by Charles Todd
Startled, Rutledge said, “Actually—”
“You want directions, then?”
“To the Trevelyan house. Can you tell me how to find it?”
“Are ye a walker, lad?”
It had been years since anyone had called him lad. “Yes.”
“Ye’ll need to be. Follow this road for a mile, more or less. Ye’ll soon come to a parting of the way, and ye’ll take the right fork. Follow that as far as it goes, and ye’ll see a pair of gates and a drive leading uphill. When you come to the top, ye’ll have the way fine from there.”
As directions went—if they were correct—they were as clear as any he’d ever been given. The crone chuckled hoarsely. “I’ve lived here eighty year and more.”
It was as if she’d read his mind. Hamish stirred uneasily, and the woman’s glance seemed to sharpen. But she said nothing, limping on her way as if the conversation had come to a satisfactory conclusion. He watched her, and she seemed to know it. Old as she was, he thought, a woman feels a man’s eyes.
Hamish laughed. “You’ve no’ spent any time in the Highlands, man!” was all he said to that.
Rutledge set out, following the woman’s directions, along the narrow, hilly road he’d traveled the night before. Finding the fork between curving fields of late hay, he walked on past a cottage or two and small patches of farmed land, and beside a long sweep of rough pasture. Within half an hour, he had reached the gates, dark with age and damp, leading through tall, wet stands of rhododendron backed by taller trees, into what seemed to be a sea of mist. But as he followed the rutted drive curling uphill, he came out into sunlight and brightness. And there at the end of a graceful sweep of lawn stood a house set in formal gardens, protected by the slope of the headland beyond.
It was an old house, the architectural history of four centuries locked in its embrace. Rutledge could trace a Tudor core, with Restoration, Georgian, and Victorian additions, but there was also an older, battlemented gateway near the stables that came from a dimmer past. The great palaces of the English nobility, Blenheim and Hatfield, Longleat and Chat-sworth, spoke of power and money. This house whispered of longevity and old bloodlines. Of timelessness and pride and peace.
He stood there, looking across at it, imagining its past, and searching for a key to its owners. What he felt was . . . sadness? No, that wasn’t it, it was a stronger emotion, something about the place that tugged at him.
Hamish, on the other hand, didn’t find it to his liking. “There’s too many dead here,” he said uneasily. “And they don’t lie quietly in their graves!”
Rutledge chuckled. “I’d haunt the estate too, if it’d been mine. I wouldn’t go peacefully to the churchyard in the town. Not with that view.”
For beyond the headland he could see the sea, already in the clear and gleaming in the morning light, whitecaps dancing in the sun. There seemed to be a small strand where the land ran down to the sea. Then, turning to his right, he could see the distant roofs of Borcombe.
Damned if the old crone hadn’t sent him the longest way around! You could walk from the last house he could see in the village into a copse of trees, and out of them into Tre-velyan land, in what? Ten minutes? Say, fifteen all the way to the house.
He unlocked the door with the key that Dawlish had given him and stepped into the wide front hall, where the curving staircase swept down from a gallery above. The hall itself was old, with a massive stone hearth at one side, and great oak beams that were black with age and smoke encompassing the hall and the long gallery that ran at the top of the stairs.
It was here then that Stephen FitzHugh must have fallen to his death. Rutledge walked to the stairs and began to examine them carefully, the uneven treads, the dark oak of the banisters, the ornately carved balustrade. If you fell to the left from the top, he thought, considering the possibilities, you’d come straight down, avoiding the curve. If you slipped on the right, you’d glance off the curve, slowing your momentum certainly, but with force enough to do damage anyway. But no one had said in the Inquest which direction Stephen had been coming from, his left or his right along the gallery.
The report Rutledge had read over breakfast indicated that Stephen FitzHugh hit the balustrade somewhere at the curve, broke his neck, and rolled the rest of the way to the hall, either dead already or nearly so. The doctor had noted the imprint of the carving on the back of Stephen FitzHugh’s neck, just below the cracked vertebrae that had killed him. Hawkins had also included a description of the amputation of the foot that had made the dead man’s balance uncertain at best, and possibly in this situation, prevented him from recovering it quickly enough to save himself from a nasty fall. The man’s cane had been found at the curve, jammed into the balustrade on the opposite side of the stairs. An accident ... it would be hard to quarrel with the Inquest’s results.
