Vinney dropped his hand. "Darrow?" he repeated blankly. "Nothing. Should I know who he is?"

"Joy did. Evidently. Irene said she even mentioned him at dinner, perhaps in reference to her new book. What can you tell me about it?" Lynley watched Vinney's face, waiting to see a flicker of recognition from the man with whom Joy had ostensibly shared everything.

"Nothing." He appeared embarra.s.sed about this apparent contradiction in what he had previously said. "She didn't talk about her work. There was nothing."

"I see." Lynley nodded thoughtfully. The other man shifted his weight back and forth on his feet. He played his keys from one hand to the other. "Joy carried a tape recorder in her shoulder bag. Did you know?"

"She used it whenever a thought struck her. I knew that."

"She made reference to you on it, asking herself why she was in such a lather over you. Why might she have said that?"

"In a lather over me?" His voice rose incredulously.

"'Jeremy. Jeremy. Oh Lord, why be in such a lather over him? It's hardly a lifetime proposition.' Those were her words. Can you shed light on them?"

Vinney's face was tranquil enough, but the unrest in his eyes betrayed him. "No. I can't. I can't think what she meant. We didn't have that sort of friendship. At least not on my side. Not at all."

Six denials. Lynley knew his man well enough to discern the fact that his last remarks had deliberately misdirected the conversation. Vinney wasn't a good liar. But he was skilled in seizing the moment and using it cleverly. He'd just done so. But why?

"I won't keep you any longer, Mr. Vinney," Lynley concluded. "No doubt you're anxious to get back to London."

Vinney looked as if he wanted to say more, but instead he got into the Morris and switched on its ignition. At first the car made that rolling sound that comes from an engine unwilling to start. But then it coughed and fired into life, releasing exhaust fumes dyspeptically. Vinney cranked down the window while the front wipers worked to free the windscreen of snow.

"She was my friend, Inspector. Just that. Nothing more." He reversed the car. The tyres spun fiercely on a patch office before gaining hold on the gravel. He shot down the drive towards the road.

Lynley watched Vinney's departure, intrigued by the man's compulsion to repeat that last remark, as if it contained an underlying meaning that a detective's close scrutiny would instantly reveal. For some reason-perhaps because of the distant presence of Inverness-it took him back to Eton and a fifth form's pa.s.sionate debate over the obsessions and compulsions evidenced by Macbeth, that p.r.i.c.king of conscience spurring his tormented references to sleep once the deed was done. What need is going unfulfilled in the man despite his successful completion of the act that he thought would bring him joy? His pacing literature master would ask the question insistently, pointing at this boy or that for a.s.sessments, evaluations, speculations, defence. Needs drive compulsions. What need? What need? It was a very good question, Lynley decided.

He felt for his cigarette case and started back across the drive just as Sergeant Havers and St. James came round the corner of the house. Snow clung to their trouser legs as if they'd been thrashing in it. Lady Helen was right behind them.

For an awkward moment, the four of them stared at one another wordlessly. Then Lynley said, "Havers, put a call in to the Yard, will you? Let Webberly know we're on our way back to London this morning."

Havers nodded, disappearing through the front door. With a quick glance from Lady Helen to Lynley, St. James did likewise.

"Will you come back with us, Helen?" Lynley asked when they were alone. He put his cigarette case back into his pocket, unopened. "It'll be a quicker trip for you. We've a helicopter waiting near Oban."

"I can't, Tommy. You know that."

Her words were not unkind. But they were unmercifully final. There seemed to be nothing more for them to say to each other. Still, Lynley found himself struggling to break her reserve in some manner, no matter how shadowy or inconsequential. It was inconceivable that he should part from her this way. And that's what he told her, before common sense or pride or stiff propriety could prevent him from doing so.

"I can't bear your going away from me like this, Helen."

She was caught before him in a streak of sunlight. It slanted through her hair, turning it the colour of a fine, old brandy. Just for a moment her lovely dark eyes held an unreadable emotion. Then it vanished.

