Hidden Riches (12 page)

Toussaint settled Rosalee back in her chair, then folded his large hands on the tabletop.

“So I'm in the hunt,” Rosalee said, looking at the quilt.

“Yes, helping me.”

“Well, that appears to be settled,” Rollings said as a way to draw them all back together. “Let us begin with the overall quilt,” the lawyer said, again using his pointer to indicate the areas of note on the piece hanging between the easels. “Some time ago, Ana Mae let me borrow the quilt for a few days so I could photograph it and gather additional information in the event it was needed. Since I knew little about quilts or quilting, I took the liberty of consulting the owner of an area quilt shop to be able to give you a more accurate description. The dimensions are seventy-six inches by seventy-six inches. This quilt was hand-pieced and machine-quilted by Ana Mae.”

He reached down and lifted the bottom-right edge so they could all see the back of the quilt. “As you can see here, and in your booklets on page four, there is an elaborate label stating just that. The motif of a full-leafed flowering tree seen on the front of the quilt is continued here. In addition, the label provides the name of the quilt, which is The Legacy of Ana Mae Futrell, the date and place where and when it was made here in North Carolina, and the following quote: “Love must be sincere. Hate what is evil. Cling to what is good. Be devoted to one another in brotherly love.”

“Amen,” said the preacher.

“All of the words on the quilt label are embroidered rather than using a fusible printing method or a fabric pen. Mrs. Elnora Rogers, the quilt shop owner I consulted, said Ana Mae put as much work into this label of the quilt as she did into each of the blocks.”

“What's a block?”

“Why is the label on the back so important? It's the front with the clues that matters, right?” Clayton asked.

Several heads bobbed, echoing the question.

Everett consulted a legal pad on the table. “The second question first,” he said. “Mrs. Rogers said the label of a quilt is, in many cases, more important than the actual quilt. The label provides authenticity by citing, at a minimum, the name of the quilter and the date the quilt was made. In this case, as you can see, Ana Mae took special care to include additional information about the piece. She wanted you to know this information. And the label on the back side of the quilt is the same size and dimension, that being twelve inches by twelve inches, as the quilt blocks on the front.”

“We have a group of quilting ladies over at the church who use the fellowship hall for meetings every month,” Reverend Toussaint said, his voice a little wistful. “I remember one of them saying how Ana Mae always liked to make the back of her quilts as special as the front.”

No one said anything for a moment, then the lawyer cleared his throat.

“As for what's a block,” he said. “Each square you see here,” using the pointer to outline one of the nine focal points on the front of the quilt, “is a block. Sometimes, I am told, quilters cut up large pieces of fabric into small pieces of fabric and then sew them back together in designs to create a block. That's calling piecing.”

Rollings consulted his notes again, then pointed to another of the nine main blocks. “But Ana Mae used a technique called appliqué, which, in a nutshell, is sewing fabric pictures onto other fabric. The material between the blocks is called sashing.”

Lester sighed.

“Is any of this really important to finding the cash?”

Before anyone could scowl at him, Delcine said, “Frankly, I was wondering the same thing.”

“It is my fiduciary duty to ensure that all of you be equipped with any information that will aid you in your endeavor.”

“Well, if that's the case,” Clayton said, “Just tell us the magic words now so we can be done with this and get home.”

Several “yeahs” sounded in response.

Rollings bit back a sigh. “It will not be that easy, I am afraid. Are there any questions thus far before we review the blocks?”

Once again thwarted in the effort to bypass Ana Mae's last wishes and claim her hidden riches, the anxious heirs huffed and sat back in their seats around the conference table.

“As I was saying,” Rollings continued, indicating a strip between the blocks, “this fabric is called sashing. And this is a border,” he said, pointing to a large strip of fabric that went around the entire edge of the quilt blocks, “and this is the binding.” He indicated the outer edge of the quilt. “One other thing that the quilt shop owner thought it would be important for you to know is that a quilt is essentially a sandwich.”

“That don't look like anything to eat,” Lester said.

“Shush,” JoJo hissed at him.

“A quilt sandwich is a front layer, a back layer, and something in the middle, usually batting. Mrs. Rogers said Ana Mae always used a high-quality cotton batting for her work.”

The lawyer turned a few pages in the booklet. “If you will all go to page five, we shall begin with the block in the upper left of row one, then we will review the blocks in the second row and finish with the third.

“The first block and clue is a plate of fried chicken.”

“Maybe she decided to have that rather than a sandwich,” Lester said.

Several mouths quirked up, but no one said anything.

“The second block and clue is a North Carolina Lottery scratch-off lottery ticket.”

Rosalee leaned over to Toussaint and whispered, “That's the game Ana Mae won all that money on.”

“What was that?” Delcine asked from across the table.

“Nothing,” Rosalee said.

To the lawyer, Delcine asked, “And why is she here again?”

Rosalee leaned forward and pointed at Delcine. “If it hadn't been for me,” Rosalee declared, “y'all wouldna even known Ana Mae had any money, Miss High and Mighty.”

Toussaint patted Rosalee's hand in a calming gesture. “Mrs. Jenkins is with me,” he said in answer to Delcine's question.

Delcine pursed her lips but didn't say anything.

“The third block,” Rollings said, moving on as if the skirmish hadn't even happened, “features images of Diamond Jim and Baby Sue, Ana Mae's beloved cats.”

“More like bedeviled,” JoJo said to no one in particular. “Even with the Benadryl, I'm still sneezing.”

“Look at that detail,” Reverend Toussaint murmured.

“Indeed, Reverend,” Rollings said. “Mrs. Rogers, the quilt shop owner, told me the workmanship is impeccable.”

“See, it was worth the five hundred dollars,” Delcine said.

“That blanket is worth a helluva lot more than five hundred,” Lester said.

