John le Carré - A Murder of Quality

'I understand that.'

'But I'm an old policeman, Mr Smiley, and I like to know what I'm about. I don't like looking for people I can't believe in, and I don't like being cut off from witnesses. I like to meet people and talk to them, nose about here and there, get to know the country. But I can't do that, not at the school. Do you follow me? So we've got to rely on laboratories, tracker dogs, and nation-wide searches, but somehow in my bones I don't think it's altogether one of those cases.'

'I read in the paper about a woman, a Mad Janie…'

'I'm coming to that. Mrs Rode was a kindly woman, easy to talk to. I always found her so, anyway. Some of the women at Chapel took against her, but you know what women are. It seems she got friendly with this Janie creature. Janie came begging, selling herbs and charms at the back door; you know the kind of thing. She's queer, talks to birds and all that. She lives in a disused Norman chapel over to Pylle. Stella Rode used to give her food and clothes—the poor soul was often as not half-starved. Now Janie's disappeared. She was seen early Wednesday night on the lane towards North Fields and hasn't been seen since. That don't mean a thing. These people come and go in their own way. They'll be all over the neighbourhood for years, then one day they're gone like snow in the fire. They've died in a ditch, maybe, or they've took ill and crept away like a cat. Janie's not the only queer one round here. There's a lot of excitement because we found a spare set of footprints running along the fringe of trees at the far end of the garden. They were a woman's prints by the look of them, and at one point they come quite close to the conservatory. Could be a gypsy or a beggar woman. Could be anything, but I expect it's Janie right enough. I hope to Heaven it was, sir; we could do with an eyewitness, even a mad one.'

Smiley stood up. As they shook hands, Rigby said, 'Goodbye, sir. Ring me any time, any time at all.' He scribbled a telephone number on the pad in front of him, tore off the sheet and gave it to Smiley. 'That's my home number.' He showed Smiley to the door, seemed to hesitate, then he said, 'You're not a Carnian yourself by any chance, are you, sir?'

'Good heavens, no.'

Again Rigby hesitated. 'Our Chief's a Carnian. Ex-Indian Army. Brigadier Havelock. This is his last year. He's very interested in this case. Doesn't like me messing around the school. Won't have it.'

'I see.'

'He wants an arrest quickly.'

'And outside Carne, I suppose?'

'Good-bye, Mr Smiley. Don't forget to ring me. Oh, another thing I should have mentioned. That bit of cable…'

'Yes?'

'Mr Rode used a length of the same stuff in a demonstration lecture on elementary electronics. Mislaid it about three weeks ago.'

Smiley walked slowly back to his hotel.

My dear Brim,

As soon as I arrived I handed your letter over to the C.I.D. man in charge of the case—it was Rigby, as Ben had supposed: he looks like a mixture of Humpty-Dumpty and a Cornish elf—very short and broad—and I don't think he's anyone's fool.

To begin at the middle—our letter didn't have quite the effect we expected; Stella Rode evidently told Cardew, the local Baptist Minister, two weeks ago, that her husband was trying to kill her in the long nights, whatever they are. As for the circumstances of the murder—the account in the Guardian is substantially correct.

In fact, the more Rigby told me, the less likely it became that she was killed by her husband. Almost everything pointed away from him. Quite apart from motive, there is the location of the weapon, the footprints in the snow (which indicate a tall man in Wellingtons), the presence of unidentified glove-prints in the conservatory. Add to that the strongest argument of all: whoever killed her must have been covered in blood—the conservatory was a dreadful sight, Rigby tells me. Of course, there was blood on Rode when he was picked up by his colleague in the lane, but only smears which could have resulted from stumbling over the body in the dark. Incidentally, the footprints only go into the garden and not out.

As things stand at the moment, there is, as Rigby points out, only one interpretation—the murderer was a stranger, a tramp, a madman perhaps, who killed her for pleasure or for her jewellery (which was worthless) and made off along the Okeford road, throwing the weapon into a ditch. (But why carry it four miles—and why not throw it into the canal the other side of the ditch? The Okeford road crosses Okemoor, which is all cross-dyked to prevent flooding.) If this interpretation is correct, then I suppose we attribute Stella's letter and her interview with Cardew to a persecuted mind, or the premonition of death, depending on whether we're superstitious. If that is so, it is the most monstrous coincidence I have ever heard of. Which brings me to my final point.

I rather gathered from what Rigby didn't say that his Chief Constable was treading on his tail, urging him to scour the country for tramps in bloodstained blue overcoats (you remember the belt). Rigby, of course, has no alternative but to follow the signs and do as his Chief expects—but he is clearly uneasy about something—either something he hasn't told me, or something he just feels in his bones. I think he was sincere when he asked me to tell him anything I found out about the School end—the Rodes themselves, the way they fitted in, and so on. Carne's monastery walls are still pretty high, he feels…

So I'll just sniff around a bit, I think, and see what goes on. I rang Fielding when I got back from the police station and he's asked me to supper tonight. I'll write again as soon as I have anything to tell you.

George.

Having carefully sealed the envelope, pressing down the corners with his thumbs, Smiley locked his door and made his way down the wide marble staircase, treading carefully on the meagre coconut matting that ran down the centre. There was a red wooden letter box in the hall for the use of residents, but Smiley, being a cautious man, avoided it. He walked to the pillar box at the corner of the road, posted his letter and wondered what to do about lunch. There were, of course, the sandwiches and coffee provided by Miss Brimley. Reluctantly he returned to the hotel. It was full of journalists, and Smiley hated journalists. It was also cold, and he hated the cold. And there was something very familiar about sandwiches in a hotel bedroom.

It was just after seven o'clock that evening when George Smiley climbed the steps which led up to the front door of Mr Terence Fielding's house. He rang, and was admitted to the hall by a little plump woman in her middle fifties. To his right a log fire burned warmly on a pile of wood ash and above him he was vaguely aware of a minstrel gallery and a mahogany staircase, which rose in a spiral to the top of the house. Most of the light seemed to come from the fire, and Smiley could see that the walls around him were hung with a great number of paintings of various styles and periods, and the chimney-piece was laden with all manner of objets d'art . With an involuntary shudder, he noticed that neither the fire nor the pictures quite succeeded in banishing the faint smell of school—of polish bought wholesale, of cocoa and community cooking. Corridors led from the hall, and Smiley observed that the lower part of each wall was painted a dark brown or green according to the inflexible rule of school decorators. From one of these corridors the enormous figure of Mr Terence Fielding emerged.

He advanced on Smiley, massive and genial, with his splendid mane of grey hair falling anyhow across his forehead, and his gown billowing behind him.

'Smiley? Ah! You've met True, have you—Miss Truebody, my housekeeper? Marvellous this snow, isn't it? Pure Bruegel! Seen the boys skating by the Eyot? Marvellous sight! Black suits, coloured scarves, pale sun; all there, isn't it, all there! Bruegel to the life. Marvellous!' He took Smiley's coat and flung it on to a decrepit deal chair with a rush seat which stood in the corner of the hall.