"I must go," she said quietly, pa.s.sed by him and entered the house.

It's like a death, Lynley thought. But without a proper burial, without a period of mourning, without an end to lamentation.

IN HIS CLUTTERED London office, Superintendent Malcolm Webberly placed the telephone receiver back into its cradle.

"That was Havers," he said. In a characteristic gesture, he raked his right hand through his thinning, sandy hair and pulled on it roughly, as if to encourage his incipient baldness.

Sir David Hillier, Chief Superintendent, did not move from the window where he had been standing for the last quarter hour, his eyes placidly evaluating the serried collection of buildings that composed the city skyline. As always, he was impeccably dressed, and his posture suggested a man at ease with success, comfortable with navigating the treacherous straits of political power. "And?" he asked.

"They're on their way back."

"That's all?"

"No. According to Havers, they're tracking a lead to Hampstead. Apparently, Sinclair was working on a book there. At her home."

Hillier's head turned slowly, but with the sun behind him his face was in shadow. "A book? In addition to the play?"

"Havers wasn't all too clear about it. However, I got the impression it was something that struck Lynley, something that he feels he must follow through."

Hillier smiled coolly at this. "Thank G.o.d for Inspector Lynley's remarkably creative intuition."

"He's my best man, David," Webberly said bitterly.

"And he'll follow orders, of course. As will you." Hillier turned back to his contemplation of the city.

10.

IT WAS HALF past two when Lynley and Havers finally reached Joy Sinclair's small corner house. Located in the fashionable Hampstead area of London, the white brick building was a testament to the author's success. Its front window, hung with diaphanous ivory curtains, bowed out over a patch of garden where pruned rose bushes, dormant star jasmine, and tight-budded camellias grew. Two window boxes spilled ivy down the front and up the walls of the house, particularly near the doorway whose narrow shingled pediment was nearly lost beneath lush, bronze-veined leaves. Although the house faced Flask Walk, its garden entry was on Back Lane, a narrow cobbled avenue that climbed towards Heath Street a block away, where traffic moved smoothly, almost without sound. Followed by Havers, Lynley unhooked the wrought iron gate and crossed the flagstone pathway. The day was windless but the air was raw, and a watery winter sunshine caught upon the bra.s.s lighting fixture to the left of the door and upon the polished post slot at its centre. "Not bad digs," Havers commented with grudging admiration. "Your basic bricked-in garden, your basic nineteenth-century lamp post, your basic tree-shaded street lined with your very basic BMWs." She jerked a thumb at the house. "Must have set her back a few quid."

"From what Davies-Jones said about the terms of her will, I've the impression she could afford it," Lynley replied. He unlocked the door and motioned Havers inside. They found themselves in a small anteroom, marble-tiled and unfurnished. A collection of several days' letters lay scattered on the floor, pushed through the slot in the door by the postman. They were the kind of collection one might expect in the post of a successful author: five circulars, an electricity account, eleven letters addressed to Joy in care of her publisher and forwarded on, a telephone account, a number of small envelopes that looked like invitations, several business-size envelopes with a variety of return addresses. Lynley handed them to Havers.

"Have a look through these, Sergeant."

She took them and they went on into the house, through an opaque gla.s.s door that led into a long hall. Here, two doors opened along the left wall and a staircase rose along the right. At the far end of the corridor, afternoon shadows filled what appeared to be the kitchen.

Lynley and Havers entered the sitting room first. The room shone in a filtered gold light that fell in three oblique shafts through a large bay window across a carpet the colour of mushrooms, which had the look and smell of having been newly laid. But there was very little else to reveal the personality of the house's owner, other than low-slung chairs grouped round calf-high tables that spoke of a penchant for modern design. This was affirmed by Joy Sinclair's choice of art. Three oils after the fashion of Jackson Pollock leaned against one wall, waiting to be hung, and on one of the tables an angular marble sculpture stood, its subject indeterminate.

