Strange Images of Death djs-8 Page 13

  The officer and the additional crockery arrived at Jacquemin’s table at the same time. ‘Ah! Coffee, Martineau? Sleep well? Good, good. Of course, being a native, you must be used to this confounded wind. Now tell me-the motor car-did you manage to get to the bottom of the problem with the … transmission, I think you said? We weren’t handed the cream of the collection for our little jaunt, I think? I want to arrive at the château snorting impressively not jangling like a bag of nails.’

  ‘Yes. All in order, sir,’ said the young man crisply. His broad brow, intense eyes and tight mouth gave the impression that here was a man incapable of saying or thinking anything but ‘yes’. ‘Snorting like a bull! There’s a mechanic right here in the village who seems to know his business. He sorted it out in no time. All’s ready for our assault on the Devil’s Château.’ He grinned dismissively.

  ‘Ah, yes! This name … I don’t like to walk unprepared into strange scenes even of the comic opera type I suspect we’re about to experience. A little local guidance is called for, I think.’ He summoned the landlord again and invited him to seat himself. ‘Monsieur Ferro, you know where we’re headed this morning. Tell me-how did the Château de Silmont of venerable name ever acquire the sobriquet of du Diable?’

  Monsieur Ferro was delighted to be of assistance. ‘Because devilish things have happened there over the centuries. Oh, the usual murder and rapine, but this castle has always been associated with a particular kind of-I think you have to say, inhuman-evil. The kind that can only come from the Devil.’

  ‘Monsieur Ferro will be able to point out to you the hill-top lair of the Marquis de Sade of evil repute, not many miles from here, sir,’ the Lieutenant added helpfully. ‘There are many such châteaux dotted about in the villages and each has a reputation worse than the last.’

  ‘Ah, yes, but the Marquis de Sade was of flesh and blood. It’s at Silmont that the supernatural makes its appearance most strongly through history,’ insisted the landlord, realizing he was talking to a man of Provence. ‘It started with the Devil’s Bride. You must know that story?’

  Jacquemin, mildly entertained, exchanged looks with Martineau and poured out more coffee. ‘Do tell. The story hasn’t reached Paris yet.’

  It was only slightly encouraging but it was all the invitation Ferro needed.

  ‘This happened long ago, in the days of the Counts of Provence, when Paris was a backwater and France just a neighbouring kingdom,’ he said with pride. ‘The young heir to Silmont was to be wed. To the lovely daughter of a rich marquis from a nearby estate. The château was en fête for the wedding celebrations. It must have looked like the setting for a fairy tale-guests had come from miles around, days of feasting were planned, there were acrobats and musicians by the score. The young bride-who came with a large dowry-was very taken with her new husband. She must have considered her father’s outlay-some ten thousand crowns, it was said-well spent! The groom was somewhat older than she, in the custom of the times, but handsome and powerful and would inherit one day a splendid castle and lands. Ah! How were they to know …’ He left a dramatic pause, rolled his eyes and sighed. ‘… know that the lord had a rival-a rival more powerful than himself? The girl already had a secret admirer. The Devil! None other!’ Monsieur Ferro made the sign of the cross at the whispered name. ‘Though she was unaware of his plans for her. After the ceremony, the bride, still dressed in her white wedding dress, insisted on playing a game with her friends and all the other little guests who’d been invited to keep her company. It was a game she loved to play. And she was, after all, still a very young thing. A game of hide and seek.

  ‘She ran away and hid and everyone searched. And searched again. They called and called again. There was never an answer. Everyone feared for her. She did not know the château, her new home, at all. This was her first visit. The child did not reappear that day. And that night the château resounded with sighs and moans in every chimneypiece and no one slept.

  ‘The search continued for the next day, the next week, the next month. The countryside was combed in the for-lorn hope she had wandered off. Every gypsy tribe within a score of miles was questioned in case they’d snatched her away. But they found no sign. Not even a dropped kerchief. And they were never likely to find her. The Devil had made off with his chosen bride, it was said, from under the lord’s nose. Her lord remarried. He came into his inheritance. The years passed. The first bride was forgotten. I cannot even tell you her name.’

  ‘Is that it? That’s all?’

