But she didn't dare. Who could chase a mouse in this maze without incurring major damage? Good thing Joe isn't here, he'd lose patience and send the entire clutter crashing.

In the evenings, moving warily among the crowded rooms, trying to eavesdrop but stay out of Varnie's way, listening to their every conversation and idle remark, she heard nothing about Janet, nothing about the murder or the fire. And so far, the old woman's monologues were confined to baby talk. It would be really too bad if she'd gone to all this trouble for nothing.

But Mama did spend all day at her window, as Dulcie had guessed. And she did wake up well before dawn, often to draw on her robe and return to her window, to her unrewarding vigil over the neighborhood. It seemed to Dulcie a very good chance that the old woman had seen something that morning, the morning of the fire. It's worth a try, worth a few more days of suffocation.

Varnie talked very little on any subject, except to say that he didn't want a cat in the kitchen when he was eating, and didn't want a cat in the living room while he was watching the news. And Varnie was inclined to throw things: cushions, his slippers, the hard, folded-up newspaper. She decided, if she was going to pull this off, she'd better leave Varnie alone and hang out with the old lady.

But she did follow Varnie out to the garage, on that first night, before he started throwing things. He had an old truck out there that he was working on, doing something to the engine. The truck and the garage smelled strongly of stale fish, and there were fishing poles slung across the rafters. She wanted to jump up on the fender and see what he was doing, and see if she could make friends. She approached him. He looked down at her. She rolled over on the garage floor, smiling up at him.

He reached down to pet her. For a moment she thought she'd made a conquest.

Then she saw the look in his eyes.

She flipped over and backed away.

Since that moment she had kept her distance. She investigated the unfamiliar parts of the house secretly, slipping behind tables and crouching in the dark corners and beneath the beds, ignoring the smell of mice. She was still convinced that it was Mama who would spill something of interest, but she was resolved to miss nothing from any source.

Though when she crept under Varnie's easy chair to listen, or into the conjugal bedroom, she remained tense and wary. She had the distinct impression that Varnie wouldn't hesitate to snuff a little cat-and that Frances would enjoy watching. She was in this house strictly under the sponsorship of Mama-and for whatever selfish reason Frances might entertain. She was there to find out what Mama knew, and she'd hang in there until she had an answer.

But in the end, it wasn't Mama who supplied the telling clue. As it turned out, Dulcie would have learned nothing if it hadn't been for Varnie and his love of beer and stud poker.

ART DEALER ON STAND

Defense attorney Deonne Baron today called three additional witnesses in the murder of artist Janet Jeannot. The first to take the stand was art dealer Sicily Aronson, owner of Molena Point's Aronson Gallery, and victim Janet Jeannot's agent… Aronson testified that there had been bitterness between Ms. Jeannot and the accused, Rob Lake. Under detailed questioning she told the court that Ms. Jeannot was not happy over Mr. Lake's gallery association with her ex-husband Kendrick Mahl. Ms. Aronson also told the court that since Janet Jeannot's death, and the destruction of most of the artist's work in the fire that burned her studio, the remaining canvases have doubled in price. The Aronson Gallery…

Wilma scanned the lead story with mild interest, standing in her front garden. The Gazette articles were getting tedious. Much of this story was a rehashing of Janet's personal life, which the reporters seemed to find fascinating; newspaper reporters were not conditioned to let the dead rest, not as long as there was any hint of story to be milked from a tragedy. She folded the evening paper again, tucked it under her arm, and bent to pluck some spent blooms from the daylilies. A cool little breeze played through the oak tree, rattling the leaves. Above her, above the neighbors' rooftops, the sky flamed red, so blazing a sunset that she considered hurrying the five blocks to the shore to enjoy its full effect spreading like fire over the sea. But she had dinner cooking, and she'd pulled that trick before, turning the stove low, nipping down to the beach for a few moments-and returning home to find her supper burned.

She wished Dulcie was home. She grew upset when the little cat was gone for more than a night and a day. Even with Clyde's reassurances that the cats were all right, Dulcie's absence was unsettling. Clyde would say little, only that they were perfectly safe. Turning from the daylilies she headed for the house, moved on through the kitchen, where she'd left the noodles boiling, and into the dining room to have another look at the drawings Charlie had left propped on the buffet.

She'd discovered them when she got home from work, had stood looking at the little exhibit, amazed. She'd had no idea that Charlie was drawing Dulcie, and she'd had no idea, no hint that Charlie could draw animals with such power. Until that moment she'd thought of Charlie's artistic efforts as mediocre, dull and unremarkable. The work which she had watched over the years consisted mostly of uninspired landscapes bland as porridge, studies so lacking in passion that she was convinced an art career was not the best use of Charlie's talents. She had felt a deep relief when Charlie gave up on making a living in the field of either fine or commercial art. Had felt that Charlie, in making a break from the art world, could at last throw herself into something which would fit her far better.

But these drawings were totally different, very skilled and sure, it was obvious that Charlie loved doing animals; strange that she'd never seen anything like this before. Always it was the landscapes or Charlie's hackneyed commercial assignments from class. But these showed real caring-the work was bold and commanding, revealing true delight in her feline subject.

The three portraits of Dulcie were life-size, done in a combination of charcoal and rust red Conte crayon on rough white paper. They brought Dulcie fully alive; the little cat shone out at her as insouciant and as filled with deviltry as Dulcie herself. In one drawing she lay stretched full-length, looking up and smiling, her dark, curving stripes gleaming, her expression bright and eager. In the second study she was leaping at a moth, her action so liquid and swift that Wilma could feel the weightless pull of Dulcie's long, powerful muscles. The third drawing had caught Dulcie poised on the edge of the bookshelf ready to leap down, her four feet together, her eyes wild with play.

This work was, in fact, stronger and far more knowledgeable than any animal drawings Wilma could remember. The cat's muscle and bone structure were well understood and clearly defined beneath her sleek fur, the little cat's liquid movement balanced and true. There was nothing cute about this cat, nothing sentimental. These studies created for the viewer a living and complicated animal.

Leonardo da Vinci said the smallest feline is a masterpiece. These drawings certainly reflected that reverence. She couldn't wait for Dulcie to see these.

To an ordinary cat, such drawings would read simply as paper with dark smudges smelling of charcoal and fixative. A drawing would communicate nothing alive to the ordinary feline, no smell of cat, no warmth or movement. A normal cat had no capacity to understand graphic images.