Ten Lords A-Leaping: A Mystery Part 10

A play of emotions crossed Marguerite's face-sorrow, pity, exasperation-but none settled. Finally, she sighed, put the kettle on the hob and said simply, "I'll make coffee, shall I?"

Not waiting for their a.s.sent, she moved around the island to a length of cupboards over a long counter against the wall, removing a bean grinder. Tom's eyes went to the long pine table, which anch.o.r.ed the room, large enough to seat ten. At one end, half hidden by a bowl of summer blooms, was the remains of breakfast: An old wooden cutting board with a loaf of whole-meal bread sat in a dusting of crumbs, several pots of jam and marmalade, opened, with sticky spoons left on their tops, another glued in a sticky puddle on the well-scrubbed surface itself, filmy gla.s.sware next to a carton of orange juice, coffee mugs, cream jug, and cafetiere, the last drained but for a puddle of coffee grounds. Jane lifted it.

"Do you need this cafetiere?"

"No, I have others," Marguerite called over her shoulder.

"Let me clear."

"Oh, would you? How kind." Marguerite's head turned sharply as she moved to the refrigerator. She stared at the table, as if momentarily disconcerted. "Roberto must have made himself at home."

"Tom found Oliver," Jane remarked as she loaded the lengths of both arms with plates, then said to Tom, who had openly admired her skill, "I've done this before. I waited tables at a lobster restaurant in Charlottetown, Prince Edward Island, when I was a teenager."

"I was going to ask where." Marguerite popped the lip from a canister and spooned coffee beans into the grinder.

"Where I grew up?"

"No, where Oliver was found."

"I found him in the Labyrinth, Lady Fairhaven." Tom hobbled into the room out of Jane's way, feeling inept before these competent women. The door into an adjacent mudroom was open; so, too, was the top half of a Dutch door that led onto the garden. Pegged along a rack against one wall between the doors he glimpsed the usual array of outerwear-waxed jackets, quilted jackets, a riding coat, a.s.sorted tweed caps and felt hats-all in country drab, but for one red hoodie crested with an a.r.s.eNAL FC logo. He had a notion who that might belong to and gave a pa.s.sing thought to the nature of Marguerite and Roberto's living arrangements.

"When?"

Tom turned from his glance at the footwear under the mudroom bench, walking sticks and other paraphernalia to respond: "Very early this morning. The sun was barely nudging the horizon."

"Then no one else was about?"

Tom hesitated. The metallic shriek of beans being pulverised gave him leave to consider his reply. Had it been a trick of the light or, rather, a trick of the shadow? Had he truly seen the back of someone's head? And why did he think it was a woman's? Something about the shape, the sense of hair longer than most men wore these days? Lucinda remained worryingly in his mind. But now, unhappily, not wis.h.i.+ng to acknowledge the terrible possibility, he studied the back of the dowager countess's head as she bent to her task, at the cut of her silvery blond hair, conscious that Her Ladys.h.i.+p was an early riser (she had said so moments earlier in the forecourt), conscious, too, that though she was a woman in her sixties, she exhibited the agility and vigor of a woman a decade or more younger. But to be capable of strangling a man? Then beetling off into the shrubbery? And for what possible reason? It was all too ridiculous.

And yet there was something watchful in her eyes when she turned and met his, clearly expecting an answer to her seemingly nonchalant question. Her eyes dipped as she removed the top of the grinder and the moment was lost.

"There wouldn't have been enough light for me to know for sure if there was." He chose his words with care as he watched Marguerite spoon the ground coffee into the cafetiere. "... anyone about," he added, noting Jane transfer a curious doubting frown from the used coffee mugs she was carrying to him.

"And you heard nothing?" she asked, depositing the china on the island near Marguerite.

"I can say for certain I heard a cat. And saw one. And I'm pretty sure I heard some noises in the shrubbery."

The kettle's hiss turned to a shriek at that moment, severing conversation. Marguerite lifted it from the hob and they waited in silence for the water to cool slightly, the murmur of the muted radio and the ticking of the wall-mounted clock now the ascendant sounds. Tom glanced at the two women, each of whose face reposed in private thought.

"Someone must have been very angry with Oliver." Jane broke the silence as Marguerite poured a little hot water over the grounds and swirled the cafetiere around. After a few seconds, she tipped the kettle to pour in the rest.

"Perhaps." A plume of steam obscured Marguerite's face momentarily. "Well, yes," she said, as if conceding the point. She flicked a glance at Tom. "What with? Do you know?"

