Payment in Blood (Inspector Lynley, #2)(27)

“And that’s all?”

Stinhurst’s eyes were on the porcelain head he held gingerly in his palm. “I told Mary Agnes to gather everyone into the drawing room.”

“They cooperated?”

He looked up. “They were in shock. One doesn’t really expect a member of one’s party to be stabbed through the neck during the night.” Lynley raised an eyebrow. Stinhurst explained, “I had a look at the body when I locked her room this morning.”

“You were fairly clear-headed for a man who’s just encountered his first corpse.”

“I think one ought to be clear-headed when there’s a murderer in one’s midst.”

“You’re sure of that?” Lynley asked. “You never considered that the murderer might have come from outside the house?”

“The nearest village is five miles away. It took the police nearly two hours to get here this morning. Do you really see someone coming in on snowshoes or skis to do away with Joy during the night?”

“Where did you place the call to the police?”

“From my sister’s office.”

“How long were you in there?”

“Five minutes. Perhaps less.”

“Is that the only call you made?”

The question clearly took Stinhurst off guard. His face looked shuttered. “No. I telephoned my secretary in London. At her flat.”

“Why?”

“I wanted her to know about the…situation. I wanted her to cancel my engagements on Sunday evening and Monday.”

“How farsighted of you. But all things considered, wouldn’t you agree that it’s a bit odd to be thinking about your personal engagements directly after discovering that a member of your party has been murdered?”

“I can’t help what it looks like. I just did it.”

“And what were the engagements that you had to cancel?”

“I’ve no idea. My secretary keeps my engagement book with her. I merely work off the daily schedule she gives me.” He concluded impatiently, as if in the need of a defence, “I’m out of the office frequently. It’s easier this way.”

Yet, Lynley thought, Stinhurst did not have the look of a man who required that his life be arranged round elements that made it easier and more liveable. So the last two statements wore the guise of both fencing and prevaricating. Lynley wondered why Stinhurst had even made them.

“How does Jeremy Vinney fit into your weekend plans?”

It was a second question for which Stinhurst seemed unprepared. But this time his hesitation bore the quality of thoughtful consideration rather than evasion. “Joy wanted him here,” he answered after a moment. “She told him about the read-through we were going to have. He’d been covering the renovation of the Agincourt with a series of articles in The Times. I suppose this weekend seemed like a natural extension of those stories. He phoned me and asked if he could come along. It seemed harmless enough, the possibility of good press prior to the opening. And at any rate, he and Joy appeared to know each other quite well. She was insistent that he come.”

“But why would she want him here? He’s the arts critic, isn’t he? Why would she want him to have access to her play so soon in the process of production? Or was he her lover?”

“He could have been. Men always found Joy immensely attractive. Jeremy Vinney wouldn’t have been the first.”

“Or perhaps his interest was solely in the script. Why did you burn it?”

Lynley made sure that the question had the ring of inevitability. Stinhurst’s face reflected a patient recognition of this fact.

“Burning the scripts had nothing to do with Joy’s death, Thomas. The play as it stood wasn’t going to be produced. Once I withdrew my support—and I did that last night—it would have died on its own.”

“Died. Interesting choice of words. Then why burn the scripts?”

Stinhurst did not reply. His eyes were on the fire. That he was struggling with a decision was more than obvious. The fact played across his features like a battle. But who the opposing forces were and what was at stake in the victory were fine points of the conflict that were not yet clarified.

“The scripts,” Lynley said again, implacably.

Stinhurst’s body gave a convulsive movement akin to a shudder. “I burned them because of the subject matter Joy had chosen to explore,” he said. “The play was about my wife Marguerite. And her love affair with my older brother. And the child they had thirty-six years ago. Elizabeth.”





5


GOWAN KILBRIDE was in a new kind of agony. It began the moment Constable Lonan opened the library door and called out that the London police wanted to speak with Mary Agnes. It increased in intensity when Mary Agnes jumped to her feet, displaying an undisguised eagerness for the encounter. And it reached its zenith with the knowledge that for the past fifteen minutes she had been gone from his sight and his determined—if hardly adequate—protection. Worse still, she was now under the sure, the entirely adequate, the decidedly masculine protection of New Scotland Yard.

Which was the source of the problem.

Once the police group from London—but most particularly the tall, blond detective who appeared to be in charge—had left the library after their brief encounter with Lady Helen Clyde, Mary Agnes had turned to Gowan, her eyes ablaze. “He’s haiven,” she had breathed.