Scandal in Fair Haven

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Scandal in Fair Haven Page 9

by Carolyn G. Hart


  I lo­oked past him and shi­ve­red. The­re was a vi­ci­o­us-ness at work he­re that frig­h­te­ned me: Ink splat­te­red aga­inst the che­er­ful da­isy wal­lpa­per, pho­tos rip­ped from a bul­le­tin bo­ard and scat­te­red in pi­eces, pa­pers gro­und be­ne­ath a he­el, a lamp used li­ke a ba­se­ball bat on the des­k­top, an upen­ded aqu­ari­um and the limp bo­di­es of the fish on the sod­den rug.

  Captain Walsh tur­ned to­ward me and cros­sed his arms over his mid­riff. His ex­p­res­si­on­less eyes slowly mo­ved to my fa­ce. "Inte­res­ting thing is, Mrs. Col­lins, this of­fi­ce was un­dis­tur­bed when my men se­ar­c­hed the ho­use Sa­tur­day." "So so­me­body bro­ke in bet­we­en Sa­tur­day night and this af­ter­no­on."

  "Broke in?" Chi­ef Walsh in­qu­ired. "Shall we check, Mrs. Col­lins?"

  We ma­de a sur­vey of the gro­und flo­or to­get­her.

  No bro­ken win­dows. No srnas­hed-in do­ors.

  But the back do­or was un­loc­ked.

  Once aga­in Cap­ta­in Walsh sto­od, fe­et bra­ced, arms cros­sed. "The ho­use was se­cu­re when we left Sa­tur­day night." He po­in­ted at the do­or. "That was de­fi­ni­tely loc­ked."

  "Craig co­uld ha­ve un­loc­ked it on Sun­day and, with a go­od many ot­her things to think abo­ut, not loc­ked it when he left."

  "He co­uld ha­ve." Chi­ef Walsh's vo­ice was flat. He tur­ned and po­in­ted at the mad­ras pat­c­h­work pur­se on the but­ler's tab­le. "The­re's Mrs. Mat­thews's han­d­bag. And the­re are a gre­at many va­lu­ab­le ar­tic­les in this ho­use. Sil­ver, right out on the di­ning ro­om tab­le. VCR. Can you des­c­ri­be any mis­sing items?"

  He knew I co­uldn't. "We'll ha­ve to wa­it un­til Cra­ig gets ho­me to an­s­wer that."

  "Yes."

  "Patty Kay's of­fi­ce is a mess," 1 sa­id sharply.

  "Yes. I'll ag­ree to that."

  We gla­red at each ot­her.

  1 got the pic­tu­re.

  Captain Walsh be­li­eved I'd plan­ned a di­ver­si­on.

  Now I cros­sed my arms. "I didn't to­uch that of­fi­ce, Cap­ta­in."

  "No, ma'am."

  "Are you go­ing to in­ves­ti­ga­te this?"

  "Of co­ur­se, ma'am. I'll ma­ke a full re­port."

  As the cap­ta­in's black un­mar­ked pul­led away-and I ha­ve to hand it to the Fa­ir Ha­ven po­li­ce, it ar­ri­ved fo­ur mi­nu­tes af­ter I pho­ned-I mar­c­hed down the dri­ve and

  crossed the stre­et. As I wa­ited by the whi­te ra­il fen­ce for the ri­ding mo­wer to co­me to­ward me, I ad­mi­red the two-story co­lo­ni­al over­lo­oking the slo­ping lawn. A cre­am Mer­ce­des tur­ned in­to the next dri­ve­way. A coc­ker spa­ni­el bo­un­ded in­to a tan­g­le of un­der­b­rush, his high, ex­ci­ted bark an­no­un­cing pur­su­it of a squ­ir­rel or cat. To­ward the end of the cur­ving stre­et, Cheryl Kraft stro­de briskly up anot­her ma­ni­cu­red dri­ve.

  This was the kind of ne­ig­h­bor­ho­od whe­re pe­op­le no­ti­ced stran­gers. Most as­su­redly every eye on King's Row Ro­ad wo­uld ha­ve be­en tur­ned to­ward the Mat­thews ho­use sin­ce the mur­der story bro­ke in the Sun­day pa­pers. The yo­ung man on the ri­ding mo­wer cer­ta­inly no­ti­ced my ar­ri­val this af­ter­no­on.

