Charles Todd - Wings of Fire

In the interim between her death and his, Stephen might well have taken Olivia’s papers to his bank for safekeeping. But Rutledge went through the drawers again, found a routine letter from Stephen’s bank manager, and copied the address in his notebook.

As he was about to close the curtains, Hamish said, “When I was a laddie, Ma was a fierce one with broom and rag, nothing safe from her eyes when the fit to clean was on her. I’d hide what 1 cherished in the shed behind the straw, or above the rafters in the loft, after Pa died. She wasna’ as tall as my pa.”

Rutledge stopped, listening to what Hamish said. Stephen was a child from a large family. Nosy sisters and prying brothers. He might well have had a secret place of his own. But not in this room. He, Rutledge, had been damned thorough…

Or had he?

He glanced around the room again. He’d even had up the carpet, looked inside the grate, under the bed He knelt again by the bed. Nothing, only a thin coating of dust, sifting down gently since Mrs. Trepol’s last visit.

The frame. The slats that held the springs. Above that the mattress, sagging a little in the center. The bedclothes The slats? What could you hide on a slat? A key, perhaps…

He went under the bed, on his back, mindful of his coat and careful not to scrape his head on the springs as he used his arms on the side boards to propel himself. Claustrophobia caught at him, and he had to shut his eyes against the wave of terror that ran through him. He coughed hard, the dry dust sucked into his drier throat. The springs were all but pressing into his face, not as high as he’d first thought!

With eyes still shut tight, he forced his breathing back to a normal rhythm. What you don’t see can’t fall in on you! he told himself sternly.

After a moment, searching with his memory rather than his eyes, he ran shaking fingers over the nearest slat, between the springs and the wood, barking his knuckles and collecting fine splinters. Nothing but more dust. There were five slats in all. He felt for the others, and began again, moving his shoulders and hips across the floor until he could reach each slat. Nothing. It was useless, he might as well give up. The last slat now Only the slight rustle of sound warned him in time, but the object still clipped his ear, falling, and he banged his head as he recoiled.

Slithering swiftly out from under the frame again, he turned and looked back. The springs were a good fifteen inches above the floor, not face high.

And a small book was lying, spine upward, in an inverted V on the floor. He reached for it, and managed to fish it out without going back under the bed again.

A prayer book, pages thin as rice paper, the tiny print old and ornately lettered, the cover worn black leather, the edges of the pages once gilded.

There was on the front cover an outline in raised leather, and Rutledge recognized it as the figure of St. Patrick, staff lifted to cast out the snakes.

On the flyleaf inside, in a spidery scrawl in fading ink, he read, “Presented to Patrick Samuel FitzHugh, on his first Communion, June, 1803. From his loving Sister Mary Joseph Claire.”

FitzHugh, not Trevelyan or Marlowe or Cheney. The FitzHughs had been Irish Catholic, the Trevelyans and Marlowes and Cheneys Church of England. This had been hidden, but not for reasons that had anything to do with murder. As a boy, had Stephen had Catholic leanings his family didn’t know about?

Rutledge thumbed through the fragile pages, eyes scanning the printed lines. In the back, where the pages were blank, someone had written out a family genealogy beginning with the parents of Patrick Samuel, then his marriage and offspring. The ink and writing changed over the next generations, which followed in sad order. So many of them died in the Potato Famine and the nightmare years afterward that it was more a litany of death than of life. At the top of the last page Rutledge found Brian FitzHugh’s name, and Cormac’s, but neither Stephen nor Susannah were recorded here. Nor, apparently, any other secrets that mattered to an investigation into murder.

After a moment, Rutledge dropped the prayer book into the drawer of the table by the bed, unwilling to go back under it. Then he changed his mind, and put the book back where it had come from. Putting it back took less time than finding it in the first place, and he did it holding his breath this time.

Afterward he dusted off his trousers and jacket, then closed the curtains at the windows.

The house was already too dark to do more than a cursory search elsewhere. Most of the other bedrooms had already been stripped of clothing, closets and desks and chests empty, drawers already smelling musty. But Rutledge, mindful of the hollowed out shelf in Olivia’s room, checked each closet with infinite care.

There was nothing more to find, nothing that told him where Olivia had left her papers-not even whether they were still in the house. Susannah and her husband, Rachel and Stephen, with the help of Cormac, Mrs. Trepol, and the old woman Sadie, had spent days going through the house and cleaning room after room. He wasn’t surprised to find nothing out of the ordinary where they had worked.

He went back to study. But the desk by the window was as sterile as the one in Olivia’s bedroom. It was a wild goose chase-Stephen must have removed any papers left to him. Yet Rutledge had the feeling that a man hell-bent and determined to preserve his half sister’s fame as a poet would stubbornly resist taking them too far, just as he’d fought to keep Olivia’s room inviolate.

To which Hamish riposted, “What do you need the papers for, when you’ve found yon golden trophies? Or are ye shutting out what they say?”

The sun was a red ball on the horizon when Rutledge walked out to the headland, its warmth lingering in the light wind that preceded the stillness of sunset. Behind him the windows of the Hall were ablaze, and the weather vane on the church tower as well. Red sky at night…

He should have listened to Hamish and gone back to London on Saturday morning. He should have told Rachel this morning that there was no need to reopen the three deaths. Let sleeping murderers lie.

Now-now he was committed, the truth was something he had to uncover, for his own peace of mind. For the policeman in him who had to look at the good and the evil in human nature and live with its impact in his own soul.

What right had O. A. Manning to survive unscathed the nightmares of Olivia Marlowe? What right had she to be praised and revered as a creator of beauty, if she had been a woman without mercy or compassion?

Stephen FitzHugh had been left as Olivia’s literary executor. To decide which of her papers and her worksheets biographers and critics and readers might see. And now, through no fault of his own, he was dead, and neither Rachel nor Susannah seemed to be particularly interested in shouldering the responsibility. Cormac, by his own admission, was more likely to destroy any family skeletons than allow them to rattle. The O. A. Manning he might choose to show to the public would be Olivia Marlowe’s own public face, a quiet recluse who knew very little about the real world and yet had a wondrous insight into the human heart, a gift from God.

Or the devil. Depending on your knowledge of her.

Even if he, Rutledge, drove back to London in the morning, he would be the only person living who had proof that what Cormac suspected could be true. His burden to learn to live with. Not Corrnac’s. Not Susannah’s. Not Rachel’s.

Damn Stephen FitzHugh for falling down those blasted stairs!

If he stayed in Cornwall, he’d have to find a way to get to the bottom of a string of murders committed by a woman already dead.

But that was just the problem.