FALSE WITNESS

The owner of a domestic agency expands her definition of domestic problems to include murder.

Inheriting his family’s country estate has been a mixed blessing for Sir Julian Marston-Lang and Polly, his young wife. The place promises plenty of space and a good income if the pair can ever get the neglected property into working order. In the meantime, local villagers are angry at Sir Julian because he closed down the estate’s decrepit farm and the adjacent amusement park, costing many their jobs. The couple is living temporarily in the Tithe Barn with their infant son while a feckless band of local workmen try to repair the ancient plumbing and electrical systems in the main house. But Sir Julian’s struggles with his employees are only one reason he summons Bea Abbot to his estate. Someone’s been trying to kill Sir Julian, taking potshots at his head and spooking his horse, causing a fall that’s left him badly injured. Even worse, a woman’s been found hanged in his stables. Since Bea intervened successfully the last time his life was in danger, Sir Julian naturally wants her to use her magic touch again. Bea’s happy to oblige, since her husband, Piers, is off painting a portrait “some place in the Balkans,” and her agency’s in the capable hands of her London staff. Although this new threat to Sir Julian’s life seems more diffuse and nebulous than the earlier one, Bea is still the established champion of the vulnerable. And who could be more vulnerable than a young nobleman trying to protect his wife, his child, and the local villagers?

Heley’s heroine does her best, but the perils faced by those titled Brits strain credulity.