  The mo­wer tur­ned, he­ading back to me.

  When it was no mo­re than a do­zen fe­et away, I lif­ted my hand.

  The dri­ver of the mo­wer was a han­d­so­me yo­uth. He had thick, lus­t­ro­us black ha­ir, strong, even fe­atu­res, in­tel­li­gent, dark blue eyes. At my sum­mons, he lo­oked sur­p­ri­sed. But he promptly swit­c­hed off the mo­tor and jum­ped down. He hur­ri­ed to­ward the fen­ce.

  "Yes, ma'am?" He was slim and at­h­le­tic in a blue po­lo and whi­te ten­nis shorts.

  "I'm Hen­ri­et­ta Col­lins. I'm sta­ying at the Mat­thews ho­use. I'm Cra­ig Mat­thews's aunt."

  I held out my hand.

  He yan­ked off brown gar­de­ning glo­ves, swi­ped his right hand aga­inst his shorts be­fo­re hol­ding it out to sha­ke mi­ne. 'Tes, ma'am. I'm Dan For­rest." His grasp was firm.

  I lo­oked at the boy mo­re clo­sely. He was truly ex­t­ra­or­di­na­rily han­d­so­me-and the mas­cu­li­ne ima­ge of Patty Kay's be­a­uti­ful ten­nis par­t­ner, Bro­oke. Bro­oke, the ten­nis pla­yer. Bro­oke For­rest, the trus­tee.

  "Did yo­ur mot­her and Patty Kay play ten­nis to­get­her?"

  "Yes, ma'am. Mom lo­ves to play. Mrs. Mat­thews was one of her best fri­ends." Dan wa­ited po­li­tely, tuc­king the glo­ves in a back poc­ket.

  I did so­me qu­ick fi­gu­ring. Cra­ig must ha­ve re­tur­ned to the ho­use at so­me ti­me on Sun­day to chan­ge clot­hes be­fo­re he was qu­es­ti­oned by the po­li­ce. I didn't know what ti­me he was ar­res­ted. The new­s­pa­per ar­tic­le had in­di­ca­ted the ar­rest was ma­de Sun­day eve­ning. So-

  "Dan, bet­we­en la­te yes­ter­day and abo­ut fo­ur this af­ter­no­on, Mrs. Mat­thews's study was bur­g­la­ri­zed. Ha­ve you se­en an­yo­ne ne­ar the ho­use?"

  "My gosh." His eyes wi­de­ned. "I gu­ess I sho­uld've cal­led so­me­body. Gosh, I'm sorry." He so­un­ded un­com­for­tab­le and em­bar­ras­sed. "But I tho­ught it co­uld be the wind."

  1 scar­cely da­red to bre­at­he. "What hap­pe­ned?"

  "Well, it was just a lit­tle whi­le be­fo­re you ca­me." His eyes slid away from me. "I me­an, I co­uldn't help but no­ti­ce when you tur­ned in. Yo­ur car's ne­at."

  I ab­ruptly un­der­s­to­od. The te­ena­ger was em­bar­ras­sed that he had in­de­ed be­en cu­ri­o­us and co­uldn't ke­ep his eyes off the Mat­thews ho­use. He didn't want to ad­mit to po­or man­ners. In­te­rest in sports cars was ac­cep­tab­le, ho­we­ver.

  1 has­te­ned to gi­ve him an out. "1 ima­gi­ne a ri­ding mo­wer gets pretty bo­ring. You can pro­bably tell me how many squ­ir­rels ha­ve cros­sed the ro­ad this af­ter­no­on. And cer­ta­inly I'm glad you we­re he­re and hap­pe­ned to be lo­oking aro­und."

  "Yeah. That's funny too. Usu­al­ly I'd still be at scho­ol. But they can­ce­led sports to­day. I gu­ess they tho­ught it wo­uldn't se­em right. Not un­til the fu­ne­ral."

  I tri­ed to sort that out. I tho­ught Patty Kay's fu­ne­ral was Wed­nes­day. Why no sports on Mon­day? But that didn't mat­ter. What mat­te­red was what this boy saw.

