, and was wearing it in a braid wrapped smoothly around her head—a more serious, finished look than the short, windblown mop she'd sported when she worked for Patty Rose as the retired actress's assistant, an efficient young secretary who often went to work in jeans and sweatshirt and smelling of the sea. Now, as Patty's heir and new owner of the inn, and as trustee for the Patty Rose Home and School, she presented a far more businesslike demeanor. The cats weren't sure they liked her new look; but they supposed that status-conscious humans were impressed, and that that was good for business.

Dorothy was talking about a break-in at the Home, speaking so softly that over the noise of the other diners, the cats had to crouch low across the roof gutter to hear at all.

“Nothing was taken,” Dorothy was saying. “There's nothing in there to take. Why would someone break into that old, empty studio? Not a stick of furniture, you can see through the windows that it's empty. But the front door was jimmied last night, fresh scars in the molding. Last week,
after we found the back door open, we changed the locks. But the next morning, two of the boys came to tell me they'd found a window open, banging in the wind.

“I went over, found the lock broken, and called the department again. It's embarrassing to have to call them out for such a small thing, but…Whatever this is about, we need to find the cause before Ryan starts work. She'll have material and power tools stored in there.”

Above, on the roof, the cats glanced at one another, wondering if that had been the work of the old tramp. On these cold nights, that old stone studio would be dry, all right, just as he'd said, a welcome retreat from rain and wind.

Charlie pushed back an escaped strand of red hair and gave the waiter a long, annoyed look where he lingered just beyond their table, coffeepot in hand. Charlie liked good service, but she didn't like overt attention.

“The old window locks were easy enough to break,” Dorothy said. “Ryan says they were the original ones. That studio is nearly a hundred years old. She sent a carpenter over to replace them.”

Dorothy sipped her coffee. “That, combined with whatever happened in the plaza last night, is giving me the fidgets. I keep thinking about our Christmas bazaar, in a just few days, about how vulnerable we are up there, how vulnerable the children could be.

“I've hired six more guards,” she said softly, “besides the regular three.”

“You really do expect trouble? But…”

“I don't know what to expect.”

Charlie frowned. “You think there's some connection between the plaza murder and the break-ins?”

“I don't know, Charlie. But the two things at once…If we'd had only a simple break-in…But three times, without anything to steal. That's so strange.”

“No possessions of Anna Stanhope's left forgotten? Maybe tucked away in a closet?”

“Nothing. The few paintings that were left locked up in there, all those years after she died, and a few books and papers, we'd already removed and stored safely. Her son had long ago sent most of her remaining work up to her gallery in the city.”

“I understand that Anna was rather secretive, inclined to stash things away.”

Dorothy smiled. “I really don't think there was anything left hidden. There's nowhere
to
hide anything in that studio. I think that's one of those stories that gets started—maybe John Stanhope started it, to boost the price of the studio when he sold it. I wouldn't put it past him.”

John Stanhope, Anna's son, had built the big, newer mansion on the property some years after Anna died. The mansion badly dwarfed the small, stone studio where Anna had lived and worked. Later he'd sold the studio as a separate dwelling, but had retained most of the estate grounds with the new mansion. When actress Patty Rose bought the mansion, wanting to convert it to a children's home, the smaller house was not available. Then last year, after Patty died, the studio came on the market again, and Dorothy, representing the Patty Rose Trust, quickly bought it, thus reuniting the property. She meant to turn the historic studio into addi
tional classrooms for the children, and she badly wanted to get started with the work right after the holidays.

“These break-ins made me feel so…not just vulnerable,” Dorothy said, “but as if I've let Anna Stanhope down. She loved that old studio, she would not have liked this invasion. Her journal is full of entries about how happy she was there, and now I feel responsible that this has happened.

“But most of all, I'm worried for the children. I don't want…It's almost like a personal attack on the children themselves, that someone would break into the Home, where we've tried to make everything safe for them. Those kids…”

“Those orphan kids are like your own babies,” Charlie said. “But—you don't think the intruder was some jealous village child, playing pranks?”

“That's possible, I suppose. Certainly none of our children would do that.” Dorothy smoothed her dark hair. “Why do I keep trying to tie the break-ins to the murder in the plaza? Assuming there was a murder. How
could
there be a connection? Why do I keep thinking of that?”

Charlie couldn't answer.

“I don't mean to talk about things you aren't free to discuss.”

“There isn't much to discuss—not until Max knows more about what happened there. Dorothy, I just don't have any answers.”

“It isn't my nature to fly apart,” Dorothy said. “I guess, after Patty was murdered last year, and the things that happened to her daughter and grandchild, that I'm overly nervous about our kids.”

