Night Of The Blackbird (5 page)

Apparently he didn't see the person—or people—he was seeking, because after a long moment, he turned away and started down the street again, back in the direction from which he had come.

Nothing odd in that. A guy out to find friends at a pub, taking a look for them, realizing they weren't there, deciding to leave.

Nothing odd in that.

Except that the man in the huge coat and low-brimmed hat was Patrick Kelly, son of the owners of Kelly's Pub.

Dan lit another cigarette, feeling a new tension, as if rocks were forming in his gut.

He waited awhile longer, then hiked up the collar of his coat and started off down the street, as well.

 

Moira seldom paused to window-shop; she was usually running somewhere, and besides, she had been in New York a long time. She still loved the beautiful displays that were put out for holidays, and she appreciated the fact that she could buy almost anything in the world in the city where she lived and worked. She loved clothes, but she also loved a day when she could take the time to try on outfits, go through a zillion pair of shoes, driving salesmen crazy.

But that morning, walking toward the new French restaurant in the Village where she was to meet the lady from Maine to discuss their taping schedule, she found herself stopping to stare at an incredible Saint Patrick's showcase. The stores usually had out all their Easter wares along with their Saint Patrick's Day items. This particular window had been done with real love. There were shamrocks everywhere, arranged artfully. A field of lovely porcelain fairies had been hung to fly above a rainbow with the traditional pot of gold at the end. Finely carved leprechauns with charming faces were set around the rainbow, as if they were busy at daily tasks. The leprechaun in the middle sat on a pedestal, facing a fairy on another pedestal. The fairy was exquisite, poised on one toe, with wings painted the colors of the rainbow. Pausing without realizing it, she stared at the fairy, charmed. She realized that it was a music box.

She glanced quickly at her watch and decided she had time to take a closer look. She went into the store, not surprised to discover that the shop owner was the cashier, that she still carried a bit of an Irish accent and that she was delighted with Moira's interest in the item.

“My mother would absolutely love that piece,” Moira told her, and asked the price.

It was high, but the woman quickly explained. “The piece is one of a kind. The fairies and leprechauns, you see. The porcelain fairies are limited, but the carved pieces are handcrafted by two brothers in Dublin. Each is individual, and signed. I believe they'll be very popular in the future, but it's not the fact that they may be highly collectible one day that makes them so dear. It's the time taken for the work that goes into each one.”

“I hate to ask you to take it out of the window.”

“Oh, no, dear, I love the darling little things. Please, it's my pleasure, even if you don't buy. You seem to truly appreciate the art of it.”

Moira assured her that she did, indeed. And when the woman took the piece from the window and put it before her, she found that it was even more beautiful than she had thought. The carving of the face was exquisite. The fairy created a feeling that was totally ethereal. She was simply magical.
All that is good and enchanting about the Irish people,
Moira thought.

“I'll take her,” Moira said.

“Don't you wish to hear her play?” the woman asked, twisting the key at the bottom of the small pedestal.

“Sure, thank you. What song does she play?”

The woman laughed softly. She allowed her accent to deepen as she jokingly said, “Why, besure and begorrah, dear. She plays ‘Danny Boy.' You know, ‘Londonderry Air.”'

The little fairy began to spin, to fly on her pedestal. The music tinkled out, charming, beautiful, sweet, the haunting melody familiar and yet light, different.

“Danny Boy.” Of course. What else? There were so many beautiful old Irish tunes, but naturally this box would play “Danny Boy.”

“Is something wrong?” the woman asked.

“No, she's lovely, thank you so much. I'll definitely buy her for my mum.”

“I'll wrap her very carefully for you.”

“Thanks so much.”

As Moira waited, she realized that she would be spending the next week listening to “Danny Boy.” Might as well get used to it now.

“Are you sure there's nothing wrong, dear?”

“Not at all. In fact, I'd like both of those little stuffed leprechauns, please. They'll make cute little gifts for my nieces. Then I need something for a boy.”

“I have a small, hand-held video game just in. Banshees against fairies, with the leprechauns being the chance factor, some of them good, some of them bad.”

“Sounds perfect,” Moira said. “Thank you so much.”

Tomorrow she was going home. And suddenly, here in this shop, anticipation mingled with her dread.

 

Kelly's Pub was already in full nightly swing when Dan O'Hara emerged from the back room of the tavern, the guest quarters, where he had been staying. The pub band, Blackbird, was already playing a mixture of old and new Irish music with a bit of American pop thrown in here and there. He knew all the members from way back.

It was the first time he had come into the pub during opening hours, and he was ready for the greeting he knew he would receive.

“And there he is!” Eamon Kelly called from behind the bar. “The best and brightest of you lot of reprobates, Mr. Daniel O'Hara.”

“Hey, Danny, how are you?” asked old Seamus.

“Danny boy, you're back in town!” Liam McConnahy said.

The lineup at the bar was made up of Eamon's longtime friends, some old country, some born and bred in the USA. He recognized Sal Costanza, an old school chum who had grown up in the Italian sector along the North Shore. Eamon Kelly had created his own little Gaelic empire here, but he was a good-hearted, friendly fellow, with a keen interest in everyone around him and—usually—a nose for a decent character in any man. But now Dan didn't like what was happening here. He would have done anything in his power to keep Kelly's Pub and the Kellys themselves out of what was happening. But things had been set in motion; he had no choice. Whatever was going down had been given the code name Blackbird, and that could only refer to Kelly's Pub.

Hell, a Kelly could be involved.

“Back in town,” Dan said easily, embracing both old Seamus and Liam, then shaking hands with the others as each man spoke a quick greeting.

“So,” Seamus said, his thick, snow-white brows rising over cloudy blue eyes, “have you been hanging around back in the old country or gallivantin' around the States?”

