Christmas Caramel Murder Read Online Free PDF Page A

a basketball court during basketball season. When a theater setting was required, it was a simple matter to pull the velvet curtains partially closed and lower the wall-like curtains that were stored near the ceiling to form a stage at the front center of the court. The unused area at the sides and back served as a large backstage area where the actors could wait for their cues before they appeared onstage. The footlights were cleverly concealed below the floor at the very front, and the stagehands simply released the fasteners that held that section of flooring in place and engaged a lever so the lights swiveled up above the surface of the floor.
    Since a rehearsal of the Christmas play was in progress, the basketball court that had been in use the previous night had been turned into a stage setting. The audience area was illuminated only by the lights from the stage, and Lisa and Hannah were quiet as they took seats in the back row to watch the end of the rehearsal.
    On the brightly illuminated stage, the Cratchit family was seated around the table for their Christmas feast, and the actor playing Scrooge was with them. Now that Hannah’s eyes had adjusted to the lighting, she glanced around the darkened audience area. Counting Lisa and Hannah, there were only six people watching the rehearsal. The director, Tory Bascomb, was seated in the exact center of the audience section, flanked by two nonperforming members of the Lake Eden Players, Irma York and Bonnie Surma, who were acting as her assistants. Immediately in front of Tory was the costume designer, Trudi Schumann. Tory was making notes on a lighted clipboard, and Hannah assumed that she would go over her comments with the cast after rehearsal had concluded.
    Bob Cratchit’s wife entered, carrying a platter with what was supposed to be a roasted goose, but looked much more like a turkey to Hannah. Mrs. Cratchit set the platter down in the center of the table to a volley of cheers and applause from the diners. Hannah was so busy wondering where the Lake Eden Players’ prop master had found a fake turkey that she almost missed the final line of the play. She returned her attention to the stage just in time to hear the boy Tory Bascomb had cast as Tiny Tim, the real son of the actor playing Bob Cratchit, deliver his famous, often-quoted line.
    â€œGod bless us, every one,” the childish voice rang out loud and clear. There were several long moments of silence onstage while everyone smiled at Tiny Tim, and then Tory Bascomb rose to her feet.
    â€œCurtain!” she yelled. “It’s not a tableau, for heaven’s sake! Are you back there, Freddy? Or did you decide to take a coffee break?”
    â€œI don’t drink coffee, Miss Bascomb!” a male voice, somewhat muffled by the heavy curtains, responded. “Doc says it’s not good for me because it makes me too nervous.”
    â€œAll right then. Listen carefully, Freddy. I’ve told you this at least a dozen times and I’ll skin you alive if you don’t get it right on opening night! The instant Tiny Tim delivers his final line, I want you to count to five, and then ring down the curtain.”
    â€œI can’t, Miss Bascomb.”
    â€œWhy?”
    â€œBecause this curtain doesn’t ring. Only bells ring. And this curtain doesn’t go down, either. It only goes sideways.”
    The actor playing Bob Cratchit slapped his hand over his mouth and turned away from the audience. Hannah saw his shoulders shake, and she knew he was laughing. Freddy Sawyer had been born developmentally challenged, but he was a talented handyman and he was willing to work hard. And actually, Freddy did have a point. Tory Bascomb had told him to “ring down” the curtain, and she hadn’t explained what that meant.
    â€œRing down the curtain is a theater phrase, Freddy.” Tory did her best to modulate her voice, but she still sounded angry. “All it means is to