The house was cold, no fires lit with no one living here, and he kept his coat on as he walked through it slowly, carefully. A handsome home, not a baronial palace. The formal rooms—dining room, drawing room, a large library—were well furnished with heirlooms but looked as if they had not seen company for some time. Everything stood in its proper place, no magazines strewn about, no flowers in their tall vases, no sunlight pouring through open drapes, no dogs lolled on the hearth rugs. He remembered as a child being taken to a stately home, and a woman’s shrill echoing voice declaiming, “Here the family entertained three prime ministers, six members of the royal family, and the Queen, who was particularly fond of that blue silk chair.”
And he had twisted about, seaching in vain for them, until his father had told him to stand still and pay attention.
A back parlor, overlooking the gardens and the sea, and the kitchen quarters below, were more ordinary, as if people actually lived there, mussing up the carpet with their shoes, wearing out the upholstery with their bodies, reading the books on the low shelves. Or cooking at the big stove, washing up at the stone sink, sitting down to peel potatoes in one of the old brown wooden chairs.
He returned to the staircase. Generations had come down them, gone up them, and no one had worried about them. Until now. Hamish, stirring restlessly in the back of his mind, whispered, “I didna’ like this business. Leave the dead in their graves, man!”
Upstairs were the bedrooms. They were beautifully proportioned, with tall windows and handsome fireplaces. But old-fashioned now, as if no one had worried about the faded hangings and the worn carpets, preferring the familiar to the new.
He found the upstairs study where the suicides had occurred, thanks to the floor plan that Dawlish had sketched for him. It was a long room, windows looking out over the sea and over the gardens. A room of light and the warmth of the sun, neither a man’s nor a woman’s, but used, comfortable, ordinary. Nothing here to tell anyone where a famous poet worked, except perhaps for the typewriter sitting covered on a table by the seaward window. A guide would have to make do with the collection of books on either side of the table, set neatly on their shelves. “Here the poet found her inspiration among the works of ...”
But did she? Who could know?
Nearby was another table, where someone had been carving. The hull of a great ship lay, white and unfinished, among the scraps and curls of wood. It was a scale model of an ocean liner, Rutledge thought, looking at it. And there were others in a long case beneath the garden windows, intricately fashioned miniatures. He recognized several of them—the Olympia, the Sirius, the Lusitania. Whose work were these? Nicholas Cheney’s? Had they been a hobby for its own sake or did they represent a love of the sea that had been repressed to this room?
He crossed the room to the couch against the wall, where the bodies of brother and sister had lain side by side in death, their hands touching as if for comfort as the darkness closed in. Why had they died?
“I don’t like it here, man,” Hamish said. “If you’re going to investigate a murder, get about it.”
“Murder sometimes has its roots in other places
than the few feet of space where it happened. Still, why here? Why on that night?”
“Hello?”
A voice calling from the hall below startled him badly.
He walked out to the gallery at the top of the stairs and looked down. There was a woman at the foot of the stairs, the front door open behind her, and she was looking up anxiously, as if almost afraid of what might walk out of one of the rooms there to confront her.
“Inspector Rutledge,” he said, moving towards the steps. “I arrived last night and came to have a look around. Constable Dawlish provided me with keys.”
“Oh!” she said, smiling up at him with relief on her face. “I thought I heard voices when I walked in. I didn’t know who might have found their way in. The press has been very troublesome.”
She was slim, perhaps in her thirties—it was hard to tell— her oval face pink from walking, her light brown hair curling ridiculously around it, escaping from the knot at the back of her neck. Not pretty, yet very attractive. She waited until he had reached the hall and said, “I’m so glad they’ve finally sent someone from Scotland Yard. I’m Rachel Ashford. The one who’s been fighting to get these ... deaths ... reopened.”