Rollings jumped in. “The fourth block is a teapot and a teacup.”

Clayton leaned over to whisper something in his partner's ear. Archer smiled in return.

“Why don't you share the joke, Clay?” JoJo asked.

“Let's not hold up Mr. Rollings,” Clayton said.

“Thank you,” the lawyer intoned. “The fifth block and clue is the center of the quilt and features an opened Bible with the words Matthew 25:14–18 embroidered across the bottom. The embroidery is like that found on the label on the backside.”

“What is that Bible verse?” Archer asked.

“That's where the man was burying his talent,” JoJo said.

Lester looked at her, his mouth open. “Since when did you start reading the Bible?”

“Probably the day she married you,” Delcine said on a dry and flat note.

“Very good,” Rollings said in acknowledgment of either JoJo's assessment of the Scripture reference or Delcine's wry analysis, and again interjecting to keep the bloodshed among the heirs to a minimum.

From a shelf, he plucked a burgundy-colored leather Bible. “This is the King James Version, but we can supply a New International Version if anyone prefers that interpretation.”

Again hearing no objection, he opened the holy book and began reading the Scripture text referenced on Ana Mae's quilt.

“For the kingdom of heaven is as a man travelling into a far country, who called his own servants, and delivered unto them his goods. And unto one he gave five talents, to another two, and to another one; to every man according to his several ability; and straightaway took his journey. Then he that had received the five talents went and traded with the same, and made them other five talents. And likewise he that had received two, he also gained other two. But he that had received one went and digged in the earth, and hid his lord's money.”

Rollings closed the Bible and placed it on the table.

“Amen,” JoJo said. “And may the Lord bless those who hear his word.”

All eyes shifted to her, but JoJo merely clasped her hands together on the tabletop.

“What's that supposed to mean?” Delcine asked. “Is Ana Mae saying she buried a talent she had or that one of us did that?”

“Mrs. Foster, it is your task to interpret the quilt. As I said, the passage I read is from the King James Version. We can supply a copy of the Scripture to anyone who needs it.” Using the long pointer, he indicated the block again. “The block on Ana Mae's quilt simply says Matthew 25:14–18, which may or may not mean that that is what she wanted you to look up or refer to. I just wanted to supply you with the information.”

“Yeah, your fiduciary duty,” Lester muttered.

“Precisely,” Rollings said with a broad smile. “The sixth block on the quilt is of a sewing machine and a basket of fabric. And the seventh block is an illustration of a man, presumably Jesus, with little children around him.

“Now, based on what Mrs. Rogers noted, I'll point out the ninth block before returning to the eighth one,” the lawyer said.

The ninth one had a mop and a bucket appliquéd on it.

“This one,” he said, going back to the one he'd skipped, “the eighth block by position, has, as you see, a gravestone. Etched on the stone is R.I.P–A.M.F. with a large flowering tree in the background.”

“Rest in peace, Ana Mae Futrell,” Toussaint said softly.

“Possibly, Reverend. I am not at liberty to offer any explanations for any of the quilt blocks.”

“Well, any idiot can see that's what that one means,” Lester said.

Toussaint's gaze left the quilt and focused on Lester.

“Oh, sorry. Not you, Rev. No offense. I just meant that . . .”

“We know what you meant, Lester,” his wife said. “Now please, let Mr. Rollings finish his presentation.”

“But because of the tree, this block is something of an anchor, according to Mrs. Rogers. Note how the tree's branches, leaves, and flowers spread out and touch just about every other block.”

“She put a lot of work into this quilt,” Archer said.

Clayton glanced at his partner.

Rollings nodded. “Yes, she did. I must say, before consulting with Mrs. Rogers I had little knowledge of quilts other than their usefulness on a bed for warmth. There are many types of quilts, from art pieces to functional ones and whimsical ones and those that mark occasions, such as a wedding. But I digress,” Rollings said, again consulting his legal pad. “And please note that carved in the trunk of the tree is a heart with the word
HOWARD
printed inside, in embroidery, of course,” the lawyer said.

“That's our family name,” Delcine said. “Howard was our mother's maiden name.”

“Yes, I know. My father served the Howard family for many years.”

“Served them what?” Lester asked.

“As family solicitor.”

“Well, la de dah,” Lester muttered under his breath. “For a bunch of dirt-poor folks, you all sure have a lot of lawyers running around.”

Everyone ignored him.

“Mr. Rollings,” Clayton said, “is there anything else that we should know about the quilt or about what we're supposed to be doing?”

“I fear not.”

The muted refrains of a Puccini opera suddenly filled the room. Everyone looked around for the offending mobile telephone. Delcine took her time reaching for the handbag housing the cell. She glanced at the display, winced, then punched a button and tucked the phone back into her bag.

She made eye contact with her husband for the barest of moments.

“Mr. Rollings,” Delcine began, as if there had been no interruption, “do you have any idea why Ana Mae decided to take this insane treasure hunt approach to fulfilling her last will and testament?”

“Yeah,” JoJo piped up, “why is she making us do this?”

“First,” Rollings said, “this is not a treasure hunt, and second, it is well within the rights of any person to stipulate how or even if his or her assets are to be distributed upon death. As for why Miss Futrell chose this particular method, I am sure your sister's motivations will become apparent as you work through the process of deciphering the quilt squares.”

When no one said anything, Rollings consulted his notes again, then referred the group to a page in the back of the booklet.

“We have taken the liberty of creating copies of this page,” he said, as his assistant handed out a sheet of paper to each official heir. “It is a quick reference for you in the event you don't want to take the full booklet around with you.”

The single sheet had a color photocopy of the quilt on one side, and the back listed the subject of each block under a heading labeled “Appliquéd blocks of the quilt
The Legacy of Ana Mae Futrell.”