“A bit of both,” Dan said.

“You've been in Ireland recently?” Liam asked. He had the same cap of white hair as Seamus, except that his was thinning now.

“That I have,” Dan said.

“The Republic—or the North?” Seamus asked, a slight frown denoting his worry.

“A bit of both,” Dan said. “Eamon, how about a round for my old friends at the bar? It's good to see them again. Sal, how's it going in the pasta business in Little Italy? I've been hankering for a taste of your mom's lasagna. No one makes it as good as she does.”

Sal answered, and Dan kept smiling, nodding in reply to the thanks he received for the round of drinks. But as he engaged in the banter at the bar, he looked around the room. Though the band was in action at one end, the scene remained fairly quiet. An attractive young couple, with either his or her parents, were having dinner at a center table. A group just off from work—probably from the IBM offices or the bank around the corner—huddled around a couple of tables near the band, winding down from their nine-to-five workday. Patrick Kelly was in. Eamon's son, tall, with a head full of dark hair touched by a reddish sheen. He was a good-looking fellow, on stage now with the band, playing along with the violinist. He saw Daniel and gave him a wave and a grin, beckoning to him. Daniel nodded and smiled in return, motioning that he would join them all soon. Patrick nudged Jeff Dolan, lead guitarist and group leader, and Jeff, too, nodded Dan's way.

Still scanning the room, Dan saw a lone man in a business suit seated at a far corner table, a darkened table. A stranger. Dan had the feeling the man was surveying the occupants of the pub, just as he was doing himself.

“What are you drinking yourself?” Eamon asked him.

“What's he drinking?” Seamus said indignantly. “Give him a whiskey and a Guinness!”

“Now, Seamus, I'm in the grand old USA,” Dan protested. “A Bud Lite on draft, if you will, Eamon. It may prove to be a long night—back with a party of Boston's black sheep!”

“How's the place look, Danny?” Liam asked. “You miss it when you're away?”

“Why, the pub looks just fine, and old friends look even better,” Dan replied. He lifted the stein Eamon had brought him. “Slainte! To old times, old friends.”

“And to the old country!” Eamon declared.

“Aye, to the old country,” Dan said softly.

 

The sky was overcast when Moira's shuttle from New York to Boston made its initial descent for landing. Even so, she stared out the window for a bird's-eye view of the city where she had grown up, and which she still loved so much. Coming home. She was excited; she loved her family dearly. They were all entirely crazy, of course. She was convinced of that. But she loved them and was happy at the prospect of seeing them.

But then…then there was this whole Danny thing.

The plane landed. She was slow to take off her seat belt and slow to deplane. No one was picking her up; she had made the last-minute decision to take an earlier shuttle than the rest of the cast and crew, who would be taking the last flight. When the people in the seats behind her had filed out, she grabbed her overnight bag and walked out, thanking the flight attendant and the pilots, who were waiting for her exit to leave themselves.

Outside Logan, she hailed a taxi. Once seated, she realized that the driver, a young man of twenty-something with a lean face and amber eyes, was staring at her by way of the rearview mirror.

“You're Moira Kelly!” he said, flushing as she caught his eye.

“Yes.”

“In my cab! Fancy that. You just travel on a regular plane and get in a regular taxi?”

“Seems to be the best way to get around,” she told him, smiling.

“You mean you don't have a private jet and a limo waiting?” the man demanded.

She laughed. “I don't have a private jet at all, though sometimes we do hire private cars.”

“And no one recognizes you—and hounds you?”

“I'm afraid that all of America doesn't tune in to the Leisure Channel. And even those who do don't necessarily watch our show.”

“Well, they should.”

“Thank you. Very much.”

“What are you doing in Boston?”

“I'm from here.”

“Wow. Right. And you're Irish, right? Are you home to see family, or are you going to film stuff here?”

“Both.”

“Wow. Well, great. Hey, it's a privilege. If you need more transportation while you're here, call me. I've got the cleanest cab in the city. I grew up here, too. I know the place backward and forward. No charge, even. Honest.”

“I'd never take advantage that way of anyone making a living,” Moira said. “But give me your card, and I promise when we need transportation we'll call you.” In fact, he did seem to be a good driver. Boston's traffic was as crazy as ever. There was always construction; the freeway was as often as not a stop-and-go place. Once they were out of the tunnel and off the highway, the streets were narrow and one-way. And then there were the traffic circles…. The old character and ultra-thin roadways were part of the charm of the city—and the bane of it, as well.

The young man kept his right hand solidly on the steering wheel and slipped her a card with his left hand.

“Hey, I'm Irish, too.”

“Your name is Tom Gambetti.”

He grinned at her in the rearview mirror. “My mom is Irish, Dad is Italian. Hey, this is Boston. There are lots of us living on pasta and potatoes! Both your folks are Irish?”

“Oh, Lord, yes!” Moira laughed.

“Right off the old potato boat, eh?”

“Something like that,” she said, then leaned forward, pointing. “There it is—Kelly's Pub.”

The street was narrow. Though both corners held large new office buildings, the rest of the block still had a lot of old character. The building that housed the pub was two stories, with a basement and an attic. It dated from Colonial days, as did many of its nudged-in neighbors. An old iron tethering pole remained in front, from the days when the country's forefathers had come to knock back a pint or two. Kelly's Pub was lettered on an attractive board above the door, and there were soft friendly lights issuing from lamps on either side. When the weather was warm, tables spilled onto the narrow enclosed patio in front. There were two windows in the front, as well; they were closed now, in deference to the winter, but within the pub, the lace-edged curtains were drawn back so that passersby could see the welcoming coziness to be found inside.