"I won't blab," said Matthew, who was finding the girl to be a sparkling conversationalist. Just what he needed, in fact.
"Might have to go pack my bag anyways, cause of this here whuffie-dust." Opal held up the snuffbox, which was fashioned of cheap birch bark and looked like an item from the shelves of Jaco Dovehart's trading post. "Mizz Lovejoy's already been on me twice this week about it. If Noggin hadn't come along, she was sure to toss me out right then and there."
"Noggin?"
"That's who was drivin' the wagon. What she calls him, I mean. Let's go this way." She pointed out a path leading off the main drive into the woods. Matthew had had his fill of forest travel, but he went in the direction she indicated. He waited a moment until he asked his next question, which was disguised as a statement. "I thought Mrs. Lovejoy told me all the workers here were female."
"They are. Well, all the ones who live on the premises. Noggin lives somewhere else. He comes in to do fix-up work. You know, patchin' roofs and paintin' walls and such. And diggin' the graves, he does that too."
"Oh," Matthew said.
"Matter of fact," Opal said, "here's the graveyard."
They came out of the woods to face a cemetery surrounded by a white-painted wrought-iron fence. Everything was neat and orderly, the weeds kept at bay and the small wooden crosses lined up in rows. Matthew counted forty-nine of them. He didn't know if that was high or not for five years of business, considering the ages and conditions of her guests. He doubted if any of them were too very robust when they arrived, and they went down from there.
"Be another one in here after dark," Opal said. "The widow Ford passed late last night. She was a pretty good old lady, never caused much trouble. Had a merry kind of laugh."
"
After dark
?" Matthew paused to lean against the fence. His sense of curiosity, still tingling from his sighting of the burlap bag, received a further pinch. "Why do you put it that way?"
She shrugged. "Ain't no other way to
put
it. You come here tomorrow, you'll see a fresh grave dug in the night. That's how it's done here."
"Isn't there a funeral?"
"There's a service, if that's what you mean. After the doctor looks 'em over and pronounces 'em dead, the preacher says some words. It's done in the church, right over yonder." She motioned toward a small white building that Matthew could see through the trees. "Everybody who's able and wants to come can pay their finals. The coffin lies in the church all day. Then, after dark, Noggin takes the . . . listen, why are you wantin' to know about
this
so much?"
"I'd like to know what to expect," Matthew said evenly, "when my grandfather's time comes."
"Oh. 'Course. As I was sayin', then . . . " She stopped and shook her head. "Maybe Mizz Lovejoy ought to be the one tellin' you. I'm already up to my buttbone in trouble."
"All right." Matthew decided to pull back, so as not to scare all the conversation out of her. "Where to next?"
They walked along the path past the cemetery and the church itself. A road went by the church that Matthew thought must connect to the main drive. Further on there was a bench positioned among some trees, and beyond that vantage point the land sloped slightly downward toward a meadow. A number of other white-washed buildings were in view.
"Those are where they live. The guests, I mean," Opal explained. "The one on the right is for the men, the one on the left for the women. Between 'em is the vegetable garden. Then . . . way over there . . . the smaller one . . . is where
we
live. It's not much, but we've all got our own rooms. Barn's back behind there. She's got some cows and pigs over that way. I'll milk a cow, all right, but I ain't prancin' in pigshit, and I told her just the same."
"Good for you," Matthew said. "What's that?" He pointed toward a low-slung structure beyond the workers' house that looked to be all panes of glass, shining in the sun. "A greenhouse?" He recalled Mrs. Lovejoy mentioning it.
"That's right," Opal said. "Grows her hot plants in there."
"Her
hot
plants?"
"Her peppers. Mizz Lovejoy's got a craze for 'em. You can't go in there without your eyes start leakin' and your skin get all itchy. At least
I
can't."
"She has a second business?" Matthew asked.
"What second business?"
"Well . . . she must sell her peppers at market, is what I'm thinking. A little of that goes a long way."
"You'd be
wrong
," Opal told him. "Mizz Lovejoy feeds 'em to her guests. Grinds 'em up in every damn thing, excuse my French. Even gives 'em pepper
juice
to drink, mornin', noon and night."
Matthew frowned. "For what earthly
reason
?"
