Search the Dark - Charles Todd [15]
“But it’s the children that’ll tell you the rest of the truth. Alive or dead.”
“I know,” Rutledge said. “And where shall we find them?”
It was nearly dark when he got back to Singleton Magna and left his car behind the inn. In his absence Hildebrand had come to find him and written a message on hotel stationery, its thick, crested paper incongruously scrawled over in heavy black ink.
“London just replied to your request for more information on Mrs. Mowbray. She was from Hereford. No known connection with Dorset. That may mean that the man with her lived or worked or had relatives in this county. I’m looking into that now.”
It was one of the telephone calls Rutledge had made that afternoon, asking a canny sergeant he knew in London to look into Mrs. Mowbray for him. Gibson always had his ear to the ground. If anyone could uncover information on the dead woman, it was he. A pity there was no way Gibson could do the same for the man.
And Rutledge didn’t hold out much hope that Hildebrand would fare any better, with so little to go on. It might take weeks to trace him—if he belonged in Dorset. Or years, if he came from another part of England.
“If he got clear, they’d hide him, him and the children. Family. Friends. If he asked,” Hamish said as Rutledge took the stairs two at a time.
“Very likely,” Rutledge answered aloud, before he could stop himself. “Unless they know that Mowbray is safely in jail.”
“But the children are no’ his,” Hamish pointed out. “And the mother’s dead. If yon man wanted to keep them—”
“—he’d stay out of sight. He’d have to turn them over to the police if he came forward. Yes, that’s an interesting thought, isn’t it?”
The children, again …
They were beginning to haunt him.
4
Rutledge spent a restless night, his room too warm for comfortable sleeping, and his mind too busy.
The images flitted and dissolved in a kaleidoscope of anguish. Of Mowbray, broken and in despair in his cell—of the bloody body of his wife lying at the edge of a field in plain sight when the farmer went to see to his crop—of children crying for their mother and a man who wasn’t their father offering what comfort he could—of a gallows waiting for a prisoner who might not understand why he was being hanged.
And as always, Hamish, attuned to the tumult in his mind, reminded him of his own fallibility, a policeman driven by his own pain attempting to get to the bottom of another man’s. A murderer’s. Both of them—murderers.
“It’s love that’s at the bottom of this,” Rutledge said aloud in the darkness, trying to silence the voice in his head. And then swore because the word conjured up memories of Jean. Jean, in a fashionable blue gown with ecru lace and the flowers he’d given her pinned at her shoulder. Jean laughing as she swung and missed, and the tennis ball went smashing into the backstop. The sun on her face as they walked through Oxford early on a Sunday morning, drinking in the quiet and peace.
But what kind of love? It had so many faces, so many names. Jealousy wove a thread around it, and envy, and fear. People died for love—and killed for it. And yet in itself it was indefinable, it wore whatever passions people brought to it, like a mountebank, with no reality of its own.
Somewhere in the town outside his window he could hear laughter and music. Happy laughter, without restraint or burdens.
Once Jean was married and off to Ottawa, he told himself, he could finally put her out of his mind. As he had nearly put her out of his heart. Olivia Marlowe had taught him more about the quality of love than Jean ever had.
“What will teach me to forget my Fiona?” Hamish said softly. “Do ye never remember her? Do ye never hear her weeping by yon empty grave, while I lie in France with no way to call out to her or offer comfort? What peace can Ian Rutledge find, loving any woman, when there’s Hamish MacLeod on his conscience!”
In the