'So what's changed?'
'Nothing. Maybe me. is that possible ? Like that card trick of Jane's with the Queen of Hearts. Does art change too? I know at the end of a day I'll look at my work and think it's great, then next morning look at it and think it's crap. The work didn't change, but I did. Maybe Jane's death changed me so much that whatever I saw ini this painting isn't there anymore.'
'Do you believe that ?'
Damn the man, thought Peter. 'No.'
The two men stared at Fair Day, then slowly, lowly, a noise was heard unlike any anyone there had heard before. It grew and magnified until it reverberated around the circle of spectators. Clara could feel the blood race from her face and hands. Was it the storm? Was this what the tail end of a disaster sounded like? Had Kyla joined them after all? But the rumbling seemed to be coming from inside the building. Inside the room. In fact, right beside Clara. She turned and found the source. Ruth.
'That's me ! ' Ruth jabbed a finger at the dancing goat in Fair Day. Then the rumbling burst into a geyser of laughter. Ruth roared. She laughed until she had to steady herself on Gabri. Her laughter infected the entire room until even the sour-faced and forgotten artists were laughing. Much of the rest of the evening was taken with people recognising themselves or others in Jane's work. Ruth also found Timmer's parents and her brother and sister, both now dead. There was the first-grade teacher and Timmer's husband, and the exercise class they all belonged to. They were the chicks. Over the course of the hour or so just about every figure had been identified. Still, Peter stared, not joining in the laughter.
Something was wrong.
'I've got it!' Clara pointed at the painting. 'This was painted at the closing parade, right? The day your mother died. In fact, isn't that your mother?' Clara showed Ben the cloud with trotters. The flying lamb.
'You're right,' laughed Myrna. 'It's Timmer.'
'Do you see? This was Jane's tribute to your mother. Everyone in this picture was meaningful to her. From her grandparents to her dogs, to everyone in between.' Now Clara turned to Peter. 'Remember that last dinner we all had together?'
'Thanksgiving?'
'Yes, that's it. We were talking about great art, and I said I thought art became art when the artist put something of themselves into it. I asked Jane what she'd put into this work, and do you remember what she said?'
'Sorry, I can't.'
'She agreed that she'd put something in it, that there was some message in this work. She wondered if we'd figure it out. In fact, I remember she looked directly at Ben when she spoke, as though you'd understand. I'd wondered why at the time, but now it makes sense. This is for your mother.'
'You think?' Ben moved closer to Clara and stared at the picture.
'Well, that doesn't make any sense,' said Agent Nichol, who'd wandered over from her post by the door, drawn to the laughter as though to a crime. Gamache started making his way toward her, hoping to cut her off before she said something totally offensive. But his legs, while long, were no match for her mouth.
'Who was Yolande to Timmer? Did they even know each other?' Nichol pointed at the face of the blonde woman in the stands next to the acrylic Peter and Clara. 'Why would Jane Neal put in a niece she herself despised? This can't be what you said, a tribute to Mrs Hadley, with that woman there.'
Nichol was clearly enjoying getting one up on Clara. And Clara, despite herself, could feel her anger rising. She stared speechless at the smug young face on the other side of the easel. And what made it worse was that she was right. There was the big blonde woman, undeniably in Fair Day, and Clara knew that if anything Timmer disliked Yolande even more than Jane did.
'May I see you, please?' Gamache placed himself between Clara and Nichol, cutting off the young woman's triumphant stare. Without another word he turned and walked toward the exit, Nichol hesitating an instant then following.
'There's a bus for Montreal tomorrow morning at six from St Remy. Take it.'
He had no more to say. Agent Yvette Nichol was left shaking with rage on the cold dark stoop of Arts Williamsburg. She wanted to pound on the closed door. It seemed all her life doors were being shut in her face and here she was again, on the outside. Throbbing with fury she took two steps over to the window and looked in, at the people milling around, at Gamache talking to that Morrow woman and her husband. But there was someone else in the picture. After a moment she realised it was her own reflection.
How was she going to explain this to her father? She'd blown it. Somehow, somewhere, she'd done something wrong. But what? But Nichol was beyond reasoning. All she could think of was walking into her miniscule home with the immaculate front yard in east end Montreal, and telling her father she'd been kicked off the case. Shame on you. A phrase from the investigation floated into her head.
You're looking at the problem.
That meant something. Something significant she was sure. And then, finally, she understood.
The problem was Gamache.
There he was talking and laughing, smug and oblivious to the pain he caused. He was no different than the police her father had told her about in Czechoslovakia. How could she have been so blind? With relief she realised she needn't tell her father anything. After all, it wasn't her fault.
Nichol turned away, the sight too painful, of people having fun and her own lonely reflection.
An hour later the party had emigrated from Arts Williamsburg to Jane's home. The wind was picking up and the rain was just beginning. Clara stationed herself in the middle of the living room, just as Jane might have, so that as everyone arrived she could see their reactions.
'Oh. My. God.' was heard a lot, as was 'Holy shit' and 'Tabarouette'. 'Tabarnouche' and 'Tabernacle' bounced off the walls. Jane's living room had become a shrine to multilingual swearing. Clara felt pretty much at home. A beer in one hand and cashews in the other, she watched as the guests arrived and were swept away by amazement. Most of the downstairs walls had been exposed and there, swooping and swirling before them, was the geography and history of Three Pines. The cougars and lynx, long since disappeared, the boys marching off to the Great War, and straight on to the modest stained-glass window of St Thomas's, commemorating the dead. There were the dope plants growing outside the Williamsburg police station, a happy cat sitting on the window looking down at the healthy growth.
The first thing Clara did, of course, was find herself on the wall. Her face poked out from a bush of Old Garden Roses, while Peter was found crouching behind a noble statue of Ben in shorts, standing on his mother's lawn. Peter was in his Robin Hood outfit and sported a bow and arrow, while Ben stood bold and strong, staring at the house. Clara looked quite closely to see whether Jane had painted snakes oozing out of the old Hadley home, but she hadn't.
The home was quickly filling with laughter and shrieks and howls of recognition. And sometimes a person was moved to tears they couldn't explain. Gamache and Beauvoir worked the room, watching and listening.
'... but what gets me is the delight in the images,' Myrna was saying to Clara. 'Even the deaths, accidents, funerals, bad crops, even they have a kind of life. She made them natural.'
'Hey, you,' Clara called out to Ben who came over eagerly. 'Look at yourself.' She waved at his image on the wall.
'Very bold.' He smiled. 'Chiseled, even.'
Gamache looked over at Ben's image on Jane's wall, a strong man, but staring at his parent's home. Not for the first time he thought Timmer Hadley's death might have been quite timely for her son. He might finally get away from her shadow. Interestingly, though, it was Peter who was standing in shadow. Ben's shadow. Gamache wondered what that could mean. He was beginning to appreciate that Jane's home was a kind of key to the community. Jane Neal had been a very observant woman.