“You have a right to be anxious. But you have extra
guards in place, and you use an excellent agency. Have you talked with Max about…”

They looked up as Lucinda and Pedric Greenlaw along with Cora Lee French came in, crossing the terrace to join them. Cora Lee's cousin, Donnie, and her housemate, Gabrielle Row, came in behind them, holding hands like youngsters, the two so wrapped up in each other that the cats had to smile.
A Christmas romance,
Dulcie thought, purring. It pleased her when older people found that kind of happiness. She looked at Donnie's blond and white hair, and at Gabrielle's blond dyed hair that was very likely graying, too, under that elegant color. The two were so attentive to each other that they hardly seemed to know anyone else was present.

The Greenlaws sat down next to Charlie. Lucinda had pulled a warm cashmere stole close around her shoulders, over her silver-toned wool suit. The elderly Greenlaw couple was the tortoiseshell kit's human family, a tall pair of octogenarian newlyweds as spry and adventurous as folks half their age. Pedric looked handsome tonight in a pale cashmere sport coat, white shirt, and camel-toned tie and black slacks. The new arrivals had, as they entered the patio, also been talking about the Stanhope house, the subject having been brought to their attention by a large display in the theater lobby showing old photographs of Anna Stanhope's studio and giving some of Anna's background, as promotion for the Home's bazaar and auction on Sunday.

“Over eighty years ago,” Cora Lee said, sitting down across from Charlie. “The village was really bohemian, then. So many famous names—Jack London, John Steinbeck, and a lot of lesser folk, all a close-knit group with
Anna Stanhope. She worked for years in that small stone studio, hidden back in the woods.” Cora Lee's dusky Creole beauty was set off by a simple cream velvet suit. Blond, bejeweled Gabrielle was overdressed as usual in a long blue satin gown, too much bright jewelry, and a pale real fox wrap. Donnie looked handsome indeed in a cream-colored cashmere suit, pale blue shirt, and tie—perhaps a bit overdressed or citified for the village, but a man whom all the women on the terrace were glancing at with thinly concealed interest.

“Where's Lori?” Charlie asked Cora Lee. “She didn't want to come?”

“We left her and Dillon holed up with that…” Gabrielle began; she went quiet at Charlie's annoyed look and the faint shake of her head. Gabrielle looked surprised. Donnie hugged her closer, looking back at Charlie with sour disapproval, as if his ladylove could do or say no wrong.

“…busy with their playhouse,” Gabrielle finished, almost simpering. “I never saw two children work so long at anything. It's really quite unusual.”

Everyone at the table knew that Gabrielle thought the playhouse was silly, that young girls should not undertake that kind of challenge against adult contenders. That two young girls could never complete such demanding carpentry work, that there was no way they could produce an acceptable construction, let alone win the huge prize they were hoping for. Gabrielle's criticism was a sharp bone of contention between her and Cora Lee, one that Cora Lee tried her best to hide in deference to Donnie's infatuation with her housemate.

Obviously, Charlie thought, Gabrielle had not bothered
to look at the nearly finished playhouse, had not wanted to see how wonderful it was, and how well constructed. Nor had she considered that Dillon had trained for some time as a carpenter's apprentice to Ryan Flannery. As Donnie tried to cheer Gabrielle, cajoling and flattering her, Charlie noticed her ring.

Reaching across the table, Charlie gently took Gabrielle's hand, holding it up so the large diamond on her third finger gleamed in the firelight. Everyone at their table stopped talking, then all talked at once congratulating them as Gabrielle and Donnie beamed. Gabrielle managed to blush, and Donnie's blue eyes were as bright and excited as the eyes of a boy. Across the table, Cora Lee smiled upon the happy couple like a proud parent.

“When did this happen?” Lucinda said. “When did you become officially engaged?”

“This afternoon,” Gabrielle said softly. “Donnie…I…It was a surprise. I…I'm still shaken. And it looks like we might move up to the city, too.”

“A job offer,” Donnie said. “They called this afternoon. A large company. If it pans out, looks like I might work myself into a managerial position within a year.”

They were still exclaiming and congratulating when the waiter brought additional menus and took drink orders, then turned away to linger, again, inside the door to the kitchen, keeping an eye on the tables. He returned with two additional menus as Clyde Damen and Ryan Flannery crossed the patio to join them.

Ryan looked beautiful tonight, her short dark hair windblown, her green eyes set off by a green velvet pullover, topping a slim black skirt, a green velvet shawl around
her shoulders. The cats liked seeing their human friends dressed up; they were used to seeing Ryan and Charlie in comfortable jeans and work boots, Ryan because she was a builder, Charlie because she and Max kept horses up at their small ranch among the Molena Point hills.