Inspector Alleyn 3-Book Collection 9: Clutch of Constables, When in Rome, Tied Up in Tinsel. Ngaio Marsh

mist which the Skipper had told them was called locally, The Creeper, had increased and already The River looked like a stream of hot water threading the low country.

      How strange, Troy thought, as they drove away that she should so sharply regret leaving The River. For a moment she entertained a notion that because of the violence that threaded its history there was something unremarkable, even appropriate, in the latest affront to The River. Poor Hazel Rickerby-Carrick, she thought, has joined a long line of drowned faces and tumbled limbs: Plantagenets and Frenchmen, Lancastrians and Yorkists, cropped, wigged and ringleted heads: bloated and desecrated bodies. They had drenched the fields and fed The River. The landscape had drawn them into itself and perhaps grown richer for them.

      ‘I shall come back to the waterways,’ Troy thought. She and Alleyn and their son and his best girl might hire a longboat and cruise, not here, not between Tollardwark and Ramsdyke, but farther south or west where there was no detergent on the face of the waters. But it was extremely odd all the same, that she should want to do so.

       II

      While Fox and Tillottson stooped over footprints on the bank at Crossdyke and Sergeants Bailey and Thompson sped northwards, Alleyn explored the contents of Miss Rickerby-Carrick’s cabin.

      The passengers were still up at the pub and if Dr Natouche had returned he had not come below. The Tretheways were sitting in a family huddle near the bar. Out in the darkling landscape the Creeper rose stealthily and police constables patrolled the exits from Ramsdyke into the main roads and the tow-path near the Zodiac.

      The cabin, of course, had been swept out and the berth stripped of its bed-clothes. The Hewsons had made use of it not only for their purchases but for their camera equipment and some of their luggage.

      Alleyn found that their cameras – they had three – were loaded with partially used film. They were expensive models, one of them being equipped with a phenomenally powerful lens of the sort used by geologists when recording rock-faces.

      Their booty from Tollardwark was bestowed along the floor, most of it in a beer-carton; the prints and scraps had been re-rolled, pretty roughly, into a bundle tied up with the original string.

      The painting of Ramsdyke Lock was laid between sheets of newspaper in an empty suitcase.

      He took it out and put it on the bunk.

      Troy and Caley Bard had made a fairly thorough job of their cleaning and oiling but there were still some signs of dirt caught under the edge of brush strokes, but not, he thought, incorporated in the paint. It was a glowing picture and as Troy had said, it was well-painted. Alleyn was not an expert in picture forgery but he knew that the processes were refined, elaborate and highly scientific, involving in the case of seventeenth-century reproductions the use of specially manufactured pigments, of phenol-formaldehyde and an essential oil, of baking and of old paintings scraped down to the ground layer. With nineteenth-century forgeries these techniques might not be necessary. Alleyn knew that extremely indifferent forgeries had deceived the widows and close associates of celebrated painters and even tolerable authorities. He had heard talk of ‘studio sweepings’ and arguments that not every casual, unsigned authentic sketch bore the over-all painterly ‘signature’ of the master. One much-practised trick, of course, was to paint the forgery over an old work. An X-ray would show if this had been done.

      Outside, presenting itself for comparison, was the subject of the picture: Ramsdyke Lock, the pond, the ford, the winding lane, the hazy distance. Nothing could be handier, he thought, and he did in fact compare them.

      He made an interesting discovery.

      The trees in the picture were in the right places, they were elms, they enclosed the middle-distance just as the real elms did in the now darkling landscape outside. Undoubtedly, it was a picture of Ramsdyke Lock.

      But they were not precisely the same elms.

      The masses of foliage, painted with all the acute observation of Constable’s school, were of a different relationship, one to another. Would this merely go to show that, when the picture was painted the trees were a great deal smaller? No, he thought not. These were smaller but the major branches sprang from their trunks at different intervals. But might not this be a deliberate alteration made by the artist for reasons of composition? He remembered Troy saying that the painter has as much right to prune or transplant a tree as the clot who had planted it in the wrong place.

      All the same …

      Voices and footfalls on the upper deck announced the return of the passengers. Alleyn restored the painting to its suitcase and the suitcase to its position against the wall. He opened the cabin door, shut his working-kit, took out his pocket-lens, squatted at the head of the bunk and waited.

      Not for long. The passengers came below: Mr Lazenby first. He paused, looked in and fluted: ‘Busy, Superintendent?’

      ‘Routine, sir.’

      ‘Ah! Routine!’ Lazenby playfully echoed. That’s what you folk always say, isn’t it, Superintendent? Routine!’

      ‘I sometimes think it’s all we ever do, Mr Lazenby.’

      ‘Really? Well, I suppose I mustn’t ask what it’s all about. Poor girl. Poor girl. She was not a happy girl, Mr Alleyn.’

      ‘No?’

      ‘Emotionally unstable. A type that we parsons are all too familiar with, you know. Starved of true, worthwhile relationships, I suspect, and at a difficult, a trying time of life. Poor girl.’

      ‘Do I take it, you believe this to be a case of suicide, Mr Lazenby?’

      ‘I have grave misgivings that it may be so.’

      ‘And the messages received after her death?’

      ‘I don’t profess to have any profound knowledge of these matters, Superintendent, but as a parson, they do come my way. These poor souls can behave very strangely, you know. She might even have arranged the messages, hoping to create a storm of interest in herself.’

      ‘That’s a very interesting suggestion, sir.’

      ‘I throw it out,’ Mr Lazenby said with a modest gesture, ‘for what it’s worth. I mustn’t be curious,’ he added, ‘but – you hope to find some – er help – in here? Out of, as it were, Routine?’

      ‘We’d be glad to know whether or not she returned to her cabin during the night,’ Alleyn said. ‘But, to tell you the truth, there’s nothing to show, either way.’

      ‘Well,’ said Mr Lazenby, ‘good on you, anyhow. I’ll leave you to it.’

      ‘Thank you, sir,’ Alleyn said, and when Mr Lazenby had gone, whistled, almost inaudibly, the tune of ‘Yes, we have no bananas’, which for some reason seemed to express his mood.

      He was disturbed, almost immediately, by the arrival of the Hewsons and Mr Pollock.

      Miss Hewson came first. She checked in the open doorway and looked, as far as an inexpressive face allowed her to do so, absolutely furious. Alleyn rose.

      ‘Pardon me. I had gotten an impression that this stateroom had been allocated to our personal use,’ said Miss Hewson.

      Alleyn said he was sure she would find that nothing had been disturbed.

      Mr Hewson, looking over his sister’s shoulder like a gaunt familiar spirit said he guessed that wasn’t the point and Mr Pollock, obscured, could be heard to say something about search-warrants.

      Alleyn repeated his story. Without committing himself in so many words he contrived to suggest that his mind was running along the lines of suicide as indicated by Mr Lazenby. He sensed an easing off in antagonism among his hearers. The time had come for what Troy was in the habit of referring to as his unbridled comehithery, which was unfair of Troy. He talked about the Hewsons’ find and said his wife had told him it might well prove to be an important Constable.

      He said,