over a year. Know what you're thinking, buddy, Baker said. I
didn't get it on a teacher's salary.
We had a little money and I invested in an enterprise that's rapidly
becoming rather successful. A few of us at the school have, thanks to
the wise Dr. Beezly. Maybe we'll get you into it, too.
Oh? What is it exactly?
Baker leaned toward him.
A corporation that owns and operates cemeteries, he said in a loud
whisper.
Cemeteries? Jessie instinctively brought her hands to the base of her
throat.
Yes, but let's not stand here and talk. Tracy and Dr. Beezly are in
the den. We've already- started our cocktail hour, he said, lifting his
glass. Know who else is coming? He gestured for Lee and Jessie to
follow him. He brought his mouth close to Lee's ear.
Henry and Marjorie Young. You'll be able to make some quick brownie
points tonight, he added in a coy whisper.
Lee didn't reply. He was never able to kiss ass. It was his Overstreet
pride. Although he was the first college graduate in the family, his
father and his grandfather had both been very skilled cabinet makers.
They traced their family lineage back to the Elizabethan age and had
documented evidence that their ancestors had built beds and chests as
well as chairs and cabinets for the queen.
His grandfather had made most of the trick cabinets for Houdini. They
never thought of themselves as simple carpenters. They were skilled
artisans. If anything, there was a sense of disappointment when Lee
decided to pursue a career in athletics and attend college. The
Overstreets weren't arrogant, but they never suffered a sense of
inferiority. As a result, neither Lee nor his two married sisters were
the kind of people who could suck up to anyone.
Growing up with it all around him, Lee had an eye for quality
craftsmanship.
That's a beautiful mahogany balustrade, he said, looking ahead at the
stairway. The hand-carved railing curved upward.
And we never had to do a thing with it. That's the way it was when we
first bought the house. To your left, Baker said. Lee turned Jessie
gently and they entered the den.
It was a large, cherry wood-paneled room with an oval Persian rug in
front of the long, vermilion leather sofa that faced a matching settee.
Streams of ruby ran through the rug's design. Like the wall paneling,
the side tables and the matching long oval coffee table were cherry
wood. The same was true for the bookcases on the rear wall. In fact,
the only wood that didn't have some shade of red in it was that used to
frame some of the oil paintings, all prints of famous nudes like
Botticelli's Venus and Ingres's nudes.
There were replicas of nude statues as well, including Maillol's Three
Graces. All expressed a fascination with the human body, depicted for
the most part in a sensual manner, except for an expressionistic
painting above the fireplace: Edward Munch's horrendous rendition of a
woman in some agony, her hands on her ears, her mouth a narrow oval as
she obviously screamed.
You can see why we call this the Red Room, Baker quipped. Lee will
explain it to you, he added for Jessie's benefit.
As soon as he spoke, Tracy and Dr. Beezly, who were standing by the
fireplace with their backs to the door, turned. Lee was immediately
surprised by how young Dr. Beezly appeared. From all he had heard
about the man, he had just assumed he was along in his years. But he
looked like a man barely in his late forties, perhaps in his early
fifties.
More important, Dr. Beezly was physically unimpressive He didn't stand
more than five feet five at the most, with features that were so small
as to make him seem almost gnomelike. His black eyes were beady and his
mouth was thin and somewhat feminine. He had rather long, thin black
hair brushed back on the sides and down his neck with strands
disappearing under his collar. Lee thought the man looked like he was
drowning in