The two-story Tudor’s dark half timbers shone in rich contrast to its pale plaster walls. In the low winter sun, the steep, shingled roofs cast angled shadows down onto the wide, second-floor deck that roofed the downstairs dining room. The children stood crowded on the deck, leaning over the rail, shouting and pointing as the little houses took shape.
Cora Lee watched as the third portion of Lori and Dillon’s house was set in place, watched the girls bolt the parts together while the drivers held them steady. But when she saw that they had everything in hand, she turned away and headed home.
The girls wouldn’t leave until late this evening, until they’d seen every playhouse that was entered and had rated them all, in their own minds, against their own construction. Then they’d come walking tiredly home. Tired, and…what? Satisfied with what they’d created? Or discouraged? How could they be discouraged? Their house was wonderful. But no matter what their assessment, they’d be a jumble of nerves, not fit to live with until the judging was over.
W ATCHING FROM THE bushes as Cora Lee pulled out of the school yard, the cats moved on in behind her car, trotting between beds of poinsettias and nearly deafened by the banging of hammers and buzz of electric tools and the roars of trucks and tractors. Above them at the mansion, kids were crowded on the roof deck talking and pointing, longing to get inside those small houses where only a child would fit, where a child could step into any adventure he chose. Circling the front of the estate, they slipped in among the tall rhododendron bushes that sheltered the Stanhope studio.
They drew back at once, hissing, crouching down beneath the heavy leaves.
The sagging garage stood open, and the fake blue van stood half inside, the front end sticking out, the rear door open. And from within the house, partially masked by the noise of builders and trucks, came the pounding of other hammers. Then the dry-harsh noise of ripping wallboard, and the ragged, tooth-jarring screeches of old, rusted nails being pulled.
Padding closer to peer into the dark, small garage, the cats saw no way through that cramped space into the house itself, no inner door. Circling the studio then moving around to the front, they looked for an open window, but they were all closed, probably locked, as Dorothy had left them.
In the side yard a giant cypress tree stood shading the mossy roof. Storming partway up, they tried to see in. Sounded like the Wickens were taking the whole house apart.
They could see little through the old dirty glass; the small panes reflected more of the tree and of themselves than they revealed of the room within.
“Maybe,” Dulcie said, leaping to a higher branch, “maybe we can see through the skylights, maybe the rain has washed them clean.” Scrambling up, she sailed to the mossy shingles and looked down through the nearest slanted pane.
The glass was embedded with chicken wire. Joe and Kit nudged up close to her, their noses pressed to the cold surface. Directly below them stood Leroy Huffman, his dark thick hair so close to them that, if not for the glass, they could have dropped onto his head. He was prying at the wall with a small crowbar, carefully removing soft pieces of composition wallboard. The scarred pine floor beneath his jogging shoes was covered with scraps of the dry, flaking board. Across the room, Ralph Wicken sat on the floor, his back to a narrow strip of wall between two doors. He was doing nothing, he sat sullenly watching. At an adjoining wall Betty Wicken was gently chipping away plaster, revealing the chicken wire beneath.
“Why,” Dulcie said, “would one wall be covered with wallboard, but the other one with plaster?”
Joe Grey shrugged. Who knew, with these old buildings? They watched Betty shake back her dark hair, concentrating on her careful work as if not wanting to damage whatever might lie beneath. The cats couldn’t see that her efforts had gleaned anything of interest, only plaster chips.
Leroy’s wall was another matter. The next piece of tan wallboard that he removed revealed, beneath, something that made him step back, his voice rising.
“Got it,” he said, almost shouting.
“Shhh.” Betty hurried to stand beside him. The cats could see nothing more than a rusted screw. No, three screws, lined up one above the other, some six inches apart, holding in place a thin strip of polished wood.
The strip seemed to frame a smooth portion of wall beneath the outer wall, a very white wall, as if plastered, but as Leroy moved aside, they could see it was painted in patches, too. Patches of gray, green, blue shone out, and quickly Betty ripped away more wallboard.
The screwed-on strips and the board they framed ran from floor to ceiling. The cats, their faces pressed against the skylight, watched Betty move along, tearing off more wallboard to reveal the treasure beneath.
After a quarter hour, they had uncovered a four-foot-wide, floor-to-ceiling painting. “A mural,” Dulcie said. “Part of a mural.” For now the two were stripping away the cardboardlike covering of successive panels of painted landscape. With every panel, the green hills shone more vividly, so filled with light and space that the cats might have been looking through the wall itself to the green winter hills that rose above the village: hills that were emerald bright with new grass beneath a wild and stormy gray sky so sharply reminiscent of these last winter weeks. This painting was Molena Point, the work so rich and real that the cats could almost hear the wind blowing, feel its cold fingers in their fur. Crouching over the skylight, their noses to the glass, they watched Leroy and Betty slowly remove the remaining covering to unveil the entire work; while on the floor in the corner, Ralph still sat, sulking.
“Poor Ralph,” Dulcie said, watching him. “He can’t be too smart. No wonder she watches over him. A man like that, in prison, wouldn’t stand a chance. He’d be victim of every prison brutality in the book.”
“If he is a child molester,” Joe said, “that’s exactly what he deserves.”
Six panels formed the mural, each maybe eight feet tall by four feet wide, each edged by a strip of hardwood to hold it in place and keep it from warping without marring the work itself with screws or nails. The Molena Point hills ran for twenty-four feet of rolling green that slowly turned to summer brown, in a panorama of the central coast seasons-the stormy winter of the present to the sun-golden burn of summer and then back again.
The sense of space and distance made Dulcie think of C. S. Lewis’s words that she so loved, of spaces larger, and mountains higher and farther away, than a living human had ever experienced. The painting filled Kit with the old wild longing she had known as a kitten and that often still returned to her, a hunger of the spirit that made the young cat tremble. The hills that Anna Stanhope had rendered so magnificently made all three cats want to leap away forever into far and unobtainable distances.
Betty Wicken, working with a much gentler hand than she’d displayed when she threw that flowerpot, undid the screws from the stripping and gingerly removed the first panel. This operation showed another side of the woman, showed her art-gallery background in dealing with valuable wares. She had set the first panel aside, leaning it against the wall, when a heavy vehicle pulled up the gravel drive. She spun around, as did Leroy, staring at the door.
“It’s Ryan,” Joe hissed, looking down over the edge of the roof. “Ryan’s truck.” And before Dulcie or Kit could move or speak, Joe’s gray rump and short tail disappeared over the edge and down the cypress trunk. They leaped after him, scrambling into the bushes, and stood watching.
The truck door slammed, and Ryan headed for the cottage. “Mavity?” she called. “Charlie? Who’s here?”
Trying to think what to do, the cats could only crowd through the door behind her.
When Ryan saw strangers, and saw the painting, she stopped cold, her hand flying to her pocket. “What are you doing?” Raised by cops, she wasn’t slow to react, she saw clearly what they were up to. “Get back! Now! Stand against the wall, now!” The bulge in her pocket might be a gun, or might be a wrench or a screwdriver. “Move against the wall now! Face the wall now! Do it now!” She moved quickly, and her split-second reaction was second nature.