“Lady Ashford?”
Her smile changed. “My husband is dead. His brother has the title now. Sir Henry. Did he tell you that Lady Ashford wanted to reopen the investigation? How very like him!”
“You’re Peter Ashford’s widow?” Rutledge asked, surprised. “I was in school with him.”
“Peter died in the war. Trying to take Mount Kilimanjaro, out in Kenya.”
“I’m sorry. I hadn’t heard.” So much for Bowles’ “titled old bitch.” But it was a shock, Peter’s death. Another name added to the long list of friends gone. More than once he’d felt the guilt of surviving. As if it was somehow obscenely selfish, when so many had died. After a moment, he made himself go on. “And you believe the investigations done by Inspector Harvey and Constable Dawlish were mishandled?”
“Yes.”
“Why?”
“Because—oh, because of intuition, I suppose.” She made a wry face at him. “And I can’t help but feel that coincidence can only be stretched so far. Three deaths in the same family in little more than a month? I—I knew Livia and Nicholas, they weren’t at all what the papers say, an invalid and her devoted keeper. It’s wrong, the notion that they could have killed themselves because of ill health!”
“I understood that Olivia Man—Marlowe—was crippled. And that Nicholas Cheney had been gassed in the war.”
“Well, yes,” she said defensively, “certainly that’s true, since you put it so baldly. Olivia lost the strength of one leg in childhood, from the crippling disease. She used a chair for a long time, then Nicholas carved a brace for her, and after that, she could move about as she pleased. It was wonderful! I can still hear her laughter when she first tried it—we were all outside her bedroom door, while Nanny put it on—and she began to laugh, and Nicholas was jumping up and down beside me, shouting encouragement, and Rosamund was crying, and Richard was pounding on the door, he was so beside himself with excitement ...” Her voice faded and she looked up the stairs defensively, as if afraid she’d hear the children’s voices again. “If she killed herself,” Rachel continued after a moment, “it wasn’t because of her leg! She accepted it, she lived with it, she’d come to terms with the pain—it wasn’t something that drove her to despair and suicide.”
The sunlight pouring through the open door failed to reach them or warm the vastness of the hall. But he could hear birds somewhere, singing.
“If she had wanted to kill herself—for whatever reason—” Rutledge said, “why would she allow Nicholas to join her in death? Why not see that he survived, and got on with life. However hard it might seem to be at first? Why not kill herself in her bedroom, with no one to see?”
She pressed her fingers to her eyes, as if they still hurt from crying. Or to hide them from him. “I’ve asked myself that a hundred—a thousand—times since then. They were very close, Olivia and Nicholas. I’d have said, if anyone had ever thought to ask me, that she would have jumped into the sea in the night, rather that let him die with her. It doesn’t mean that perhaps in the first shock he might not have wished to follow, but Nicholas had a cool head, a clear mind, he wasn’t the dramatic, overly emotional sort of man who could leap into the sea himself the next morning. When she was already dead.” Dropping her hands, she said painfully, “If you understand what I’m saying?”
He did, though Hamish was grumbling that it made no sense. “Yet they died together.”
“Yes, and that’s what put me off in the very beginning. I didn’t say much to the others; they wouldn’t have wanted to hear me worrying over what couldn’t be changed. Or making it worse by starting a fuss over it. But the more I thought about the circumstances, the more I was convinced that something was very wrong, very—unusual.”
“Do you think one of your cousins—including Stephen— could be capable of murdering Olivia and Nicholas? For whatever reasons?”
She stared at him, stunned. “Oh, God, no! Susannah and Stephen couldn’t have killed either of them. And Daniel, what on earth for?”
Rutledge smiled. “Where there’s murder, there’s usually a murderer.”
“But not one of us!” she cried, alarmed.
How often had he heard the same cry when he’d begun an investigation into suspicious death. Murder, possibly. But not one of us. A stranger. A madman. An envious neighbor or colleague. The woman down the road. But not one of us. Then the finger-pointing began, as suspicion and fear and uncertainty and old memories came to the surface.
