'Perhaps the worst part of all was waiting for him to come home that night. I daren't ring the power station. I couldn't be sure that he would be alone in his office or in the computer room, and I had never before telephoned him to ask when he would be home. I sat there and waited for nearly three hours. I expected that it would be Alex who would find the body. When he discovered that she wasn't in the cottage the natural move would be to check at the beach. He would find the body, telephone the police from the car and ring home to tell me. When he didn't I began to fantasize that she wasn't really dead, that somehow I'd bungled it. I pictured him desperately working on her, giving her the kiss of life, saw her eyes slowly open. I turned off the lights and moved to the sitting room to watch the road. But it wasn't an ambulance that arrived, it was the police cars, the paraphernalia of murder. And still Alex didn't come.'
Meg asked: 'And when he did?'
'We hardly spoke. I'd gone to bed; I knew I must do what I would normally have done, not waited up for him.
He came to my room to tell me that Hilary was dead and how she had died. I asked "The Whistler?" and he answered, "The police think not. The Whistler was dead before she was killed." Then he left me. I don't think either of us could have borne to be together, the air heavy with our unspoken thoughts. But I did what I had to do, and it was worth it. The job is his. And they won't take it away from him, not after it's been confirmed. They can't sack him because his sister is a murderess.'
'But if they found out why you did it?'
'They won't. Only two people know that and I wouldn't have told you if I couldn't trust you. On a less elevated level, I doubt if they'd believe you in the absence of confirmation from another witness; and Toby Gledhill and Hilary Robarts, the only two who could give it, are dead.' After a minute's silence, she said: 'You would have done the same for Martin.'
'Oh no, no.'
'Not as I did. I can't see you managing to use physical force. But when he drowned, if you could have stood on that river bank and had the power to choose which one should die and which live, would you have hesitated?'
'No, of course not. But that would have been different. I wouldn't have planned a drowning, wouldn't have wanted it.'
'Or if you were told that millions of people would live more safely if Alex got a job which he is uniquely capable of filling but at the cost of one woman's life, would you hesitate then? That was the choice which faced me. Don't evade it, Meg. I didn't.'
'But murder, how could it solve anything? It never has.'
Alice said with sudden passion: 'Oh, but it can, and it does. You read history, don't you? Surely you know that.'
Meg felt exhausted with weariness and pain. She wanted the talking to stop. But it couldn't. There was still too much to be said. She asked: 'What are you going to do?'
'That depends on you.'
But out of horror and disbelief Meg had found courage. And she had found more than courage: authority. She said: 'Oh no, it doesn't. This isn't a responsibility I asked for and I don't want it.'
'But you can't evade it. You know what you know. Call Chief Inspector Rickards now. You can use this telephone.' When Meg made no move to use it she said: 'Surely you aren't going to do an E. M. Forster on me. If I had a choice between betraying my country and my friend I hope I would have the guts to betray my country.'
Meg said: 'That is one of those clever remarks that, when you analyse them, either mean nothing or mean something rather silly.'
Alice said: 'Remember, whatever you choose to do, you can't bring her back. You've got a number of options, but that isn't one. It's very satisfying to the human ego to discover the truth; ask Adam Dalgliesh. It's even more satisfying to human vanity to imagine you can avenge the innocent, restore the past, vindicate the right. But you can't. The dead stay dead. All you can do is to hurt the living in the name of justice or retribution or revenge. If that gives you any pleasure, then do it, but don't imagine that there's virtue in it. Whatever you decide, I know that you won't go back on it. I can believe you and I can trust you.'
Looking at Alice's face Meg saw that the look bent on her was serious, ironic, challenging; but it was not pleading. Alice said: 'Do you want some time to consider?'
'No. There's no point in having time. I know now what I have to do. I have to tell. But I'd rather you did.'
'Then give me until tomorrow. Once I've spoken there'll be no more privacy. There are things I need to do here. The proofs, affairs to arrange. And I should like twelve hours of freedom. If you can give me that I'll be grateful. I haven't the right to ask for more, but I am asking for that.'
Meg said: 'But when you confess you'll have to give them a motive, a reason, something they can believe in.'
'Oh, they'll believe it all right. Jealousy, hatred, the resentment of an ageing virgin for a woman who looked as she did, lived as she did. I'll say that she wanted to marry him, take him from me after all I've done for him. They'll see me as a neurotic, menopausal woman gone temporarily off her head. Unnatural affection. Suppressed sexuality. That's how men talk about women like me. That's the kind of motive that makes sense to a man like Rickards. I'll give it to him.'
'Even if it means you end up in Broadmoor? Alice, could you bear it?'
'Well, that's a possibility, isn't it? It's either that or prison. This was a carefully planned murder. Even the cleverest counsel won't be able to make it look like a sudden, unpremeditated act. And I doubt whether there's much to choose between Broadmoor and prison when it comes to the food.'
It seemed to Meg that nothing ever again would be certain. Not only had her inner world been shattered but the familiar objects of the external world no longer had reality. Alice's roll-top desk, the kitchen table, the high-backed cane chairs, the rows of gleaming pans, the stoves all seemed insubstantial, as if they would disappear at her touch. She was aware that the kitchen round which her eyes ranged was now empty. Alice had left. She leaned back, faint, and closed her eyes and then, opening them, she was aware of Alice's face bending low over hers, immense, almost moon-like. She was handing Meg a tumbler. She said: 'It's whisky. Drink this, you need it.'
'No, Alice, I can't. I can't really. You know I hate whisky, it makes me sick.'
'This won't make you sick. There are times when whisky is the only possible remedy. This is one of them. Drink it, Meg.'
She felt her knees tremble, and simultaneously the tears started like burning spurts of pain and began flowing unchecked, a salt stream over her cheeks, her mouth. She thought, This can't be happening. This can't be true. But that was how she had felt when Miss Mortimer, calling her from her class, had gently seated her in the chair opposite to her in the Head's private sitting room and had broken the news of Martin's death. The unthinkable had to be thought, the unbelievable believed. Words still meant what they had always meant; murder, death, grief, pain. She could see Miss Mortimer's mouth moving, the odd, disconnected phrases floating out, like balloons in a cartoon, noticing again how she must have wiped off her lipstick before the interview. Perhaps she had thought that only naked lips could give such appalling news. She saw again those restless blobs of flesh, noticed again that the top button on Miss Mortimer's cardigan was hanging loose on a single thread and heard herself say, actually say, 'Miss Mortimer, you're going to lose a button.'
She clasped her fingers round the glass. It seemed to her to have grown immensely large and heavy as a rock and the smell of the whisky almost turned her stomach. But she had no power to resist. She lifted it slowly to her mouth. She was aware of Alice's face still very close, of Alice's eyes watching her. She took the first small sip, and was about to throw back her head and gulp it down, when, firmly but gently, the glass was taken out of her hands, and she heard Alice's voice: 'You're quite right, Meg, it was never your drink. I'll make coffee for both of us then walk with you back to the Old Rectory.'