Justice Hall - Laurie R. King [22]
The moment he saw that he had achieved my obedience, he withdrew—like that; in an instant he was once more bland and polite, his real self back inside that distant waiting room where he alone dwelt. He told Ogilby that we would be in the library, then ushered us out of the echoing hall and down chilly corridors crowded with marble busts, Regency cartoons, display cabinets bursting with priceless knick-knacks, and paintings of ancestors stamped from the Hughenfort mold—dark hair, dark eyes, proud lift to the chin. We turned into an older wing of the house, and two doors down entered a sort of masculine sitting room next to a billiards room that reeked of cigars.
It was a library with few books, and most of those dealing with the breeding lines of horses, but it was deliciously warm. As I removed my coat, hat, and gloves, I studied my surroundings. It was a big room made intimate by the placement of furniture and the apparently haphazard arrangement of objects, as if some family member had deposited his Greek souvenir in a corner as he came in the door in 1829 and nobody had bothered to move the ancient statue ever since. The walls were a combination of warm beech linen-fold panelling and faded red silk wall-paper, half hidden behind a variety of landscape paintings and a plethora of glass-fronted cabinets containing stuffed wildlife and casual archaeological discoveries, the sorts of things dug up by boys and turned over by ploughs: coins and spear-heads, scraps of Samian ware from third-century Romans and blue-figured porcelain from nineteenth-century Victorians, a pair of dusty kingfishers perching on a twist of rusty metal that might once have been a blade, and a filthy-looking object that could have been a shoe or someone’s scalp—I did not care to look too closely. The objects appeared to have been placed on the shelves willy-nilly and the doors then locked behind them, and I was quite certain the house residents never actually saw them when they were in the room. The family photographs on the mantel and desk looked similarly abandoned to become a sort of three-dimensional wall-paper, with the exception of a group of three silver frames towards the right end of the mantel. These included a handsome young lad in the uniform of a second lieutenant of the recent war, whose eyes and chin declared him a Hughenfort, a slimmer, younger Marsh.
I became aware that the butler had materialised silently, in that manner of excellent manservants, waiting for his orders.
“Tea?” the scarred duke asked us. “Coffee? Something cold? No? That will be all, Ogilby.”
Ogilby faded away. The door was shut, and Marsh Hughenfort stood before the fire, concentrating on removing a cigarette from a silver case and lighting it with a spill taken from a Chinese bowl on the mantelpiece. When the cigarette was going, he flicked the half-burnt paper fan into the flames and walked over to splash whisky and a shot from a soda-siphon into a glass. He held it out as an offer—which Holmes accepted and Alistair and I refused—and then to my astonishment he made one for himself and took it back to the fire.
I glanced at Alistair, seated with his knees crossed and his hands clasped together on his lap. It struck me then, how unusual it was to see those hands empty and unoccupied. In Palestine, Ali always had some project to hand: patching the tent, mending a buckle, working oil into the mules’ leather traces, or—first, last, and at all moments in between—whittling. He had whittled endlessly, using the deadly blade he wore at his belt to carve unexpectedly delicate and whimsical figures of donkeys and lizards and long-haired goats. Whittling, it would seem, was not an occupation for the drawing room.
The man at the fireplace did not look at his cousin, but turned instead to us, and remarked, “You two are looking well.”
The sheer conventionality of the opening took my breath away: It had been astonishing enough to see the man hold a drink to his