“Who, then?” he asked gently.
“That’s why I called Henry and begged him to ask the Yard to come down here and look into the deaths. Someone who could be objective, someone with the experience to judge what had really happened. Not a village policeman who preferred the safest answer to embarrassing the family any more than it already was. I mean, suicide is unacceptable enough— murder would be, well, a family calamity.” She looked at him, seeing him for the first time. The thin face. The haunted eyes. Intelligence, too, but something more. She couldn’t quite put her finger on it.
“There were no photographs upstairs. Do you have any of the family that I could borrow for a time?” He was mainly interested in Olivia Marlowe, the woman behind the poems. But it helped, often, to see the faces of the dead if you were late at the murder scene.
“We’d taken them all. The house will be put up for sale soon, and we didn’t want to leave—I’ve just come to fetch the ships,” she said, flustered. “I—I haven’t had the courage yet to go in there. Where they—where it happened. There are photographs in my things, I’ll find them. Where are you staying?”
“The Three Bells,” he said, curious about her reaction. “What can you tell me about Stephen FitzHugh’s death?”
She shivered, not looking over his shoulder at the stairs, though her head had turned that way. “It was awful. He was lying at the foot of the steps, his eyes wide, a little blood— I couldn’t tell if it was from his ear or his mouth—smeared across his cheek. Cormac said he died as we watched, but I saw nothing change, didn’t hear a sigh or—or anything. And I was kneeling there, beside him, my hand on his chest, calling his name. It was—I’ve seen men die before. I was in London when the Zeppelins came over, I was there when they pulled people out of one of the buildings. But this was Stephen.” She collected herself with an effort and turned towards the open door. “I’d better leave now,” she said ruefully. “Men don’t like it when women start to cry, and I’ve found it hard sometimes ...”
He let her go, watching her slim figure hurry down the drive and turn towards the sea.
So that was Lady Ashford, born Rachel Marlowe, and cousin to the people who lived here. Peter’s wife. Widow. He remembered Peter, tall and fast at games, level-headed and very good at whatever he did. He’d had a gift for languages, he could
pick them up with apparently no effort, and speak them like a native. All that wasted in an obscure action on the flanks of a mountain whose one claim to fame was that Queen Victoria had had two mountains in East Africa, and had given Kilimanjaro to the Kaiser, next door in Tanganyika, who’d had none. Bloody silly thing to do in the first place. And Englishmen had died trying to retake it from the Germans under that master strategist, Von Lettow-Vorbeck, who knew how to pin down men who would otherwise have been fighting in France.
Rutledge turned and went back up the stairs to the sitting room, standing there with his eyes roving the furnishings, the books, the wooden ships that Nicholas Cheney carved. He had left more of himself here than the poet, after all ...
Two people who died together for no apparent reason. No expression of regret, no apologies to the living. No explanation of the deed, no excuses, no last confessions, no lines of bitterness meant to hurt the survivors. Just ... silence.
Hamish, uneasy and sensitive to the unsettled atmosphere of Rutledge’s mind, called to him to leave, to wash his hands of this case and go back to London.
Rutledge gave up trying to hear the stillness, and walked out into the gallery again on his way to Olivia’s bedroom.
A voice down in the hall said harshly, “What the hell— who the hell are you?”
Rutledge looked down, not seeing anyone at first, then finding the tall man who stood just in the shadows of a doorway.
“Inspector Rutledge, Scotland Yard,’’ he said. “I’ve a key from Constable Dawlish, and I’m here on official business. Who are you?”
“Official—what’s happened?” the other man demanded sharply.
“The inquiry into the deaths of Miss Marlowe, Mr. Cheney, and Mr. FitzHugh is being reconsidered by the Yard,” Rutledge said, and started down the stairs.
The man in the doorway was handsome in a way that few men are, reminding Rutledge of Greek statues, that same mix of perfect body and face and mind that the Golden Age admired most. And yet there was something about him that was pure Irish. Was this Daniel Hargrove, the husband of Susannah FitzHugh?