Captives of the Night (10 page)

She wrenched herself back to the moment. Whatever she'd felt or imagined, she could not afford to be distracted.

"Your sanity and intelligence are not being called into question, Mrs. Beaumont," the coroner was saying. "We are simply attempting to reconstruct a clear picture of the events preceding your husband's death."

"I have described them," she said. "After my husband left my studio, I did not see him alive again. I did not leave my studio at any time between his departure and my discovery of his body, when Mrs. Dempton was close behind me. I had remained in the studio, working — with the door open — until after teatime. I could not have done otherwise, as the painting must clearly demonstrate."

This time, the coroner didn't trouble to conceal his puzzled dismay. "I beg your pardon, madam. What painting? And what has it to say to anything?"

"Surely the Crown's officers observed the still-wet painting I had completed during those hours in the studio," she said. "Any artist could tell you that it had not been done in a state of agitation or haste. Had I interrupted my work to do away with my husband, I could not have produced that sort of technical study. It wants total concentration."

The coroner stared at her for a long moment, while the whispering rose to a low roar. He turned to his clerk. "We had better call in an artistic expert," he said.

Several jurors groaned. The coroner glared at them.

The glare moved to Leila. "I only wish, madam," he said, "that you had been more forthcoming previously regarding these matters. Surely you understood their importance. You might have spared the Crown precisely the waste of resources you mentioned earlier."

"I
thought
they were important," she said haughtily. "But no one else must have done, since I was never asked the relevant questions. While I am no expert in inquiries of this sort, I was puzzled why the focus of concern appeared to be my quarrel with Mr. Beaumont and Mrs. Dempton's hysteria. Though I did not understand why matters of hearsay took precedence over material facts, it was not my place to tell professionals how to do their business. I should not have taken the liberty of mentioning these matters today had it not appeared that they were likely to be overlooked altogether."

"I see," he said, his voice almost a growl. "Is there anything else you wish to
mention
, Mrs. Beaumont?"

Some time later, Ismal climbed into the carriage seat opposite Lord Quentin.

"Well, it took long enough, but we got our verdict," said His Lordship. "Accidental death by laudanum overdose."

"Better the inquiry was lengthy," Ismal said. "The coroner is satisfied he's done his duty thoroughly."

He removed his greasy wig and studied it. Leila Beaumont had recognized him. Even Quentin hadn't, at first — but she had, from across a large room… while she was being interrogated by an irritable coroner. Surely she was the Devil's own work.

"And the public will be satisfied, too, I hope." Quentin frowned. "I'm not, but that can't be helped. We couldn't afford a murder verdict."

"We did what was necessary," Ismal said.

"Maybe I'd have liked it better if she hadn't made us look a pack of fools."

Ismal smiled faintly. "The painting business, you mean."

Sir Gregory Williams, the artistic expert, had insisted the painting could not have been completed in less than two days and refused to believe it had been done by a woman. As a result, several officers had been ordered back to Madame's house to obtain other samples of her work. An hour after uttering his misogynistic remarks, Sir Gregory had been forced to gulp them back down.

"Sir Gregory appeared rather foolish," said Ismal. "Still, he had conscience enough to admit his mistake. Yes, the lady had undoubtedly painted the glassware study, he admitted, and yes, the treatment of the subject as well as the brushwork evidenced a serene state of mind."

Ismal, too, had been obliged to admit a mistake, inwardly at least. He hadn't considered the implications of the wet painting, in the studio, all his attention had been given to the devastation she had wrought. All his interest had focused on her temper… so much passion.

He'd let emotion taint his objectivity — an unforgivable sin. He was furious with himself, and with her, the cause. Nonetheless, his expression remained one of mild amusement.

"It was that dratted ink," Quentibn said. "If she didn't kill him — "

"Obviously, she did not."

"You weren't so sure before."

"I did not need to be sure. Her guilt or innocence was irrelevant to my task."

"If she didn't spill that ink to protect herself, it could have been to protect someone else," Quentin persisted. "Or do you think the ink bottle
had
stood upon the nightstand, where it had no business being? No diary in the drawer, no paper, not even a pen. How do
you
explain it?"

"Beaumont may have set it down for a moment and forgotten it." Ismal shrugged. "There are a host of explanations."

"Doesn't explain her. Quick-witted female like that." Quentin's countenance grew thoughtful. "It does make one wonder. Did she
really
think Beaumont's death was an accident? Did that clever woman miss what was obvious even to me?"

"Does it matter?" Ismal dropped the wig onto the seat beside him. "The matter is settled, our secrets are safe, and none of your noble friends will be troubled by an embarrassing murder investigation."

"More than likely, it was one of those noble friends who did it," Quentin said gloomily. "Even though my hands are tied and justice seems to be out of the question, I should like to know who killed him." He leaned forward, his hands on his knees. "Don't
you
want to know who did it? Don't you have a lengthy list of questions you'd like answered about this plaguey business?"

Yes, Ismal thought. He'd like to know how the curst woman had recognized him today. That was even more troubling than his uncharacteristic leaping to a wrong conclusion. His civilized self told him she'd penetrated his disguise because she was an artist, more keenly observant than others. The superstitious barbarian inside him believed this woman could see into a man's soul.