"If you mean the ... instrument of death, I don't know," Tom replied, taking the liberty of sitting down. "Nothing was in evidence that I could see. I expect when the scene of crime experts are through something will come to light."

"We're going to have the whole spectacle of the police and the law upon us, aren't we?" Marguerite pressed the plunger into the cafetiere. "I can't think this will go very well for Hector. Jane, fresh mugs are on the dresser."

"Because the police will learn that Hector and Olly had been fighting?" Jane lifted three mugs off their hooks.

"In part. If Hector's determined to stand for Parliament, any breath of scandal will do him no good. The prime minister's very hot on propriety of all sorts these days."

"Marve, do you have any idea why they were at each other yesterday?"

"Not at all. I asked Hector yesterday and he stubbornly refused to tell me. There wasn't much point in asking Oliver, as he never gives ... gave, rather, you a straight answer about anything." Marguerite carried the cafetiere to the table. "I suppose all one can say to the police is that Hector and Olly never got on, so that yesterday's incident is simply another in a long line." She flicked a glance down at Tom. "I can read the 'why' in your face, Vicar."

"Oh, dear. And I thought I was doing well looking blank."

Marguerite laughed and continued: "They've never really rubbed along, Hector and Olly. There's no point in not saying these things. If I read detective novels correctly, we're all in for a bout of living in each other's pockets." She settled the cafetiere next to the cream jug Jane had left on the table. "I think it's simply ... well, sometimes you meet someone and you simply can't bear them from the moment you shake their paw. Biscuit, anyone? Mrs. Gaunt sent over some lovely baking the other day. She's a superb cook, she really is, but I do find her a little severe." Marguerite glanced about. "There it is!" She walked over and lifted a tin from the counter under the window. "Now what was I saying?"

"Hector and Olly not getting on," Jane prompted.

"Right, yes, well, I think there was some incident when they were in the Parachute Regiment. I don't really know. I'm not sure if it's important now." Marguerite opened the lid and placed the tin on the table. "Plates, Jane, if you please. Anyway, the Stricklands and the fforde-Becketts are rather chalk and cheese. Unlike the fforde-Becketts, the Stricklands have managed to weather the chop and change of the last century. Perhaps it's having remained resolutely Catholic through the Reformation and the Civil War. It's made the Stricklands wilier. I've just thought of that. I'm not sure it's true. But it is true that the fforde-Becketts threw most of it away on the horses, women, bad investments-that foolish scheme in the West Indies of Olly's father. By the way, Tom, you should get Maxie to show you and your daughter the priest holes at the Hall and such. He adores the intrigue." Marguerite glanced at her watch as she sat down and bid Jane do the same. "I wonder ..."

"Wonder what?"

"I don't usually go, even on Sunday. Sorry, I'm thinking out loud. Father Downes, Jane. You must have met him while you've been here. He comes up to Egges...o...b.. from Ivybridge every morning when Hector's in residence to say Ma.s.s in the chapel. A retired priest." Marve turned to Tom. "Quite the amateur architectural historian. Loves Egges...o...b..." She laughed. "And last Sunday, he stayed on for lunch, Mrs. Gaunt's cooking being the attraction. I can't say I blame him. She is a little treasure."

"Shall I be mother?" Jane's hand brushed the cafetiere's handle. "Black or white?"

Both Tom and Marguerite opted for black coffee.

"But you are coming for Sunday lunch, Marve."

"Oh, of course. I'm simply wondering if I should go to Ma.s.s. I'm a convert, you understand," she said to Tom, adding obliquely, "it was the price of admission. Dare I bring Roberto?" She smiled knowingly at Jane.

"To lunch? Hector didn't say." Jane flicked a glance at Tom as she poured the coffee.

Marguerite snorted. "Roberto's too busy working anyway." She pinched her lips in thought, then said in a somewhat reluctant tone, "I suppose I could take you over to the stables when we're done here so you could see what he's doing."

"I'd like that," Tom said, considering the excursion another way to keep the children preoccupied.

"He won't be terribly communicative, though." Marguerite looked as though she regretted the invitation. She glanced at Tom then lifted a biscuit from the tin. "I've had a thought-Dominic!" She bit into it. "Was he terribly pleased?"

"Marve!" Jane looked up from the cream she was pouring into her mug.

"Was he, Tom?"