  Monsieur Ferro paused, shook his head and fixed the men with the glazed eyes of a storyteller who is approaching his climax and resenting an interruption. ‘And then, they say, a hundred years later, when they were rebuilding a part of the castle, they pulled the cover off an oubliette that no one knew was there. And, crouched in the bottom, was a small figure in white. The bride. As they tried to pull out the body, she and her dress crumbled to dust,’ he finished with relish.

  ‘Not a congenial place, it would seem, for young ladies of flesh and blood-or stone,’ the Commissaire observed.

  ‘People have so remarked over the years, sir. No one remembers the name of the missing child bride-as I said just now-but everyone knows the name of her successor. One of the young girls who’d played hide and seek on that fateful day was Lord Silmont’s cousin-Aliénore. An impoverished branch of the family … she had no dowry but was famous for her beauty. They made a match of it-no one could deny him this comfort in his sorrow-and she produced a male heir within the year.

  ‘But the lord had no luck with his wives. Aliénore died in her youth, it’s said in childbirth, on her lord’s return from the Crusade.’ He sighed. ‘Her husband was determined that she would be remembered for ever. He had the most splendid portrait effigy carved in alabaster and set up in the chapel. You must try to see it while you’re up there, sir. It really is the loveliest thing. After all these years, you’d swear she was just sleeping.’

  ‘How very fascinating. Now tell me, Ferro … I’m planning to stay for another night. May I confidently expect to encounter the smoked haunch of wild boar again on the menu this evening?’

  Ferro, hearing dismissal in Jacquemin’s voice, stood and tilted his head agreeably. ‘But of course, Monsieur le Commissaire.’

  The two men waited until Ferro was out of earshot before they laughed.

  ‘Well, let’s have it, Martineau! Your analysis, please!’

  ‘I’d have had the cuffs on the young lord straight away, sir! I’d have sweated him to find out what he really thought of this annoying little twerp whose idea of the best way to spend a honeymoon was a game of hide and seek. I’d have wanted to know the size of his wife’s dowry and whether it came to him on her death. I’d have asked about to find out if he had his eye on any other female in the neighbourhood. Someone whose name began with an A perhaps. And-if he was still at liberty after my attentions-watched with interest his further marital exploits.’

  ‘Ah? I’m speaking to an admirer of the Perrault fairy tale? Do I hear echoes of the story of Bluebeard? Perhaps we should keep an eye out for bloodstained keys and locked cupboards full of dead wives while we’re up there?’

  Martineau acknowledged the Commissaire’s sally with a smile. ‘Always on the alert, sir. And I don’t despise fairy tales. I slapped the cuffs on Bluebeard last year. In Marseille. The gentleman was going by quite a different name and he was certainly no lord. But the contents of his cupboards … well, I won’t go into that so soon after breakfast, sir.’

  Jacquemin nodded his approval. He liked a chap with the spirit to answer up for himself. And this sharp young officer, Martineau, had stepped in and saved his bacon in Marseille. Perhaps he could be encouraged to pursue his further career in Paris, conveniently in the orbit of the Commissaire? Jacquemin knew the value of a good man at his back. Another advantage to come out of this wild-goose chase? He looked at his wristwatch in great good humour. ‘Bring the car round at ten thirty, will you, Lieutenant? If
you’re to work with me, you must understand that when I am not being punctual to the second, I am arriving ahead of time. Greeting suspects before they are quite prepared for you can be very informing and it puts them on the back foot-they are the ones caught burbling excuses. Let’s see if we can surprise these pretentious buggers with their trousers down, shall we?’

  Chapter Sixteen

  The company around the breakfast table at the château seemed equally enlivened and jolly. De Pacy gave out a gentle reminder that they could expect the presence of the Marseille constabulary at eleven and guests should hold themselves ready to welcome the Inspector at their lunch table. Joe interpreted this as a warning to dress suitably and put away any dubious substances.

  As people began to disperse, he caught Nathan Jacoby’s eye and both men rose and made their way out to the courtyard.

  ‘You’re sure about this?’ asked Nathan. ‘Nine o’clock now. We’ve got two hours before the police arrive. I estimate I’ll take an hour at the outside.’