He told the barbarian that no human being, even he, could read minds or hearts. He discovered secrets, yes, but that was no magical power, merely a well-honed skill in observing and translating the smallest clues of voice, face, gesture. Accordingly, he never betrayed himself through such inadvertent clues. Yet she must have discerned… something. In some way, he'd betrayed himself to her, just as in the last week he'd somehow let desire undermine his intellect.

He didn't like "some ways" and "somehows" and the loss of control they implied. Once, a decade ago, a woman had weakened his will and reason, and he was still paying. He wouldn't risk destruction again. He would attend the funeral, for appearances' sake. Then, he would return to the Continent, and this time, forget her.

And so, aloud he said, "No, I am not curious. It is done, our problems are over, and I am content."

Francis' funeral took place the day after the inquest. The Comte d'Esmond attended the services and came with the others to the house after. He expressed his condolences and courteously offered to let Nick remain with Leila until she'd found replacements for the Demptons.

She politely declined — to Esmond's relief, she was unhappily certain. His speech and manner were all that was correct — neither a degree too cool nor overwarm. But she could sense the chill in him as palpably as if a wall of ice stood between them.

Unfortunately, when she went on to explain that one of Mr. Herriard's staff would fill in temporarily, both David and Fiona insisted she borrow from their staffs instead. Fiona was growing rather sharp with David when the Duke of Langford, who'd been standing nearby talking to Quentin, took it upon himself to render a judgment.

"Esmond's servant has had a week to familiarize himself with your requirements," said His Grace. "His remaining would produce less disruption, on all sides. I should think you've had disruption enough, Mrs. Beaumont."

"Quite right," said Quentin. "Simplest solution, I should think."

Leila glimpsed a flash of something — rage, or perhaps disgust — in Esmond's eyes, but before she could respond, he did.

"
Certainement
," he murmured. "I return to Paris soon, in any case, and so there is not the smallest inconvenience. Nick can follow me after your household affairs are settled."

She glanced at Andrew, who nodded agreement, naturally. One didn't contradict the Duke of Langford. David had turned away. Even Fiona, who habitually contradicted everybody, held her tongue.

Leila lifted her chin as she met Esmond's enigmatic blue gaze. "I seem to be outnumbered," she said. "All the same, I regret trespassing further on your generosity."

He responded with some chivalrous, typically Gallic nonsense and shortly thereafter took his leave.

He left the chill behind, and something terribly like despair. Not since that night long ago in Venice had Leila felt so bitterly, wretchedly alone.

By now she knew how much Esmond had helped her. After Andrew had provided a detailed report of the inquest, she'd perceived how very unpleasantly matters could have gone for her had anyone but Quentin supervised the case.

She'd meant to express her gratitude to Esmond. She'd even rehearsed a brief but neatly worded speech. The trouble was, the wall of ice had cut her off before she could begin. Now she suspected that he'd merely acted gallantly, as his nationality — and, no doubt, some sort of noblesse oblige — required. Having obliged, however, he refused to be further associated with her.

She should not be surprised, and she had no business feeling angry or hurt, she told herself.

Langford was definitely no friendlier. It was clear he didn't want his son or Fiona — daughter of one of his dearest friends — associated with a bourgeois female artist whose poor taste in husbands and lack of breeding had resulted in scandal. He'd made it clear that even their servants were too good for the likes of Leila Beaumont — let the foreigner's menial look after her.

The irony was, Langford couldn't know how richly she deserved his censure. He couldn't know, either, the high price she was paying already. Frantic to save herself and shield Andrew, she'd never truly contemplated the consequences of concealing murder: the total isolation, the need to guard every word, gesture, expression, lest something slip — very possibly to the killer himself — and worst of all, the bitter pangs of conscience.

She couldn't look her friends in the eye, and she couldn't look at others without suspecting them. She couldn't wait for her visitors to leave, yet she dreaded being alone with her guilt and fears.

Her visitors did leave at last, and exhaustion got her through that first night. She was too tired even to dream.

But in the days after that, she knew no peace. She lost her appetite. She couldn't work, couldn't bear to take up a drawing pencil. Every time the door knocker sounded, every time a carriage clattered into the square, she thought it was Quentin, coming to arrest her, or the killer, coming to silence her forever.

She diagnosed herself as hysterical, yet the hysteria continued, exacerbated by nightmares that made her dread falling asleep.

Finally, a week after the inquest, she told Nick she was going to church — St. George the Martyr was but a few steps from the house — and set out for a brisk walk. She ended, as she had so many times before, in the burial ground.

Where Francis lay now.

The stone she'd ordered wasn't yet in place. There was only the newly dug earth, lightly dusted with snow, and a simple marker to show the place.

She couldn't mourn for him. That hypocrisy, at least, was beyond her. Grief wasn't what had drawn her here.

She stared down resentfully at the mound of earth. Alive, he'd tormented her as much as she'd let him; dead, he contrived to torment her still. If not for him, she wouldn't be guilty and anxious and so miserably alone.