other end of a phone. As if reading his mind, Chilten said, âDidnât have any breakfast so I got a couple jam doughnuts. So how do we know?â
âIâll describe her: Very pale blonde, somewhere around five-seven, five-eight, as best I could judge. Very good-looking, hardly any makeup, maybe none. Then there was the coat. Long and darkâmink, if I had to guess.â
âSable. Okay, itâs probably the same one. Traffic mustâve been weird if you could keep her in view all the way to Fulham Palace Road. Thatâs a hell of a walk.â
âAs I said, she reboarded and rode.â
Chilten chewed awhile. âThis is very weird behavior.â
Jury didnât know whether he was talking about Juryâs or the womanâs. Both, probably. He gave Chilten a moment to digest this information, along with his jam doughnut. Jury was hoping for an invitation; met with Chiltenâs silence on that point, Jury invited himself. âLook, Iâm not trying to muck up your turf, but I would really like to have a look at the mise-en-scène.â
âHoly Christ. What the hellâs that?â
Jury blushed, glad Chilten wasnât there to see it. For some reason, he had hesitated over saying âmurder sceneâ and had used the fancy phrase instead. Yes, it sounded affected. âI might be able to help; I mean, I might be able to add something. Or not.â Jury shrugged, as if Chilten were present to see how he tossed this off.
âI seem to remember locking horns with you a few years back, in one of your Iâm-not-trying-to-muck-up-your-turf moods.â
Jury gave a short bark of laughter. âLock horns? Me ? You must be thinking about my sergeant. His nameâs Wiggins.â Jury looked across at Wiggins, who, hearing his name, stopped his ablutions and stared. Jury gave Wiggins a can-I-help-this-unreasoning-goon? shrug. So what do you say, Roy?â
âRonnie, not Roy.â
Jury smiled. Heâd done that deliberately. âSorry.â He waited.
âIf you wanna come to Fulham this afternoon, you can have a dekko at your mise-en-scène. Meet me at the palace gates.â He added a salting of sarcasm. âYou must know where it is.â
âThe herb garden. It says she was found there, in a patch of lavender.â Jury frowned at the ironic benignity of the scene. The mise-en-scène. He smiled.
âYeah, well, Linda Pink might give you an argument there.â
Chilten gave information the way others did blood, a drop at a time. Jury stopped himself from asking the obvious questionâWhoâs Linda Pink?âand, instead, said smoothly, âWeâll see you in an hour, Roy, and thanks.â He hung up and muttered, âLinda-bloody-Pink.â
Wiggins raised his eyebrows. âWhoâs Linda Pink?â
âWe may never know.â Jury sat back, allowing himself, if only for a few moments, to be stunned, to be enveloped in sadness. âI should have gone in.â
âPardon me, sir? Gone in where?â
Jury didnât answer. Instead, he rose. âCome on, Wiggins. Chop-chop.â
With great and grave reluctance, Wiggins stood too, downed whatever the putrid stuff was in the glass, and asked, âAre you sure, sir? Arenât you afraid Iâll lock horns again, me?â
Jury shoved his arms in his raincoat. âNever. Youâd never make the same mistake twice.â
4
T he thing about Detective Inspector Ronald Chilten was this: He loved to cloak mystery in mystery. If there was no mystery to hand, Chilten stirred up an atmosphere, an ambienceâindeed, his own little mise-en-scèneâthat would keep the other person in suspense. He could do it over a three-car pileup or the color of a hair ribbon found at the scene or the number and nature of the books a teenager was carrying home from school when he was mugged. If he could keep you in suspense when there was no real