Page 30 of Seabreeze Library

“Ledgers,” she said, pulling out a leather-clad book. “Looks like old accounting books.” She opened one carefully, the brittle pages crackling beneath her fingers. “Household expenses. They’re all labeled by year. The last one ends in 1941. Maybe that was when this was constructed.”

Shelly had already moved to the next cabinet that Reed opened. “Hey, look at these.” She removed a tarnished silver frame that held a portrait of a distinguished couple in an early automobile. “Look, family photos. Here’s Amelia and Gustav.”

Poppy opened a third compartment. “This one is full of bank statements from First Golden State Bank of San Francisco. I wonder if that exists anymore.”

“And I wonder if the money is still there,” Shelly said, grinning.

Ivy shook her head. “Bank accounts were probably included in the estate. I’ve never heard of that bank, so it’s probably long gone.”

They continued exploring, finding more silver serving pieces like those they’d found when they first moved in.

Ivy sorted through more documents. “These must have been important once, but they’re meaningless now.” She paused, thinking about the things in her life that would also diminish in importance. “I’ll check the lower cabinets.”

“One more shot at the gold,” Shelly said.

“Here goes.” Ivy knelt, excitement still tingling as she pried open a lower compartment. Inside lay a long, cylindrical object wrapped in what looked like oilcloth.

Reed’s expression brightened as she carefully extracted it. “That looks like architectural plans. For this house, I’d guess.”

“We have a set of plans,” Ivy said. “Bennett gave them to me when I moved in.”

“Maybe this set had some secret rooms,” Poppy said. She gestured to a patio table just outside the open doors. “Let’s unroll the plans out there.”

They gathered around as Reed unrolled the architectural drawings. The wide paper was yellowed but remarkably well-preserved.

Ivy frowned as the drawing came into view. “That’s not Las Brisas del Mar,” she said, referring to the home’s original name.

“The Summer Beach Library and Art Museum,” Shelly read from the title block.

They all fell silent, staring at the detailed drawing of a building.

“Was this ever built?” Reed asked.

Ivy shook her head. “I don’t think so. I’ve never seen it.”

“Why would these plans be stashed away?” Shelly wondered, tracing a finger along the elegant facade of the proposed building.

“Amelia had her reasons for everything,” Ivy replied softly. “Remember, this would have been right after the attack on Pearl Harbor. She probably sealed this the same time as the lower level, fearing an invasion from the Pacific Ocean. As people volunteered for military service and went to war, there wasn’t much building going on here.”

“Was invasion a real threat?” Reed asked.

“It was,” Ivy said, recalling a conversation with Nan and Arthur and accounts she’d read. “A few enemy submarines cruised the California coast, attacking merchant ships and an oil field. That was probably before Amelia Erickson converted the house into a rehabilitation facility for wounded people who served.”

“What an incredible history.” Reed studied the plans with professional interest. “These are remarkably detailed. The design is amazing. You’d have to update the plans to current building codes, but the bones are exceptional.”

Across from Ivy, Poppy peered at the drawings. “Dad will love to see these.”

“Imagine if this structure had been built,” Ivy added.

Her brother Forrest appreciated fine architecture. A bittersweet feeling washed over her as she admired the beautiful building that never came to be. She looked up at Reed. “I wish you and your father could build this for us.”

“No budget, though.” Shelly sighed, echoing Ivy’s thoughts. “Bennett’s made that clear enough.”

“Wait,” Poppy said suddenly, pointing to the corner of the drawing. “Look who designed it.”

Ivy leaned in. “Julia Morgan.” Her breath caught. “The architect who designed this house and Viola’s home in San Francisco. And Hearst Castle. No wonder these plans are gorgeous.”

“I’ve been there,” Reed said. “If she worked for William Randolph Hearst, these plans might be valuable as a historical document.”

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