"Makes the blood flow, is what she says. Keeps everything workin'. I don't know, ask
her
. All I know is, you ought to see some of them oldies—guests—eatin' their suppers and moanin' with the tears runnin' down their faces. It's just awful." And then she put her hand up to her mouth but she couldn't catch the laugh before it came spilling out.
"I think you're a very cruel girl, Opal," Matthew said, but he was fighting to keep a straight face too because he could envision the scene she had described. That must make him cruel too, he thought. He was just about to laugh, and he also brought his hand up to cover his mouth.
Before the hand could get there, Opal turned and kissed him.
Actually, she flung herself upon him. She pressed her lips upon his with desperate need, and Matthew thought peppers were cool compared to Opal's fire. He staggered back, but she had hold of him and wouldn't let him go. Her mouth worked at his, her tongue explored, one of her hands gripped his buttocks and Matthew thought he was going to be thrown down and ravished under the trees. But . . . after all, this
was
Paradise.
"Come on, come on," she breathed in his ear, cleaving to him like a second skin. "We can go in the woods, don't matter. I know a good place. Come on, you ever done it behind a church?" He feared she was going to peel his breeches right off. "You don't know," she said as she pulled at him, her voice near sobbing. "Old people everywhere, and sick, and dyin' right there in front of you, come on, darlin', come on just let me—"
"Opal," he said.
"—have a little bit, a little bit of warm, that's all I'm—"
"Stop," he told her, and he caught her chin and looked into her dazed blue eyes and saw it was not about him at all, no it was not; it was about the place, with its white paint and blue trim and lovely buildings that hid the dark side of Paradise. It was about the wrinkled flesh and the spottings of age and the old women who talked about old dead loves and the old men whose adventures had dwindled down to the size of a chamberpot. It was about the silence of midnight and the frost on the windowpane, and the way a day could be so slow and yet so quick, and how the merry laughter of that good old widow Ford had ended in a strengthless gasp. Matthew knew the truth of this place, and Opal knew it as well; it was where you were put to be forgotten.
"—askin'," she finished, and suddenly the tears bloomed up and blurred the blue and she looked at him as if she'd been struck.
She backed away. Matthew thought she was going to turn and run, but she stopped at a distance and stood staring at the ground as if searching for something she'd lost.
"I . . . " she started, and then went silent again. She rubbed her mouth with the back of her sleeve. He thought she was going to rub her mouth until it bled. "I'm . . . " Once more she was quiet, and Matthew saw her considering her position. When she lifted her gaze to his again, she was full of flame and spite. "I'm going to have to say you advanced on me, if it comes to that." Her eyes were blazing. "If it comes to that," she repeated.
"It won't," he answered, gently.
"I ain't a
bad
person," she went on. "I mean, I've had my share of scrapes, but I ain't
bad
. Exactly."
"I need your help," he told her.
She was silent. An expression of incomprehension flickered across her face. Now she
did
look as if she might turn and run.
"Don't go," Matthew said. "Just listen."
So close to running . . . so close . . .
"Mrs. Lovejoy may be in some trouble." Matthew kept his voice low, but he was also very aware of their surroundings, that no one—especially the mistress of Paradise or her Noggin—would come along the path unheard.
Opal regarded him as he had regarded the rattlesnake beneath his tricorn. "Who
are
you?"
"I'm going to ask the questions. Has there been a male visitor here lately for Mrs. Lovejoy? Say . . . in the past five days?"
"A visitor? Who?"
"Listen to me, Opal. In the past five days. Has a man come to visit her? A big man, with broad shoulders." Only true when he swelled himself up, Matthew thought. "Reddish-blond hair, parted down the middle. Going gray on the sides. He would have a bandage probably on the left side of his head, just above the ear. Very pale blue eyes. Like ice. Have you seen anyone like that?"
"
Here
?" she asked.
"Yes, here. Please, Opal, it's important."
"Why is it important?"
Oh Christ! he thought.
"If this is about Kitt, I don't know anything," Opal said.
"Kitt? Who's Kitt?" Matthew felt as if he were back in the night wilderness and unable to see his hand in front of his face.
"I don't know anything."
"All right, then." Matthew held out a hand to steady her, even though she was more than ten feet away. "Tell me about Noggin. He lives somewhere else?" When she nodded, he asked, "Where?"
