Elizabeth George - In Pursuit of the Proper Sinner

Helen's face softened. “I love him,” she said. “But he's not always right. No one is.”

“He won't like your having shared this with me.”

“Yes. Well. I'll deal with that as it comes.” Helen gestured to the music. “What do you make of it?”

“In light of the murder?” And when Helen nodded, Barbara considered all the possible answers. David King-Ryder, she recalled, had killed himself on the opening night of his production of Hamlet. From his son's own words, she'd heard that King-Ryder had to have known that very same evening that the show was a smashing success. Nonetheless, he'd killed himself, and when Barbara blended this fact not only with the real authorship of the music and lyrics but also with the story that Vi Nevin had told her about how the music had come to be in Terry Cole's hands, she could arrive at only one conclusion: Someone out there had known that David King-Ryder had not written either the music or the lyrics to the show he was mounting under his own name. That person had known because that same person had somehow got his hands on the original score. And considering that the phone call intercepted by Terry Cole in Elvaston Place had been made in June when Hamlet debuted, it seemed reasonable to conclude that that phone call had been intended not for Matthew King-Ryder-hot to produce a show that would not be governed by the terms of his father's will-but for David King-Ryder himself, who was desperate to get that music back and to hide from the world the simple fact that it wasn't his work.

Why else would King-Ryder have killed himself unless he'd arrived at the phone box just five minutes too late to receive that call? Why else would he have killed himself unless he believed that-despite having paid off a blackmailer who was supposed to phone him with directions where to “pick up the package”-he was going to be blackmailed ad infinitum? Or, worse yet, he was going to be exposed to the very tabloids who'd slagged him off for years? Of course he'd kill himself, Barbara thought. He'd have had no way of knowing that Terry Cole received the phone call intended for him. He'd have had no way of knowing how to make contact with the blackmailer to see what had gone wrong. So once that call hadn't come through in that phone box on Elvaston Place when he managed to get there, he'd have thought he was cooked.

The only question was: Who had blackmailed David King-Ryder? And there was only one answer that was remotely reasonable: his own son. There was evidence for this, if only circumstantial. Surely, Matthew King-Ryder had known before his father's suicide that he stood to get nothing when David King-Ryder died. If he was to head the King-Ryder Fund-and he'd admitted as much when Barbara spoke to him-he would have had to be told about the terms of his father's will. So the sole way he had to get his hands on some of his father's money was to extort it from him.

Barbara explained all this to Helen, and when she was finished, Lynley's wife asked, “But have you any evidence? Because without evidence…” Her expression said the rest, You're done for, my friend.

Barbara tossed the question round in her head as she finished her lunch. And she found the answer in a brief review of her visit to King-Ryder in his Baker Street flat.

“The house,” she said to Lynley's wife. “Helen, he was moving house. He said he'd finally got the money together to buy himself a property south of the river.”

“But south of the river…? That's not exactly…” Helen looked distinctly uncomfortable, and Barbara liked her for her reluctance to draw attention to Lynley's considerable wealth. One would need brass by the bucketful to buy even a cupboard in Belgravia. On the other hand, south of the river-where the lesser mortals bought their homes-would not present such a problem. King-Ryder could have saved enough to buy a freehold there. Barbara accepted that.

Nonetheless, she said, “There's no other explanation for what King-Ryder's been up to: lying about what happened when Terry Cole went to his office, searching Terry's flat in Battersea, buying one of Cilia Thompson's monstrosities, going to Vi Nevin's digs and trashing them. He's got to put his hands on that music, and he's willing to do anything to get it. His dad's dead, and he's to blame. He doesn't want the poor bloke's memory shot to bits as well. He wanted some of his lolly, sure. But he didn't want him destroyed.”

Helen considered this, smoothing her fingers along the crease in her trousers. “I see how you're fitting it together,” she admitted. “But as to proof that he's even a blackmailer, let alone a killer…?” She looked up and opened her hands as if to say, Where is it?

Barbara thought about what she had on King-Ryder besides what she knew about the terms of his father's will: Terry had been to see him; he had searched Terry's flat; he'd gone to the studio on Portslade Road… “The cheque,” she said. “He wrote Cilia Thompson a cheque when he bought one of her nightmare-in-the-railway-arches paintings.”

“All right,” Helen said cautiously. “But where does that take you?”

“To Jersey,” Barbara said with a smile. “Cilia made a copy of the cheque-probably because she's never sold a thing in her life and, believe me, she's going to want to remember the occasion, since it's never likely to happen again. That cheque was drawn on a bank in St. Helier. Now, why would our boy be banking in the Channel Islands unless he had money to hide, Helen? Like a major deposit of a few thousand quid-maybe a few hundred thousand quid bled out of his dad to keep a blackmailer's mug plugged-that he didn't want anyone asking questions about? There's your evidence.”

“But still, it's all supposition, isn't it? How can you prove anything?

You can't get into those bank records, can you? So where do you go from here?”

That was certainly a problem, Barbara thought. She could prove nothing. The police couldn't get their mitts on King-Ryder's bank records, and even if she herself could do that in some way, what would a hefty deposit made prior to the June phone call prove aside from someone's attempt to avoid the Inland Revenue's prying eyes?

There was that footprint in the muck in Vi Nevin's flat, of course, that shoe sole with its hexagonal markings. But if such a shoe sole proved to be as common as toast on the breakfast table, what did that add to the investigation? Of course, King-Ryder would have left trace evidence all over Vi Nevin's flat. But he wasn't likely to cooperate if the coppers asked him for a few strands of hair or a vial of blood for a DNA match-up. And even if he gave them everything from his toe jam to his dental floss, that did nothing to pin him to the Derbyshire murders unless the rozzers had a packet of trace evidence left at the scene up there as well.

Barbara knew she'd be more than just demoted and off the case if she phoned up DI Lynley for a little discussion about the Derbyshire evidence. She'd defied his orders; she'd gone her own way. He'd thrown her off the investigation. What he'd do if he discovered she'd put herself back on the investigation did not bear thinking of. So to bring King-Ryder down she had to go it more or less alone. There was only the small point of trying to figure out how to do it.

“He's been clever as the dickens,” Barbara said to Helen. “This bloke's no slouch in the brains department-but if I can come up with a way to get a step ahead of him… if I can use something that I know from everything I've gathered…”

“You've got the music,” Helen pointed out. “Which is what he's wanted from the first, isn't it?”

“He sure as bloody hell searched high and low for it. He tore apart that camping site. He went through the flat in Battersea. He ripped up Vis maisonette. He spent enough time in the studio with Cilia to suss out whether there was a hiding place there. I'd say we're safe in assuming he's after that music. And he knows it wasn't with Terry, Cilia, or Vi.”