Double doors on the eastern wall opened into the dining room. It too was furnished sparingly, with that same taste for the sleek paucity of modern design. Lynley walked to the set of four French doors behind the dining table, frowning at the simplicity of their locks and the ease of entry they would afford the least skilled burglar. Not, he admitted to himself, that Joy Sinclair had much here worth stealing, unless the market for Scandinavian furniture was booming or the paintings in the sitting room were the real thing.

Sergeant Havers pulled out one of the dining chairs and sat down at the table, spreading the mail in front of her, pursing her lips thoughtfully. She began slitting it open. "Popular lady. Must be a dozen different invitations in here."

"Hmm." Lynley looked out at the brick-walled back garden, a square not much larger than the area required to hold one thin ash tree, a circlet of ground beneath it for planting flowers, and a patch of lawn covered by a thin layer of snow. He went on into the kitchen.

The pervasive feeling of anonymous ownership here was much the same as in the other two rooms. Black-fronted appliances broke into a long row of white cabinets, a scrubbed pine breakfast table with two chairs stood against one wall, and bright splashes of primary colour had strategic places throughout the room: a red cushion here, a blue tea kettle there, a yellow ap.r.o.n on a hook behind the door. Lynley leaned against the counter and studied it all. Houses always had a way of revealing their owners to him, but this house had a look of deliberate artificiality, something created by an interior designer who had been given free rein by a woman absolutely uninterested in her personal environment. The result was a tasteful showpiece of restrained success. But it told him nothing.

"Horrendous telephone bill," Havers called from the dining room. "Looks like she spent most of her time chatting it up with half a dozen chums round the world. She seems to have asked for a print out of her calls."

"Such as?"

"Seven calls to New York, four to Somerset, six to Wales and...let me see...ten to Suffolk. All very brief save for two longer ones."

"Made at the same time of day? Made one after another?"

"No, over five days. Last month. Interspersed with the calls to Wales."

"Check on all the numbers." Lynley started down the hall towards the stairs as Havers slit open another envelope.

"Here's something, sir." She read out to him, "'Joy, You've answered none of my calls nor any of my letters. I shall expect to hear from you by Friday or the matter will have to be turned over to our legal department. Edna.'"

Lynley paused, his foot on the first step. "Her publisher?"

"Her editor. And it's on publishing house stationery. Sounds like trouble, doesn't it?"

Lynley reflected on earlier information: the reference on the tape recording to putting Edna off, the crossed-out appointments on Upper Grosvenor Street in Joy's engagement calendar.

"Telephone the publishing house, Sergeant. Find out what you can. Then do the same for the rest of the long-distance calls on the print out. I'm going up above."

While Joy Sinclair's personality had seemed absent on the lower floor of the house, her presence a.s.serted itself with chaotic abandon once Lynley reached the top of the stairs. Here was the life centre of the building, an eclectic jumble of personal possessions collected and treasured. Here, Joy Sinclair was everywhere, in the photographs covering the walls of the narrow hall, in an overfull storage cabinet stuffed with everything from linens to crusty paintbrushes, in the curtain of lingerie in the bathroom, even in the air, which held the faint fragrance of bath powder and perfume.

Lynley went into the bedroom. It was a riot of multicoloured pillows, battered rattan furniture, and clothes. On the table next to her unmade bed stood a photograph that he examined briefly. An arrow-thin, sensitive-looking young man stood by the fountain in the Great Court of Trinity College, Cambridge. Lynley noted the way his hair grew back from his forehead, recognised something familiar in the set of his shoulders and head. Alec Rintoul, he guessed, and replaced it. He went on to the front of the house. Here, Joy's study was no different from the other rooms, and upon his first look at it, Lynley wondered how anyone could manage to produce a book in an atmosphere so totally devoid of order.

