The Lost Relic (6 page)

Brooke had done her best to reassure her sister that nothing was wrong. Everything would soon go back to normal.

She could have murdered Marshall.

Then, two nights after that, the first of the phone calls. ‘It’s me. Are you alone?’

‘Of course I’m alone. I live alone. It’s three in the morning, Marshall. Go to sleep.’

‘I can’t sleep.’

‘Good bye.’

Eleven, twelve, thirteen more times he’d tried to call that night, keeping her from sleep until dawn. The next evening had come the knock on the door that she’d been dreading. Marshall had looked wrecked there on the doorstep, demanding to know why she wouldn’t answer the phone. Worried he was going to make a scene, she’d let him come inside the flat.

Big mistake.

‘The way you talk to me. The way you look at me, the way you laugh when I tell a story. I know you like me. Admit it. You have feelings for me.’ She could smell the alcohol on his breath.

‘You’re crossing the line, Marshall,’ she shouted. ‘I’m not going to let you hurt Phoebe like this.’

‘Not going to
let
me? This is all your fault!’ Digging in his pocket, he came out with a small packet. ‘Look. Let’s not fight. I bought you a present.’

Brooke had stared in horror, knowing what it was. ‘I don’t want it.’

‘It’s from Tiffany.’

‘Give it to Phoebe. My sister. Your wife, remember?’

‘Phoebe and I are finished.’

‘Not according to her. You ought to be ashamed of yourself.’

‘But—’

‘Listen to me, Marshall. Your behaviour with me is completely irrational. It’s clear you’re going through some kind of crisis, and I think you need to seek professional help. Now, I can give you some numbers to call—’

‘Yeah, I’m mad,’ he’d grunted. ‘Mad about you.’ And put out his hand to touch her cheek.

She flinched away. ‘Don’t. I think you should get out now.’

‘I can’t. I love you.’

‘That’s ridiculous, Marshall.’

‘Oh, right. You love
him
. The soldier.’

‘Ben. He’s not—’ But there was no point in correcting him. ‘Yes, I do.’

He flushed. ‘How can you be in any kind of proper relationship with someone who lives in another country? Now
that’s
ridiculous.’

‘That might not be for long, because I’m thinking of moving there to be with him full time. Not that it’s any of your bloody business.’

‘Has he asked you? Bet he hasn’t.’

‘Get
out
, Marshall!’

Finally, with threats and as much force as she could use without physically attacking him, she’d managed to get her brother-in-law out of the flat and chained the door in his face. He’d ranted and pleaded a while on the doorstep, then skulked back across the street to his turbocharged Bentley.

In the weeks since, Brooke had been feeling increasingly powerless and confused, angry, even guilty. On the pretext of wanting to spend more time together, she’d arranged to meet Phoebe several times in town for coffee, never at the house or at her own place. It made her feel better to be there for her sister, protecting and supporting her in her time of need; yet at the same time she was more and more miserable for hiding the truth.

Meanwhile, Marshall’s barrage went on. She was terrified even to check her emails and texts in case it would be him, and she avoided the phone almost all of the time. Once or twice it had been Ben calling her, wondering how she was and why she hadn’t been in touch. Her excuses had been thin, unconvincing at best. She’d kept conversation to a minimum, afraid that she might let something slip. Briefly, during one of her sleepless nights, she’d considered telling him the truth about what was going on with Marshall. But that had been an idea she’d very quickly dismissed.

Ben would be on the first flight to London to beat the crap out of him.

It wasn’t that Marshall didn’t have it coming – it was the ugly mess that would ensue. She could see it all. Assault charges. Police. Explanations. Ben in trouble. Phoebe devastated.

No chance.

And now, standing here on this beautiful warm sunny day surrounded by the flowers in her garden, Brooke felt completely walled in.

What am I going to do?

Once inside the elegant old house, Ben saw he’d entered a private art exhibition. The entrance foyer was filled with stands of posters, pamphlets and guides, and framed prints around the walls gave a taste of what lay inside. He felt very out of place in his jeans and denim shirt. Scanning the crowd he counted roughly thirty-five guests. Apart from one or two elderly couples, most of the people were in their mid-to-late thirties or older, many sporting a carefully-cultivated arty look. With the exception of one or two bohemian scruffs, everyone was very well dressed, and being Italians there was an unspoken war going on as to who could look the most chic. Probably the winner out of the whole bunch was the square-jawed guy in the Valentino blazer who’d clearly been dividing his time between working on his tan and studying old Robert Redford movies. Mr Dashing. Ben smiled to himself and shook his head.