She shook her head.
He tried for a flintlock shot in the dark, thinking that there might possibly be some connection between the fact that Slaughter's safebox—bought by Mrs. Lovejoy—had been wrapped up in a Mrs. Sutch sausage bag, and now a Mrs. Sutch sausage bag appears in the back of her handyman's wagon. "Do you know the name
Sutch
?"
"Who?"
The sausages were likely too expensive for her purse, he thought. And too expensive for Noggin's, as well? "Back to Noggin. And use
yours
, please." He waved away whatever she was going to say before she could open her mouth. "Has Noggin brought a man here to see Mrs. Lovejoy? In the past five days? Or after dark?" But how would she know? he wondered. Where the girls lived was a good distance away from Mrs. Lovejoy's house.
Opal just stared at him, her eyes wide. Matthew thought she was trying to make a decision. Whatever it was, it wasn't easy.
"I am investigating Mrs. Lovejoy," Matthew said. "It's better that you don't know my name. But I believe that a man I'm looking for may have—"
"Kitt found out Noggin didn't bury Mr. White," she blurted out. "She told me. Everythin' she saw that night."
Matthew had stopped speaking at this bizarre assertion; he had no idea what she was talking about, but it seemed very important—urgent—to her. He said, "Go on."
"Mr. White was laid out in his coffin, in the church," Opal said. "For the service. Kitt said for me to look, that Ginger had dressed him up in that fine lace cravat he always wore, and it was a shame such a nice piece of lace was gonna get buried. She had a mind to come back before Noggin put him under and get it, but I said if Mizz Lovejoy caught her she was out on her ear." She paused, making sure Matthew was following.
"Ginger being another servant?" Matthew asked.
"Yeah, she's gone now. But Kitt said she wanted that lace, and she wanted me to go get it with her after we'd fed 'em their suppers. I wasn't havin' no part of it. So Kitt said she was gonna hurry to the church, sneak in and get the lace before Noggin wheeled the coffin out."
"Wheeled it out?"
"He's got a cart with wheels on it, that's how he moves the coffin about. See, he makes the coffins, too. So Kitt went back just as dark was fallin', but she told me she was too late because she saw Noggin's lanterns burnin'. And the thing is . . . the thing is . . . she saw Noggin right there pushin' the coffin into the back of the wagon, and she didn't know what to make of this so she slipped into the woods to watch."
"He'd already dug the grave?"
"That's not what I'm gettin' at," Opal said. "Kitt told me she saw him open the coffin and look in it for a time. Then he reached in, lifted up Mr. White's head—she said she could see his hair in the lamplight—and all of a sudden,
whisk
! He pulled that lace cravat off Mr. White and wrapped it around his own neck. Then . . .
then
. . . he closed the lid, and he walked back to the graveyard as nervy as you please."
"Then he
hadn't
yet dug the grave?"
"No, just
listen
!" She came closer, until she was right in front of him a hand's reach away. "Kitt couldn't make tits nor teeth out of this, so she
followed
him. And there was Noggin in the graveyard, tampin' the last of the dirt down on Mr. White's pile. He'd
finished
it. But Mr. White was still in his coffin, sittin' in the wagon!"
"Noggin didn't bury him," Matthew said.
"That's right! He didn't bury him! But he'd made it look so! Well, Kitt figures she ought not to be where she is, and she starts off along the path away from there. Then all of a sudden somebody comes out of the woods right in front of her, right smack dab, a lantern's pushed in her face, and she said she hollered so loud she was surprised I didn't hear it way down where I was. She said she just turned tail and ran. And she said, 'Opal, don't you breathe a
word
of this, and I'm forgettin' I saw anything either.' And I said, 'Well, what is it you saw?' And she said, 'I don't know what I saw, but I didn't see it.'"
"Saving money on their coffins, I suppose," Matthew ventured. "Using the same one over and over in the funeral service."
"Yeah, I thought that." She leaned in to him, her eyes wide again. "But what became of
Mr. White
?"
Her question begged another. Matthew wondered if any of those forty-nine graves were really occupied. Were the bodies actually buried somewhere
else
? Or just dumped into the woods beyond Paradise? If so, what the hell was
this
about?