"I couldn't say." In truth he couldn't, though he had a qualm. When Lucinda had dipped into her deep curtsy and addressed her half brother with the honorific, Tom, later than the others, had realised the implication. With Oliver possessed of no legitimate male heir of his body, the marquessate pa.s.sed automatically to his late father's late brother's son-his cousin, Dominic fforde-Beckett.

Dominic had received Lucinda's gesture with an expression of bemus.e.m.e.nt. He was wearing cream-coloured khakis and a fresh white s.h.i.+rt, the sleeves of which he was rolling to his elbows as he responded: "I feel like I've stumbled into Act Two of some Regency farce-or is it Jacobean melodrama?-and haven't the foggiest what the play is about. What is the play about? Is that kedgeree I smell? Good morning, all." He pushed his long, slightly damp hair behind his ears.

"The G.o.ds have smiled upon you this morning, brother dear."

"Lucy, that's quite enough out of you," Hector barked. "Oliver has died, Dominic."

"What do you mean, died?"

"Died. Ceased to be." Hector sounded the exasperation of a man fed up. "Died!" he said again.

"I take your point, Hector, but how did he die? He certainly looked hale yesterday. Liver failure? Sorry, Georgie, I didn't mean to sound cavalier."

"No, Oliver's been killed-well, murdered, I suppose." Hector glanced at Miranda.

"Oh, don't be silly."

"Somebody else tell him."

"It's true, Dominic." Jamie spoke. "Oliver's body is in the Labyrinth. We're waiting for the police, well, more police."

"Good G.o.d."

It fell to Hector to explain the events of the morning, which he did briefly and gracelessly-in a growing bad temper.

"It's unbelievable," Dominic said, turning to his cousin. "Really, Georgie, I am so very sorry." He addressed her with further expressions of condolence, yet, somehow, to Tom's ears, the words were formulaic and the tone practised-more a facsimile of sympathy than sympathy itself-though he knew from his pastoral work how oddly shock could shape words and affect people.

"Inheriting the marquessate and all wasn't alluded to again," Tom said to Marguerite now, his thoughts returned to the present. "So no, I couldn't really tell you what Dominic's feelings might be."

"Not that there's much left in the kitty, I shouldn't think." Marguerite looked over the table. "There's still the house in Eaton Square. At least now Charlotte and Lucinda won't be homeless, not that Charlotte's much in London, I'm given to understand. Oh, Jane, you don't have a spoon." She rose quickly.

"Marve, it doesn't matter," Jane called after her.

But Marve, having reached the counter, held up a warning finger, her other hand adjusting the k.n.o.b of the radio so the familiar strains of BBC Radio Devon's news summary filled the room. Belinda Dixon's practised voice followed: The headlines: Police are reporting the death of one of Britain's leading entertainment entrepreneurs this morning. Oliver fforde-Beckett, the Marquess of Morborne, founder of London's Icarus club and of the Daedalus Group, manager of such bands as Lovebox and Heir of the Dog, and organiser of last year's Child-Aid benefit at Wembley Stadium, was found dead early this morning at Egges...o...b.. Park, the Devon estate of his brother-in-law, the Earl of Fairhaven. His death is being treated by police as suspicious. In other news, more than seventy organisations have expressed concern about the government's plans to overhaul the benefits system- Marguerite snapped the radio off. Tom could see the rise, then the fall, of Marguerite's bosom under the s.h.i.+rt she wore as she released a deep sigh. She turned to them, her face somber.

"Why," she asked, as a burst of childish laughter, perversely timed, came from down the hall, "does hearing it on the radio make it seem that much more real?"

CHAPTER ELEVEN.

"My plan ... or rather, the plan," Marguerite said, as if it were necessary to make the distinction, "is to convert much of the stable block into artists' studios-or studio and accommodation, in some instances. One of them is finished, for display." She gestured to the back of the large central yard. "And I'll still keep a few horses-there." Her hand moved to the left from whence came a scuff of hooves and the thump of great weight against a stall, the animals' response to their mistress's voice. "So it can be put to good use."

"Pater thinks it's a rum idea. I heard him tell Mater."

"And what do you think, poppet?" Marguerite smiled at Maximilian indulgently.

"I think it's wizard. When I'm earl I shall do all sorts."

"Good boy. Egges...o...b.. needs single-minded attention and lots of imagination, if it's going to survive."

Tom and Jane exchanged glances. Poor Hector, Tom thought: d.a.m.ned all but in name. In a battle of wills, he suspected the dowager countess would easily vanquish her son.

