Sarah Caudwell - Thus Was Adonis Murdered

“Oh, in that case, certainly, Julia can’t have done it. Well, who is the victim?”

“Do you happen to have heard of a sculptor called Kenneth Dunfermline?”

“My dear Desmond, of course. He’s rather important. I have gone so far as to advise my readers that they might have a little flutter on him. But Dunfermline can’t have been murdered — people would have told one.”

“Not Dunfermline himself. The young man he was travelling with.”

“Oh dear,” said Benjamin. “Oh dear — not the lovely Ned?” This notion of twin souls seemed to have something in it. Ragwort nodded. “Oh dear, how sad, how very sad. Because he really was lovely, you know, one of the loveliest things anyone ever saw. Present company excepted, of course. But if anyone was going to murder him, I’m afraid one would rather have expected it to be Kenneth.”

“It seems,” said Selena, “that it couldn’t have been.”

“Still,” I said, “it would be interesting, Benjamin, to know why you think so.”

“Oh — Kenneth takes things so seriously. He’s a Scotsman, you know, from Ayrshire or somewhere like that. I think his father was a miner. There are certain hardships to which such a background does not, I suspect, inure one. In particular, to having one’s most tender feelings made the object of mockery and contempt by heartless young men with charming profiles. Now, when that happens to someone like, say, Julia or myself, who is well accustomed to it—”

“Do have some more wine, Benjamin,” said Ragwort.

“Yes, thank you, Desmond, how kind. As I was saying — Julia and I, being used to that sort of treatment, can take it philosophically. Not so, I fear, Kenneth Dunfermline. For Kenneth, the affair with Ned was the grand passion, the real thing, the first and last, the once and for always.”

“And Ned,” asked Selena, “did not reciprocate?”

“Well, I don’t quite say that, exactly. But at parties and so forth, when people started telling Ned how beautiful he was and wondering if he might be free for lunch sometime, he didn’t altogether give the impression of being unavailable due to prior commitments. On the contrary, he showed a tendency, on such occasions, to blossom like the rose and be fairly free with his telephone number. And Kenneth would stand there looking all sombre and Celtic, like the Grampians in a thunderstorm.”

“In short,” said Ragwort, “you would be inclined to describe young Ned as something of a flighty piece?”

“My dear Desmond, what a flair you have for the mot juste. ‘Flighty’ is the very word. So if Kenneth had got peeved to the point of violence, one wouldn’t really have been too surprised. Still, I’m glad you say he didn’t do it — he’s an awfully good sculptor. And he hasn’t had much luck since he came South, poor boy, what with falling for Ned and getting mixed up with Eleanor Frostfield. Just a minute, I’ll get another bottle of Nierstein.”

In Selena’s cry of protest, as he rose and moved to the bar, there was more anguish than is commonly inspired by the sight of a guest contributing to the expenses of the evening; but Benjamin failed to perceive it. He became lost, to communication if not to view, among a little crowd of journalists from Great Turnstile and lawyers from Old Buildings.

“Now,” he said, returning at last to our table, “tell me about poor Ned and why people think Julia did it.”

“In a moment,” said Selena. “You tell us first what you mean about Kenneth being mixed up with Eleanor Frostfield. Do you mean they’re married to each other?”

“Good God, no,” said Benjamin. “What a horribly bizarre idea, Selena. No, I simply meant that he’s under contract to her. Frostfield’s, as you doubtless know, is a long-established firm of dealers in art and antiques. Since her late husband took refuge in mortality, Eleanor has been the majority shareholder and guiding spirit. Well, Frostfield’s gave Kenneth his first exhibition — not all to himself, but as one of a group of promising young artists just out of art school. Part of the contract for the exhibition was that Kenneth shouldn’t sell his work except through Frostfield’s for — well, I don’t know how long exactly, but it’s certainly got several years to run.”

“That, I suppose,” said Selena, “would be the usual arrangement, when a gallery exhibits the work of a particular artist.”

“An arrangement along those lines, yes, naturally. In the particular case, however, I understand that the percentage taken by Frostfield’s is unusually high. And that the contract extends over an unusually long period. Well, when people are just out of art school, they’ll sign anything to get an exhibition, or even a little bit of one. A few years later, when your work’s selling rather well and you find the gallery is still taking the lion’s share of the proceeds, it must get rather galling. Particularly, I imagine, if one is trying to retain a hold on the affections of someone like Ned.”

“Are you suggesting,” asked Ragwort, “that the unfortunate young man was of a mercenary disposition?”

“Oh, I wouldn’t say that. But fond of nice things, you know — silk shirts and good seats at the theatre and doing the shopping at Fortnum’s. These, you will agree, my dear Desmond, are not unreasonable expectations for a young man with a charming profile — but a trifle expensive.”

“This contract of Kenneth’s with Eleanor,” said Selena. “I should have thought that arguably it involved an abuse of superior bargaining power. I rather think, you know, that on a good day, with the right Court of Appeal, one might give oneself a fair chance of getting it set aside.”

“Oh, my dear Selena,” said Benjamin, “I don’t doubt if Faust had had the good sense to consult you about his contract with Mephistopheles you’d have thought of a way of getting him out of it. But it’s not the sort of thing Kenneth would have thought of — it’s only lawyers, you know, who think that contracts are things you can get out of. And Kenneth wouldn’t even know any lawyers.”

“Except Ned,” said Selena, looking dreamily at the dark ceiling.

The notion that Eleanor had done away with Ned to prevent him advising Kenneth on the possibility of breaking his contract seemed to me, if anything, rather more far-fetched than the theory that she had done so in order to secure a marginal tax advantage. Still, the discovery of any connection between her and the murdered man was a matter for some satisfaction.

“One doesn’t like,” said Benjamin, “to appear vulgarly inquisitive. But if everyone one knows has suddenly started murdering everyone else, it would be terribly nice to know about it.”

“My dear Benjamin,” said Ragwort, “of course. You shall have a full account.”

Regret for Ned, sympathy for Kenneth, solicitude for Julia — all these seemly and appropriate sentiments Benjamin expressed and no doubt entertained. But the mind, like the compass, swings back to its centre of attraction: in the whole of Ragwort’s narrative, what chiefly engaged his attention was a casual reference to the purpose for which Eleanor and the Major had been in Venice. Miss Tiverton’s collection of antiques and objects had been, since her death, the subject of much speculation; and yet Benjamin had had no idea that it was available to inspection. He was at a loss to know how they could have learnt of it; and wounded in his professional pride.

“The most likely explanation, surely,” said Selena, “is that Frostfield’s had been instructed to value the collection for the purposes of probate, or whatever they have in Italy.”

“No,” said Benjamin, “no, I don’t think so. If Frostfield’s were doing the valuation, Eleanor wouldn’t have been doing it herself. She’d have sent some downtrodden employee to sort things out first and make an inventory.”