“I think so, too.” Charles sighed heavily. “From all I’ve heard about his youth-and his dancing-she clearly had his physical grace. And the vitality he’s said to have had when he was young. If she’d lived-” Charles closed his eyes, trying not to see the desperate satin bird falling into darkness.
“Well, she certainly had his ruthlessness. And his ability to scheme for what she wanted and keep her own counsel,” La Reynie said. “I agree with you now that she killed Bouchel, though I do think it was an accident. The one thing Conti said that I believed was that he knows nothing about the footman’s death. My spy overreached himself there.”
“What happened when the king questioned Montmorency?”
“Louis exiled him.”
Charles said in dismay, “From France?”
“No. He’s banished permanently from the court and from Paris. But no worse than that. He sleeps here tonight, under guard, and leaves tomorrow for his mother’s house.”
For Montmorency’s future, that was bad enough, Charles thought. But at least he had his life. “That’s something, then. It hardly matters, but I keep wondering how he got out of the college. Did he say?”
“He passed as part of a group of foreign tourists visiting your library. He was hatted and cloaked, remember.”
“Then that’s proof the tutor was in it with him. Montmorency would never have thought of that.” Charles sat silently for a moment. “You heard the king tell me that all this is never to be talked about. But what about the Poles? Won’t they talk when they return to Poland?”
“The king will probably bribe them to silence and seal it with threats. I imagine their public story will be that the bride suddenly and unfortunately died. Privately, they’ll tell their king what happened. The little bridegroom probably won’t care what happened, since he’s escaped being married off for now. And since the queen is French, I think the king will keep faith with Louis.”
“So after all of this, all we know for certain,” Charles said bleakly, “is that Lulu killed Bouchel by accident and tried to kill the king. And now she’s dead.” His voice was rising angrily. “And since Frère Brunet says he’s been told that drink can make a liver look as black as poison can, Fleury may simply have slipped and fallen. We think Bouchel killed the gardener, but we’ll never know for sure. And none of it gained anyone anything.”
La Reynie sighed. “So let that count for justice.”
“It will have to.”
Chapter 24
THE FEAST OF ST. RODOLPHE, MONDAY, JUNE 23
A soft summer rain was falling in the Cour d’honneur, accompanying Walter Connor’s clear tenor and the music of Pierre Beauchamps’s violin winding together in a sung sarabande for the Spirit of France. The rehearsal was going well enough, with Charles Lennox, recovered from the contagion, once more dancing the Spirit’s role. Beauchamps had been complaining all week that the boy’s calm gravity made him seem like the Spirit of England, not France. But today Charles found him as soothing to watch as the rain was to hear. At the side of the room, Armand Beauclaire and two other boys were trying on the expressionless masks they would wear as Charles’s trio of Fates, hovering on a cloud over the ballet’s prologue. Charles wondered why he’d thought that the presence of the Fates would make anyone question the king’s lust for war. Now, after all that had happened, their inhuman impassivity seemed only a sadly true comment on life.
The sarabande ended and Beauchamps complimented Connor on his singing. Then he called Lennox to him.
“Monsieur Lennox, could your Spirit of France be-possibly, only just possibly-the slightest morsel less-less-English?” he said plaintively.
Charles hovered, hoping that Beauchamps was not going to flay the shy English boy with his tongue. But Lennox seemed only puzzled.
“But I am French,” he said earnestly. “My mother is French. My father’s mother was French. And before them-”
“Never mind before them. It depends on what part of you is French now.” Beauchamps cast his eyes up. “And whatever part that may be, it is not your feet.”
He plunged into his corrections, which Lennox accepted stolidly, and Charles gave out the wooden swords to the second troop of French Heroes. They took their places on the marked-out stage, and Charles helped them work out the confusion resulting from the redistributing of roles since Montmorency was gone. And the rector, recovered now and returned from Gentilly, had withdrawn some of Bertamelli’s ballet roles as discipline for sneaking out of the college. Bertamelli’s only function now in the third Part was to beat a military drum as the French Heroes entered the stage. But he did it with such panache that he seemed to have gained rather than lost by the substitution. That, Charles thought, would always be Bertamelli’s way, and it would always help him land on his feet after setbacks. The rector had written to Signora Bertamelli asking her to let her son leave Louis le Grand and begin with Beauchamps at the Opera, and Charles was praying fervently that she would say yes.
Inspired by the drum, the French Heroes were French enough even for Beauchamps, leaping, thrusting, stamping, feet flickering as they advanced and retreated, swinging their heavy wooden swords in harmlessly menacing patterns. As they finished, the enormous lay brother who’d been sent to the scenery cave to find a practice cloud for the Fates banged his way into the room from the cellar stairs. Charles recognized the cloud he carried. It was from last summer’s ballet The Labors of Hercules, brilliantly pink and hardly large enough for three boys. But for now, it would do. The brother’s broad feet squashed two of the old hats marking the practice stage as he strode to center stage and put down the cloud. With a slow smiling nod at Charles, he meandered out of the classroom through one of the long windows and went back to helping some recently arrived workmen carry lengths of wood through the warm rain. Something must have fallen down, Charles thought. Because there was certainly no money for building anything. Madame de Montmorency’s gift, promised when her son finished his schooling at Louis le Grand, would not be given now. And even though the king had promised a gift, when that might arrive was anyone’s guess.
“No, no, no!”
Startled, Charles and the ballet cast turned and saw Jouvancy waving both arms at one of his actors.
“Fight like a boy, not like a girl!” Jouvancy thundered.
“But I am playing a girl, mon père.”
“You are a boy pretending to be a girl who is pretending to be a boy. So you must fight like a boy!”
“But she’s a girl, and girls cannot fight!”
Grinning at each other, Charles and Beauchamps and the dancers went back to work. Charles set the French Heroes to more practicing offstage and got the three masked Fates crowded onto the cloud. Beauchamps played the ending section of the ballet’s musical prologue. Then an uncertainly baritone sixteen-year-old delivered the spoken prologue, as the Fates in their expressionless masks mimed spinning, measuring, and cutting the threads of men’s lives.
“That is going to work very well, maître,” Beauchamps said. “Better than I thought.” He shrugged a little sheepishly. “It touches the heart, somehow.”
Surprised and pleased, Charles thanked him. “So long as the upper stage construction will be able to hold the cloud. It will have to be a good bit bigger than that one is.”
“What do you want them to wear, your Fates?”
Charles suddenly remembered Conti dancing in the ballet at Versailles. “There is a color that is somehow all colors. I saw it recently. But I’ve forgotten its name.”
“Ah. Prince, I think you mean. Dark, but when it shimmers it shows different colors? Very expensive. But yes, that would be interesting.” Beauchamps hesitated, watching the swordplay. “Maître,” he said quietly, “I have heard that our Montmorency is banished from court. Is that true?”