"The notion"-Marguerite s.h.i.+elded her eyes against the high sun beaming into the central courtyard-"is that the artists can display and sell their wares, in this courtyard, in good weather, or in a shop that will be over there." She indicated a complex of arched door wells at the far end of the stable block. "Once we remove the old box stalls, of course. And there'll be a tearoom next to it for light refreshments. There's an old kitchen and scullery in that corner, so the conversion shouldn't be too, too difficult.

"An all-season attraction, I explained to Hector." Marguerite glanced down. A hefty white cat had darted from seemingly nowhere and curled around her legs. "Visitors don't want to tramp around the Labyrinth-or Alice's Garden when it's finished-in wet weather. So they can come here in February. People can watch the painters and sculptors and potters at work. We'll have exhibits and openings and the like. Event planning, they call it."

"Great larks, Grandmama. Here, puss."

"One of the village cats, I think, but it's become quite attached to Roberto." Marguerite pushed it gently away with her foot. "It will mean some extra winter employment for the village. There'll be more people rattling around here than just me and the estate manager and his wife, so Egges...o...b.. Park won't seem such a museum. It will promote artists from the southwest, or London, or wherever. There'll be increased revenues ... eventually, of course. I think it's a winner. And," she added sotto voce, as Max and Miranda wandered towards the source of horse noises, "the other directors of Egges...o...b.. Enterprises agreed with me. Ha!

"Come, you two." Marguerite amplified her voice. "Let's see what Mr. Sica is up to this morning. How's the cast boot, Tom?"

"Splendid."

It was. Quite the contraption, the boot hugged most of his lower leg and foot in a sh.e.l.l of plastic held together by a fiesta of Velcro straps. He had tried it out as the five of them had walked from the dower house towards the stable block, down a private path, marvelling at the relative comfort, grateful that he could-almost literally-throw away his crutches. (He left them in the dower house mudroom instead.) Intermittent birdsong and whispering trees slowly gave precedence to a steady manufactured rhythm as they drew closer to the stables, the whir and whine of a machine, more evident still where the path joined the drive and they pa.s.sed through the arched entrance beneath the clock tower. "Georgian," Marguerite had remarked apropos of very little as Tom glanced about, noting the cla.s.sical detailing. "Built nearly two centuries after the house and my little cottage. Catholics couldn't own more than one horse at one time. They were weapons of war during the Reformation. Rather like owning a tank today."

Now the mechanical sound from within the stables seemed to stall and start as they approached the pair of great wooden doors, one of which rested on its hinge, open a crack and allowing the cat egress. Tom could feel the courtyard bricks below the naked toes of his right foot radiate with the day's growing heat and he felt sweat bloom under his arms.

"Roberto's been a bit the canary in the coal mine in this venture. But having him here at Egges...o...b.. has proved that resident artists can work well. Roberto," she called, tugging at the heavy door and peeking in, "I hope we're not intruding. Roberto?"

The hinge squealed in protest as Marguerite pushed and Tom, awkwardly, pulled. The sun sent an angle of honey-yellow light spilling several feet into the dark interior, scintillating the mote-heavy air into a blurring scrim. But it was his nose, not his impaired eyes, that was first a.s.sailed by the peculiarities of the studio. A washhouse dampness pervaded, a stale smell of wet clay, yet, oddly, blunted by a kind of dust, so desiccating that Tom's eyes watered as he fought to prevent a sneeze. Through his teeming eyes, he glimpsed a cavernous room, the full two storeys of the stable block, lying in half shadow, a jumble of vague shapes obscuring its perimeters. The spill of suns.h.i.+ne surrendered to the blue-white brilliance of two floodlights on stands directed towards a cleared s.p.a.ce near the centre of the room where more fine powder fanned out in silky plumes, whitening the air. The person wielding the machine-some sort of sander, Tom presumed-was obscured by the artwork's ma.s.sing, but the sound of grit upon stone was not. An almost satisfying shrill, it filled the s.p.a.ce. Tom sneezed loudly, then sneezed again with greater force, but his echoing blasts (to Tom's ears) provoked no reaction. Wiping his eyes, he glimpsed, through a curving limb in the statuary, a frightening mask with gleaming eyes and a snout like a metal pig's, then another glimpse, this of a flowing headdress, like the white keffiyeh of an Arab. No one watching moved. Tom sensed them all transfixed by the artist in the act of creation, and when Roberto backed around the statue with the sander, a figure streaked with white, no one, at least not Tom, noticed for a moment that he wore nothing below his neck save for dust-covered trainers and gardening gloves. Jolted, feeling as if he were intruding on a very private act, Tom glanced away, then glanced at Miranda, who was staring with open-eyed surprise.