  ‘You’re on,’ said Joe. ‘At least I think so … Don’t you need equipment? I don’t see you hung about with the usual contraptions of the photographer’s trade.’

  ‘I left my things out here,’ he said, picking up a small leather Gladstone bag. ‘Travelling light. I’m going to use my Ermanox. There’s such a splendid light pouring in through those east windows it should be a cinch. And this beauty has flash.’

  They raised their heads and squinted up into the sun. Nathan sighed with satisfaction. ‘Do you see the way this yard is striped with light and shade at this hour? And look at the pattern on that arched gallery over there where the children are playing! Wonderful!’

  Joe took his bag from him and set off across the courtyard, leaving him with two hands to frame his pictures and point out his perceptions as they went. He was looking forward to seeing the chapel again with the benefit of this man’s insights and he was easy in his company. As they approached the big oak door they looked at each other in astonishment.

  ‘Did you hear that?’ said Nathan.

  Joe was running to the door as the second dull thud made itself heard. As he lifted the opening device and the door began to creak open they heard a pitiful wail leak out. Six inches was enough space for a small body to dash out, flash between the men’s legs and hare off, howling.

  ‘What in hell was that?’ said Nathan. ‘Christ! That kid’s upset. What was he doing in there?’ He made to run after the child who was fleeing barefoot across the courtyard.

  Joe held him back. ‘Let him go. We’d frighten him further. He’s on his way to find his mother in the kitchen. It’s the cook’s son. The one who went missing last night.’ He watched on as Dorcas, drawn by the howls, emerged from the gallery and raced across the courtyard to intercept him. She seized the child’s hand and ran on with him.

  ‘It’s all right. Dorcas has got him. He seems to be safe enough. Now.’

  ‘Good Lord! The poor little chap’s been trapped in here all that time? Overnight? In that wind?’ said Nathan. ‘That’s one distressed kid!’

  ‘And he could only have got in here if he’d been put inside by an adult who opened the door,’ said Joe grimly. ‘Or sneaked inside while the door was open. Someone’s been in here. Are you ready for this?’

  They entered carefully and waited for the door to swing shut behind them.

  The cool beauty of the space was unchanged at first sight and Nathan stood still absorbing it, enchanted. But Joe was looking for details. ‘Look here! Poor child! He must have been terrified out of his wits but he showed some style! Little soldier indeed! He made himself a bivouac.’ He bent and examined the rough nest behind the door. ‘Look-here’s his bed.’ A base of kneeling cushions had been assembled to form a mattress and an old velvet curtain had served as blanket. An inch of yellow fluid in the bottom of a nearby glass flower vase told its tale of night-time emergency. A discarded clog had been put to use to bang on the door and accounted for the dull thuds that had alerted them. Sick at heart, Joe thought of the child hammering through the night, the sounds masked by the infernal wind.

  ‘Deserves a medal!’ Nathan commented. ‘But listen-if someone was here, he’s not here any longer, would you say? Impressive place! Fourteenth-century?’

  ‘Probably earlier. Twelfth, according to the guidebook. But with fourteenth-century additions and improvements. The Counts of Provence worshipped here when they were being entertained at the castle. It’s said that the father of Eleanor of Aquitaine attended mass here. William of Touraine, gallant knight, poet and-they say-the first troubadour.’ Joe’s response was mechanical, all his thoughts centring on Marius and his ordeal, eager to be done with this inspection and go and get the boy’s story from him.

  ‘Can we take a look at Sir Hugues now?’ Nathan asked, making his way over to the monument.

  They stood in stricken silence staring at the table-top tomb.

  There they were, two figures lying side by side, the lord and his lady.

  The figure on the right, the armoured knight, his feet resting on the crouching lion, remained as impressive as at Joe’s first sighting, but it was the pallid beauty of the figure at his side which seized and held the men’s attention. Her delicate hands were peacefully folded below her breast, her slippered feet rested once again on her greyhound. The knight had lain here in this quiet place carved in white stone for over six hundred years. His lady was of flesh and blood and was newly dead.