  "So you we­re ho­me this af­ter­no­on?"

  "I got ho­me abo­ut three-fif­te­en. I star­ted mo­wing abo­ut three-thirty. An­y­way, I hap­pe­ned"-his to­ne was pa­in­ful­ly ca­su­al-"to lo­ok ac­ross the stre­et and I saw the Jes­sops lit­tle whi­te po­od­le das­hing up yo­ur dri­ve­way. And Mit­zi's not sup­po­sed to be out. She gets lost. So I ran over, but by the ti­me I got the­re, she'd run aro­und back. I went back the­re and I he­ard Mrs. Jes­sop cal­ling and then I re­ali­zed Mit­zi'd go­ne ho­me. So I was tur­ning aro­und and that's when I saw the back do­or was open."

  His fa­ce wrin­k­led in re­mem­be­red in­de­ci­si­on. "I lo­oked aro­und the dri­ve and Mr. Mat­thews's car wasn't the­re, just hers. And so no­body was ho­me. I me­an, the­re we­ren't any cars but hers. But the do­or was open. I just sto­od the­re and lo­oked at it and then I tho­ught that was odd, so I went up to the scre­en and ope­ned it and po­ked my he­ad in. I cal­led out for Bri­git, but I didn't think she'd be the­re. I me­an, not" -Dan For­rest pa­used, then sa­id aw­k­wardly, "with what had hap­pe­ned. So I step­ped in­to the hall." He stop­ped and jam­med his hands in the poc­kets of his shorts. "And I tho­ught I he­ard so­met­hing-li­ke a bump, may­be?-upstairs. So I cal­led out re­al lo­ud this ti­me for Bri­git. It was qu­i­et. Re­al qu­i­et." He lo­oked she­epish, a dif­fe­rent kind of em­bar­ras­sment this ti­me. "It was-I don't know. I just felt funny. So I de­ci­ded to le­ave. I clo­sed the do­or and ca­me back ho
­me and star­ted mo­wing aga­in."

  I didn't say an­y­t­hing. I lo­oked at his han­d­so­me, un­com­for­tab­le fa­ce and won­de­red if may­be Dan For­rest had be­en luc­ki­er than he wo­uld ever know. If Patty Kay's mur­de­rer had wa­ited up­s­ta­irs, lis­te­ning-

  Dan mis­to­ok my si­len­ce.

  "I'm sorry," the boy sa­id mi­se­rably. "I gu­ess I sho­uld ha­ve cal­led so­me­body."

  "No, you did fi­ne. You co­uldn't ha­ve known. And ever­y­t­hing dow­n­s­ta­irs lo­oked all right?"

  He nod­ded eagerly. "Ye­ah. Ever­y­t­hing lo­oked okay."

  "You didn't see an­yo­ne le­ave?"

  "No, ma'am."

  But I hadn't ex­pec­ted that. Ob­vi­o­usly, the se­ar­c­her wo­uld ha­ve he­ard Dan call, he­ard the do­or clo­se. It wo­uld be easy to go down the al­ley or to slip thro­ugh the thick wo­ods be­hind the Mat­thews ho­use and ga­in the stre­et-or a ne­arby yard?-without be­ing se­en.

  "Thank you, Dan."

  "Yes, ma'am."

  I he­ard the mo­wer start up aga­in as I wal­ked swiftly back to the ho­use. I went by my car and ret­ri­eved my.35mm ca­me­ra.

  All the way up­s­ta­irs, I tho­ught abo­ut Dan For­rest-and luck. But may­be it was al­so my lucky day-and by ex­ten­si­on Cra­ig Mat­thews's. Be­ca­use the tras­hed study had to me­an so­met­hing.

  Captain Walsh tho­ught it me­ant I'd do an­y­t­hing ne­ces­sary to help my "nep­hew."

  I knew bet­ter.

  1 to­ok ca­re­ful pho­tos that wo­uld over­lap and show the pre­ci­se con­di­ti­on of the ro­om.

  The mo­re I lo­oked at the des­t­ruc­ti­on, the mo­re som­ber I felt.

  The ram­pa­ge that had tur­ned this ro­om in­to a sham­b­les ref­lec­ted enor­mo­us an­ger. And frus­t­ra­ti­on?