He stepped over a pile of ma.n.u.scripts near the door and walked to the wall where two maps were hung above a word processor. The first map was large, a regulation district map of the sort bookstores sell to tourists who want to make a thorough scrutiny of a particular area of the country. This one was for Suffolk, although parts of Cambridgeshire and Norfolk were included on it. Evidently, Joy had been using it for some sort of research, Lynley saw, for the name of a village was circled heavily in red ink, and some two inches from it a large X had been drawn not far from Mildenhall Fen. Lynley put on his spectacles to get a better look. Porthill Green, he read beneath the red circle.

And then, a moment later, he made the connection. P. Green in Joy's engagement diary. Not a person at all, but a place.

Further circles appeared here and there on the map: Cambridge, Norwich, Ipswich, Bury St. Edmunds. Routes were traced out from each of these to Porthill Green and from Porthill Green out to the X near Mildenhall Fen. Lynley considered the implications attached to the presence of the map as below him he heard Sergeant Havers making one telephone call after another, muttering to herself occasionally when a response displeased her or when she was kept waiting or a line was engaged.

Lynley dropped his eyes to the second map on the wall. This was hand-drawn and rough, a pencilled depiction of a village with buildings common to any spot in England. They were only identified in the most generic of terms as church, greengrocers, pub, cottage, petrol station. The map told him nothing. Unless, of course, it was a rough delineation of Porthill Green. And even then it only indicated Joy's interest in the spot. Not why she was interested, or what she would have done had she gone there.

Lynley gave his attention to her desk. Like everything else in the room, it had the appearance of disordered confusion, of the sort in which the originator of the mess knows exactly where everything is but of which no other human being could ever make sense. Books, maps, notebooks, and papers covered its surface, as well as an unwashed teacup, several pens, a stapler, and a tube of heat-producing a.n.a.lgesic to be rubbed on tired muscles. He considered it for several minutes as Havers' voice continued its rise and fall of conversation below him.

There had to be some strange system involved, Lynley thought, looking through it. And it wasn't too long before he understood what it was. Although the piles of material made no superficial sense as a whole, taken individually, they were perfectly rational. One stack of books seemed to be reference materials. There were three psychology texts dealing with depression and suicide, two textbooks on the workings of the British police. Another stack was a collection of newspaper articles, all detailing one sort of death or another. A third stack contained a collection of booklets and pamphlets describing various sections of the country. A last stack was correspondence, thick and probably gone unanswered.

He looked through this, ignoring the fan letters, working on instinct, hoping it would guide him to something significant. He found it thirteen letters into the stack.

It was a brief note from Joy Sinclair's editor, fewer than ten sentences long. When, the editor asked, might we expect to see the first draft of Hanging's Too Good? You're six months overdue on it and as your contract stipulates...

Suddenly everything on Joy's desk began to take on a marked coherence. The texts on suicide, the workings of the police, the articles about death, the t.i.tle of a new book. Lynley felt the tightening of excitement that always came with knowing he was on the right track.

He turned back to the word processor. It had two disks in it, he saw, both a program disk and one that would contain Joy's work.

"Havers," he shouted, "what do you know about computers?"

"A minute," she returned. "I've got..." Her voice lowered as she spoke into the phone.

Impatiently, Lynley switched the machine on. In a moment, directions appeared on the screen. It was far simpler than he would have ever imagined. Within a minute he was looking at Joy's working copy of Hanging's Too Good.

Unfortunately, the sum total of her ma.n.u.script-six months overdue to her publishers and no doubt the cause of her dispute with them-was one simple sentence: "Hannah decided to kill herself on the night of March 26, 1973." That was it.

Fruitlessly, Lynley searched for something else, using every direction that the computer program had to offer him. But nothing was there. Either her work had been erased, or that single sentence was as far as Joy Sinclair had gone. No wonder her editor is frothing at the mouth and talking about legal action, Lynley thought.

He switched the machine off and gave his attention back to her desk. He spent the next ten minutes trying to find something more in the material there. Failing that, he went to her filing cabinet and began searching through its four drawers. He was on his second one when Havers came into the room.