  The peaceful couple were framed by a canopy of sunlit stone. Hugues de Silmont lay in plate armour, gauntleted hands resting on his chest, helmeted head encircled by a jewelled wreath. At his left hip, on a richly sculpted baldric, was carved a slender dagger of Spanish design with an ornate gilded hilt. A misericord. His features were serene; as the sunlight slid across his face, he seemed almost to smile.

  At first sight his lady appeared no less serene. Closed eyes, a dreaming face, her pallor a match for his alabaster. Her long fair hair had been arranged to frame her face before spilling in waves over the edge of the tomb. The white dress she was wearing had been carefully draped and folded.

  The two onlookers could not take their eyes from the head of the dagger, sunk very slightly to the left and, very precisely, into the heart. The dagger at the knight’s side and the dagger in the woman’s heart were identical.

  Chapter Seventeen

  Joe could feel his companion’s shock through the hands that grasped his arm for support. After a few minutes of rigid stillness, Nathan’s whole body began to tremble but he could not take his eyes away.

  It was Nathan who spoke first. ‘What is this? Some kind of sick joke? It’s not real … Joe!’ He turned an anguished face on him. ‘Are you in on this? Is she dead or is she acting? Tell her-okay, okay! I’m sorry! And I’m knocked for six! She can get up now …’

  Joe’s pained silence swept away his attempt at self-delusion.

  Joe placed a restraining hand on Nathan’s shoulder and stepped forward himself towards the tomb. He went swiftly through the familiar gestures to establish that the girl was indeed lifeless and shook his head.

  Nathan groaned. ‘She is dead, isn’t she? Do you see it? That dagger? Isn’t that …?’ A quivering finger pointed to the dagger in the woman’s breast and moved on to point at the stone dagger in the knight’s belt.

  In a calming policeman’s voice, Joe answered: ‘You’re right. It’s the same thing. The carved one is a representation of a vicious stabbing blade, designed to penetrate plate armour with a short underhand stroke. A misericord. The word means compassion, pity. Such blades were often used on the battlefield to put dying soldiers out of their misery. What kind of sick trickery is this? The carved dagger and the wrought metal one in the heart are identical!’

  ‘Sick is right,’ Nathan murmured. ‘She’s on display. Some bugger’s left her here to be … viewed. Joe, we’re being used! We’re an invited audience. We’ve been set up to witness this horror.’

  Nathan w
hirled about, hearing a sound Joe had not detected. His gaze searched the gloomy corners of the chapel, his slight frame crouched and hunted. ‘He’s here! Where’s the devil hiding? Listen! He’s in here with us, isn’t he? Watching.’

  His rising panic was catching. Joe spoke steadily to calm him. ‘I don’t think so. That creak you just heard? Would have been the woodwork expanding or righting itself after last night’s buffeting. I think the murderer’s long gone. They do sometimes return to the scene-that’s true, in my experience-but I don’t know of one who’s waited several hours by the body expressly to enjoy the dismay and horror of the poor sods who discovered it. And she’s been dead for some hours. We’d be looking at a seriously aberrant piece of behaviour. But, then, nothing surprises me any more.’

  ‘Sheesh! How can you keep so calm? Face to face with a dead body like this? Someone you know?’

  ‘I’m not calm! I’m as distressed as you are. I’m revolted and angry. It’s just that it’s my job to stare at corpses and make them talk back to me. And, if you’ll be silent and use your keen eye for detail, Nat, she’ll start talking to you as well. She would want us to hear what she has to say. Think of this as the last thing we can do for her.’

  In an attempt to dampen the photographer’s spiralling panic, Joe began to involve him in the scene by shooting a series of questions at him. ‘Look at the wound. Focus on it. That’s the idea! Do you see much blood? Come on! Answer me!’

  Nathan focused on the spots of dried blood surrounding the blade. ‘No. I’d have expected a gush, a trail … Heart wound-you’d expect a fountain … There’s no more than a spot or two or five. All around the blade. Like a speared rose. And it’s dark brown. She bled some time ago?’

  ‘Right … “On her left breast A mole cinque-spotted, like the crimson drops I’ the bottom of a cowslip,”’ murmured Joe. ‘That’s the sleeping Imogen in Cymbeline. But this poor girl is beyond sleeping.’