American fiction -- 20th century; Detective and mystery stories; Long Island (N.Y.) -- Fiction; Murder -- Investigation -- Fiction
A professional model Natalie was, but only for the draped figure. She
was but eighteen, had been well brought up and educated, but, obliged to
earn her own living, had found she had no resources of work except in
her God-given beauty. Posing was a joy to her, and she had posed for but
a few artists and those of the better, even best class. But Eric,
accustomed to having whatever he desired, was determined Natalie should
pose for some allegorical figures in a great picture on which he was
engaged. This she refused to do, and the more Stannard insisted the more
obdurate she became, until there was continual war between them on the
subject. And owing to this state of things, Natalie had decided she must
leave "Faulkner's Folly," and it was only Barry's entreaties that had
thus far kept her from fulfilling her intentions.
Joyce, herself a beautiful woman, of the dark-haired, brown-eyed type,
had often been a model for Eric's pictures, and if she resented being
superceded by this peaches and cream maiden, she never confided the fact
to those about her. Joyce Stannard was clever by nature, and she knew
the quickest way to make her impressionable husband fall desperately in
love with Natalie, was for her, his wife, to be openly jealous. So this
Joyce would not appear to be. She chaffed him gaily about his doll-faced
model and treated Natalie with the patronising generosity one would show
to a pretty child.
But if Joyce was clever, Natalie was too, and she took this treatment
exactly as it was offered, and returned it in kind. Her manner to her
hostess was entirely correct, well-bred and even indicative of
gratitude; but it also implied, with subtle touch, the older and more
settled state of Joyce, and gave a hint of contrast in the freshness of
Natalie's extreme youth and the permissibility of a spice of the madcap
in her ways.
But all these things, on both sides, were so veiled, so delicately
suggested, that they were imperceptible to any but the closest observer.
And now, whatever the facts of Eric Stannard's death might be shown to
be, now it must soon be made known that when the lights of the room
where he died were turned on, they had revealed these two--his wife and
his paid model--near his stricken body, already quivering with its last
few heartbeats.
In answer to Barry's question, Joyce lifted her white face. "I don't
know--" she said, slowly, "I suppose--as Dr. Keith says--these things must
be--be attended to in--in the usual way. But I, too, shrink from the awful
publicity and the harrowing experience we must go through,--Beatrice,
what do you think?"
Mrs. Faulkner replied, with a gentle sympathy: "I fear it won't matter
what we think, Joyce, dear. The law will step in, as always, in case of
a crime, and our opinions or wishes will count for nothing."
Public-domain text, read in full here on John Shaqi.
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