  Surely the se­arch was ma­de to find so­met­hing the mur­de­rer fe­ared an­yo­ne el­se se­e­ing.

  It had to be so­met­hing so shoc­king, so re­ve­aling that the se­arch was ma­de des­pi­te Cra­ig's ar­rest.

  The desk was lit­te­red with pa­pers. It wo­uld ta­ke ho­urs

  to sort thro­ugh them. And, mo­re than li­kely, they wo­uld me­an not­hing to me.

  The sa­me was true of the em­p­ti­ed fi­les.

  It lo­oked very much as tho­ugh the se­ar­c­her had ta­ken wha­te­ver ca­me to hand and dum­ped it out, then mi­xed the pa­pers in­to un­tidy he­aps.

  Searching for so­met­hing spe­ci­fic?

  Or an­g­rily des­t­ro­ying or­der.

  Behind the desk, a ring-bin­der no­te­bo­ok lay spre­ad-eag­led on the flo­or. Gold let­ters on the navy vinyl co­ver re­ad: Wal­den Scho­ol, Spe­ci­al Pro­j­ects. In a cor­ner of the ro­om was a crac­ked Ro­lo­dex. Jam­med aga­inst the wall was an ap­po­in­t­ment bo­ok.

  I used a pen­cil to ed­ge the ap­po­in­t­ment bo­ok over. I ope­ned it to Fri­day, Ap­ril 2.

  Patty Kay's han­d­w­ri­ting was as dis­tin­c­ti­ve as her la­ugh. Over­si­ze lo­oping let­ters we­re scraw­led in vi­vid scar­let ink.

  She evi­dently used the day­bo­ok simply to jot down ap­po­in­t­ments and re­min­ders. That didn't sur­p­ri­se me. It ta­kes a mo­re rec­lu­si­ve, in­wardly tur­ned per­so­na­lity for jo­ur­nal ke­eping. So I didn't ex­pect to find a di­ary entry re­la­ting the la­test up­he­avals in what had su­rely be­en a li­fe fil­led with con­t­ro­versy and con­f­ron­ta­ti­on.

  Nor did I.

  I fo­und, in­s­te­ad, the­se un­re­ve­aling no­tes:

  friday - 9 a.m. Class Chuck Bro­oke

  Call Stu­art---Bri­git

  Noon- --singles/ Cra­ig

  7 p.m. Symphony sa­tur­day - 9 a.m. ten­nis

  8 p.m.- --Charley's A.

  1 flip­ped back a pa­ge.

  thursday - 9 a.m. ten­nis 9-7 Gi­na/ 5-7 Bro­oke/ 6-2 Edith Al­te­ra­ti­ons Wal­den Fi­les

  I des­c­ri­bed the no­tes as un­re­ve­aling. Yes. But they did ra­ise so­me qu­es­ti­ons.

  The Fri­day ten­nis ga­me with Cra­ig was mar­ked out. On Sa­tur­day Patty Kay had mar­ked thro­ugh the the­ater da­te and writ­ten "trus­te­es." She had do­ub­le-un­der­li­ned two Fri­day en­t­ri­es, Chuck and Call Stu­art---Bri­git. A slash was

  marked thro­ugh the Sa­tur­day mor­ning ten­nis no­ta­ti­on.

  Why the­se chan­ges in her plans?

  Why we­re two en­t­ri­es do­ub­le un­der­li­ned?

  I qu­ickly ma­de a copy of the three pa­ges in my no­te­bo­ok. Tho­ugh I had to won­der if an­y­t­hing in the ap­po­in­t­ment bo­ok mat­te­red. Be­ca­use su­rely the pa­ges co­uld ha­ve be­en torn out or the bo­ok re­mo­ved if the­re had be­en an­y­t­hing re­mo­tely in­c­ri­mi­na­ting in them. Still, 1 had to start so­mew­he­re. At the very le­ast, tho­se no­ta­ti­ons we­re clu­es to Patty Kay's tho­ughts and ac­ti­ons on the last days of her li­fe.

  The qu­artz clock-lying on the flo­or, its de­li­ca­te fa­ce smas­hed-chi­med the ho­ur. Fi­ve o'clock. It was ti­me.

  1 hur­ri­ed down the ma­in sta­ir­ca­se.