"Anything?" she asked him.

"A book called Hanging's Too Good, someone named Hannah who decided to commit suicide, and a place called Porthill Green, P. Green, I should guess. What about you?"

"I've begun to get the feeling that no one goes to work in New York much before noon, but I was able to find out that the New York number was for a literary agent."

"And the others?"

"The Somerset call was to Stinhurst's home."

"What about the letter from Edna? Did you telephone the publishing house about it?"

Havers nodded. "Joy sold a proposal to them early last year. She wanted to do something different, not a study of a criminal and victim which was her usual bent, but a study of a suicide, what led up to it and its aftereffects. The publisher bought the proposal- they've not had to worry about her meeting deadlines before this. But that was the end of it. She never gave them a thing. They've been after her for months. In fact, the reaction to her death sounded as if one of them may have been praying for it on a nightly basis."

"What about the other numbers?"

"The number in Suffolk was an interesting one," Havers replied. "A boy answered- sounded like a teenager. But he didn't have the slightest idea who Joy Sinclair was or why she might have been phoning his number."

"So what's so interesting about that?"

"His name, Inspector. Teddy Darrow. His father's name is John. And he was speaking to me from a pub called Wine's the Plough. And that pub is sitting right in the middle of Porthill Green."

Lynley grinned, felt that swift surge of power that comes from validation. "By G.o.d, Havers. Sometimes I think we're one h.e.l.l of a team. We're onto it now. Can't you feel it?"

Havers didn't respond. She was browsing through the material on the desk.

"So we've found the John Darrow that Joy talked about both at dinner and on her tape," Lynley mused. "We've the explanation for the reference on her calendar to P. Green. We've the reason for the matchbook in her shoulder bag-she must have been in the pub. And now we're looking for a connection between Joy's book and John Darrow, between John Darrow and Westerbrae." He looked at Havers sharply. "But there was another set of phone calls, wasn't there? To Wales."

Lynley watched her leaf through the newspaper clippings on the desk in an apparent need to scrutinise each one of them. She didn't appear to be reading, however. "They were to Llanbister. To a woman called Anghared Mynach."

"Why did Joy phone her?"

Again, there was hesitation. "She was looking for someone, sir."

Lynley's eyes narrowed. He closed the filing drawer whose contents he had been examining. "Who?"

Havers frowned. "Rhys Davies-Jones. Anghared Mynach is his sister. He was staying with her."

BARBARA SAW in Lynley's face the swift a.s.similation of a series of ideas. She knew quite well the set of facts he was combining in his mind: the name John Darrow that was mentioned at dinner the night Joy Sinclair was murdered; the reference to Rhys Davies-Jones on Joy's tape recorder; the ten telephone calls to Porthill Green, and mixed in with those calls, six to Wales. Six calls made to Rhys Davies-Jones.

To avoid a discussion of all of this, Barbara went to the pile of ma.n.u.scripts lying near the study door. She began riffling through them curiously, noting the range of Joy Sinclair's interest in murder and death: an outline for a study of the Yorkshire Ripper, an unfinished article on Crippen, at least sixty pages of material on Lord Mountbatten's death, a bound galley from a book called The Knife Plunges Once, three heavily edited versions of another book called Death in Darkness. But there was something missing.

As Lynley involved himself again with the filing cabinet, Barbara went to the desk. She opened the top drawer. In it, Joy had kept her computer disks, two long rows of floppy black squares, all labelled by subject on the upper right-hand corner. Barbara flipped through them, reading the t.i.tles. And as she did so, the knowledge began to flourish within her, like a growth that was swelling, not with malignancy but with tension. The second and third drawers were much the same, containing stationery, envelopes, ribbons for the printers, staples, ancient carbon paper, tape, scissors. But not what she was looking for. Nothing like that at all.

When Lynley moved to the bookshelves and began looking through the materials there, Barbara went to the filing cabinet.