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Contents ( 57)
  1. A Good Death
  2. Table of Contents
  3. A Good Death
  4. Elizabeth Ironside
  5. Prologue
  6. Part One
  7. Bonnemort
  8. 7 September 1944
  9. Chapter One
  10. Part Two
  11. Paris and Bonnemort
  12. 10 September 1944 – 28 January 1945
  13. Chapter Two
  14. Chapter Three
  15. Chapter Four
  16. Chapter Five
  17. Chapter Six
  18. Chapter Seven
  19. Chapter Eight
  20. Chapter Nine
  21. Chapter Ten
  22. Chapter Eleven
  23. Chapter Twelve
  24. Chapter Thirteen
  25. Chapter Fourteen
  26. Part Three
  27. Bonnemort
  28. 6 June – 18 August 1944
  29. Chapter Fifteen
  30. Chapter Sixteen
  31. Chapter Seventeen
  32. Chapter Eighteen
  33. Chapter Nineteen
  34. Chapter Twenty
  35. Chapter Twenty-one
  36. Chapter Twenty-two
  37. Chapter Twenty-three
  38. Chapter Twenty-four
  39. Part Four
  40. Bonnemort
  41. 10–15 March 1945
  42. Chapter Twenty-five
  43. Chapter Twenty-six
  44. Chapter Twenty-seven
  45. Chapter Twenty-eight
  46. Chapter Twenty-nine
  47. Chapter Thirty
  48. Chapter Thirty-one
  49. Chapter Thirty-two
  50. Chapter Thirty-three
  51. Chapter Thirty-four
  52. Chapter Thirty-five
  53. Chapter Thirty-six
  54. Chapter Thirty-seven
  55. Epilogue
  56. 1999
  57. Chapter Thirty-eight

‘It sounds like a big commutation: community service rather than the death penalty.’

‘Yes, it was. But community service was probably more appropriate. I had already rejected the death penalty in principle.’

When she wrote her account of the war years, in her attempt to exorcise the past, she had ended with the sound of Vernhes’ footsteps on the rocky floor of the winepress. She remembered crouching in the loft with the hook of the pulley pulled against her chest, poised to act and to kill. She had listened to him moving in the darkness, calling Sabine’s name; then she heard him opening the door, leaving. Each moment she had told herself that she could do it now, release the pendulum to strike him down, while all the time she knew she would not.

Sabine put down her coffee cup. ‘I’m hopeless,’ she said. ‘We haven’t found a single memory in common. I beginning to feel that I’m an impostor who wasn’t living at Bonnemort and you were the genuine resident. There must be something we can both remember.’

Rachel was recalling the pages of the exercise book. She could visualise her own large European handwriting, the French in which she had written. There must be something that she could use to make Sabine acknowledge what they had done.

‘Lou Moussou,’ she said abruptly. ‘Surely you remember Lou Moussou.’

‘Of course I remember Lou Moussou. There was always a Lou Moussou at Bonnemort. He lived in a sty out of sight, beyond the farmyard.’

‘Because he was hidden from the authorities.’

‘I used to go and sit with him and talk to him.’

‘He was the first person you took me to meet when I arrived at Bonnemort.’

‘He was one of those pink pigs, who looked like a huge naked baby …’

‘And he had such an intelligent face …’

‘And every day we used to take his bucket of pigswill down to him, carrying it between us …’

‘And the pig-killers came …’

‘He was stunned with a blow to his head. We used the pulley in the winepress …’

‘His throat was cut with a knife …’

‘Yes, I remember that.’

First published in the United Kingdom in 2000 by Hodder and Stoughton

This edition published in the United Kingdom in 2017 by

Canelo Digital Publishing Limited
57 Shepherds Lane
Beaconsfield, Bucks HP9 2DU
United Kingdom

Copyright © Elizabeth Ironside, 2000

The moral right of Elizabeth Ironside to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act, 1988.

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.

A CIP catalogue record for this book is available from the British Library.

ISBN 9781788630269

This book is a work of fiction. Names, characters, businesses, organizations, places and events are either the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events or locales is entirely coincidental.