  Craig sa­id he had ar­ri­ved ho­me at just af­ter fi­ve on Sa­tur­day. He ca­me in thro­ugh the front do­or to the ma­in hall. He cal­led out for Patty Kay.

  I sto­od in the ma­in hall.

  Yes, an­yo­ne co­ming in the front do­or-if he cal­led out -sho­uld be he­ard in the kit­c­hen.

  1 ima­gi­ned his sho­ut. "Patty Kay? Patty Kay?"

  No an­s­wer.

  Craig ma­de the na­tu­ral as­sum­p­ti­on that his wi­fe wasn't in the kit­c­hen. It ma­de sen­se that he didn't check the kit­c­hen first.

  When his call wasn't an­s­we­red, he went in­to the ma­in part of the ho­use, se­eking her. Ha­ving no luck, he hur­ri­ed up­s­ta­irs.

  Then he re­tur­ned dow­n­s­ta­irs and went to the kit­c­hen.

  I pre­ten­ded to be Cra­ig, ti­ming it, up­s­ta­irs and back down.

  Two mi­nu­tes for­ty-two se­conds.

  I pus­hed in the kit­c­hen do­or. A fa­int odor of bur­ned cho­co­la­te lin­ge­red, over­la­in by a de­eper, ran­ker smell. It was dim and sha­dowy. I was su­re lights bla­zed when Cra­ig ar­ri­ved. I flip­ped the swit­c­hes.

  The sticky, smelly mess was shoc­king. I was sur­p­ri­sed. The po­li­ce we­re fi­nis­hed the­re. No yel­low cri­me sce­ne ta­pe dec­la­red this ro­om off li­mits. The po­li­ce had the­ir dam­ning pho­tog­raphs and dra­wings and vi­deo film. Why hadn't Cra­ig ar­ran­ged for the kit­c­hen to be cle­aned?

  It was, I sud­denly felt cer­ta­in, just li­ke Cra­ig. He was wa­iting for so­me­one to ta­ke char­ge, to tell him what to do. Al­t­ho­ugh, to be fa­ir, he'd had very lit­tle ti­me for such prac­ti­cal con­cerns.

  But I was glad. I was se­e­ing the kit­c­hen as the po­li­ce had fo­und it.

  Three do­ors ope­ned in­to the ro­om, one from the di­ning ro­om, one from the back hall, whe­re I sto­od, and one from out­si­de.

  Dark, go­o­ey bits ad­he­red to the high ce­iling.

  Congealed po­ols of gre­en and brown for­med an ir­re­gu­lar, al­co­hol-scen­ted mass bet­we­en the co­oking is­land and the do­or to the bac­k­yard. It was easy to spot the sme­ars whe­re Cra­ig had skid­ded ac­ross the spil­led li­qu­e­urs.

  I didn't see eit­her li­qu­e­ur bot­tle. Or the ca­ke tin.

  1 got my pad out of my pur­se. My fin­gers brus­hed the. pac­ket of pho­tos Chi­ef Walsh had gi­ven me. I pul­led it out, fo­und the kit­c­hen shots, and com­pa­red them to the sce­ne.

  I stu­di­ed the ce­iling aga­in. 1 es­ti­ma­ted the tra­j­ec­tory of the ca­ke tin when it was hur­led.

  It pla­ced the tos­ser squ­arely in the mid­dle of the spil­led li­qu­e­ur.

  Unless, of co­ur­se, the t
in was thrown first, and the li­qu­e­ur spil­led af­ter that.

  Craig ad­mit­tedly had a long sme­ar of li­qu­e­ur on one tro­user leg.

  That wasn't ne­arly eno­ugh.

  As I un­der­s­to­od it, the po­li­ce be­li­eved that Cra­ig ca­me ho­me, he and Patty Kay qu­ar­re­led, and, en­ra­ged, he lost con­t­rol, cra­zily flin­ging the li­qu­e­ur bot­tles to the flo­or, then he­aving the ca­ke tin at the ce­iling. Or he tos­sed the ca­ke tin, then knoc­ked over the bot­tles. Me­an­w­hi­le, pre­su­mably his wi­fe ran from his mad at­tack out the back do­or and in­to the play­ho­use.

 

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