"Roberto!" Marguerite shouted, moving towards the man, who seemed now to sense that he was no longer alone in the room. A flick of the hand and the mechanical noise died away; a murmuring radio in the background filled the void. Roberto twisted his torso around. Tom glimpsed a gladiator reimagined in a filter mask and powder armour, and his hands went unthinkingly to s.h.i.+eld Miranda's eyes, feeling as he completed the act silly and prudish.

"Roberto," Marguerite began again, in an exasperated tone, "put something on, would you? You have guests."

Obediently, Roberto placed the sander on a nearby bench and peeled back the filter mask and goggles, handing them to Marguerite. The head covering he tugged off, revealed as a pair of old white rugby shorts, which he stepped into, snapping the band against his slim waist. Roberto regarded them with faint hostility, as if he had been pulled from a sound sleep. He offered no apology for his dishabille, but Tom realised, as Miranda pushed away his hands, that it was they who had intruded upon his realm. He sensed a new tension in the atmosphere.

"I thought I would show Tom and his daughter the stable conversion." Marguerite dropped the mask on a nearby table and fetched what looked like a strip of linen. "You met last evening."

"Yes. I remember." Roberto flicked him a disinterested glance and took the cloth from Marguerite, wiping the perspiration first from his forehead and around his eyes, then in long, firm strokes across his torso, pus.h.i.+ng the layer of fine white powder to the dusty brick. Tom noted the powerful sinews of his forearms rippling beneath the skin and tautness of the pectorals-the benefit of labouring over a lump of stone with a cold chisel-but he noted, too, bruising and cuts, fresh-looking ones, in the same areas-the result, he presumed, of labouring over stone with no protective clothing, though the sanding looked harmless to bare skin.

"What are you working on?" Jane asked with forced cheer, stepping into the penumbra of light.

"The commission for Delix Fennis I mentioned last evening." Roberto's eyes ranged over his work, his mouth turned down with a hint of critical dissatisfaction.

Joining them, Tom's eyes were at first dazzled by the ethereal, luminous quality of the marble, as if the moon shone from within its compressed form. Two figures emerged from the stone, limbs entwined, as if struggling for release, he thought for a second, before realising the figures were male and female locked together in an embrace, their naked forms writhing and twisting. His eyes darted to the faces, to their frozen features modelling pa.s.sion-or perhaps pain-as if it were suddenly imperative to find in the finely wrought details the living models. Absurdly-he was conscious he was driven by pure guilt-he looked for his own face and for Lucinda's, as if Roberto had been witness to their tryst and had rushed to replicate it in marble. He could feel himself blush with relief that it was not. The faces of the man and woman, unlike the face of Mary in the Labyrinth, were idealised, as beautiful as the statues of the G.o.ds of antiquity. A little troubled at the mature theme of the sculpture, he glanced at the children. Max's face wore the studied frown of an art connoisseur at a gallery. Disturbingly, Miranda's attention fell to the artist, not the art. She seemed to be studying him in a way that pierced a father's heart. He followed her gaze. The sculptor himself would offer a worthy subject: the high forehead, the deeply set eyes, the sensitive mouth, a Cupid's bow, but Tom didn't give a d.a.m.n. He shuffled forward to block Miranda's view, saying the first ba.n.a.l thing that came to his head: "Remarkable."

"Yes," Jane and Marguerite murmured as one as if mesmerised by the artwork's erotic power, but not daring voice it.

"Dionysus I'm guessing from the vines and grape cl.u.s.ters." Jane gestured to the renderings ornamenting the male figure. "But who is the female?"

"Ariadne." Roberto dropped the cloth on the bench.

Jane frowned.

"One of Dionysus's consorts," Marguerite responded.

"I would hope so!" Jane laughed. "But she's not familiar to me. I a.s.sociate Dionysus with Aphrodite."

"Ariadne helped Theseus slay her monstrous half brother-" Roberto began.

"The Minotaur," Tom interrupted, uncomfortably reminded of the slaying of a half brother at Egges...o...b.. this very morning. "Theseus and Ariadne were to wed after, but Theseus abandoned her, I think."