After Gianni, the youngest person in the room was a sullen teenage girl with long curly blond hair, who was doing everything possible to distance herself from her parents and make it clear that she’d rather be anywhere but here.

‘Donatella Strada,’ the boy’s mother said warmly, keeping a tight hold of her son with her left hand while extending her right.

‘Ben Hope.’ He took her hand. It was slender and felt delicate in his. Donatella was small and petite, almost elfin. He liked the sharp look of intelligence in her eyes. She didn’t have that air of pretension that he could sense in many of the others.

‘You are English? But your Italian is excellent.’

‘Half Irish,’ he said. ‘I’ve travelled a bit, that’s all.’

‘Well, Signor Hope, I must thank you again. Are you living nearby?’

‘Just passing through,’ he said. ‘What is this place?’

‘The Academia Giordani,’ she said. ‘One of the most established and respected schools of fine art in the region. They’re celebrating the opening of the brand new exhibition wing, which has just been finished.’

‘The modern bit. I saw it from the road.’

She smiled. ‘Modern monstrosity, you wanted to say.’

‘No, modern is fine. So is old. I like all kinds of architecture.’

‘What about art, Signor Hope? Is it something you appreciate?’

‘Some. What little I know about it. Not sure I go for sheep in formaldehyde, or unmade beds and dirty underwear – or does that make me a philistine?’

Donatella seemed to approve of his taste. ‘Not in my book. You’ll be pleased to know there is nothing like that here. No gimmicks, no publicity stunts or con tricks. Just pure art. The owners have put together a wonderful collection of works from across the centuries, on loan from galleries all over the world.’

‘Hence the high security,’ Ben said. He’d already noticed the glassy eyes of the
CCTV
system watching from well-concealed vantage points around the room.

‘Oh, yes. Smile, you’re on camera. A state-of-the-art system, apparently. Not surprising that the galleries would insist on it, when you have hundreds of millions of euros hanging on your walls.’

‘So, do I take it you’re part of the art scene around here?’ Ben asked as he followed her through the crowd towards where the staff were checking invites and ushering guests through an arch leading to a glass walkway. He guessed it connected the old part of the building to the new wing.

‘My husband Fabio is. He’s one of the region’s top art and antiquities restorers. I just dabble in it, which is nice for me because I get to go to all the exhibitions with him.’

‘Is he here today?’

‘He’s supposed to be,’ she said. ‘But he phoned earlier to say he might not be able to get here. His company are helping to restore an old church outside Rome, and they ran into some kind of delay. He’ll be very disappointed if he can’t make it. And he’ll be sorry he didn’t get to thank you personally for what you did.’

‘I didn’t do that much,’ Ben said.

Donatella showed her ticket, explained to the woman at the desk that Ben was her guest, and they were ushered through the arched entrance to the glass corridor. At the end of it, they stepped into a bright, airy, ultramodern space that was the pristine new exhibition wing of the Academia Giordani. The floor was gleaming white stone, laid out with strips of red carpet that wove around the displays. The paintings were encased behind non-reflective glass, arranged by artist and period. A number of guests had already started doing the rounds of the exhibition, talking in low voices and pointing this way and that. As more people filtered inside behind Ben and Donatella, the murmur of soft conversation gradually filled the sunlit room. Some seemed impressed by the new building, though one or two faces showed disapproval.

‘It’s hideous,’ a stringy, white-haired woman in a blue dress was muttering to her husband. He was about ninety and walked with a stick. ‘Maybe not quite as offensive as the Louvre pyramid,’ she went on, ‘but hideous just the same.’

‘I find the concept has a very . . .
organic
quality, don’t you?’ one of the bohemians commented loudly to the woman he was with. ‘I mean, it’s so . . . what’s the word?’ He was padding about the gallery in open sandals, which together with his unkempt hair and beard probably attracted more offended glances from the other Italians than the design of the building. The Redford clone ignored him altogether.

‘So what do you think, Signor Hope?’ Donatella asked.

‘Like I said, I really don’t know that much about art,’ Ben said. But he knew enough to understand now why galleries across the world had been jittery about lending their pieces for this exhibition. The canvases around the walls bore enough famous signatures to pop any art lover’s cork. Picasso, Chagal, Monet. ‘And Da Vinci,’ he said, raising his eyebrows.

‘Oh yes,’ Donatella chuckled. ‘All the big names are here. They really wanted to put on a show to launch the centre. Fabio told me they wanted to get a Delacroix too, but they didn’t have the wall space.’ She touched Ben’s arm and pointed across the gallery at a man in an immaculate silk suit, forties, carefully groomed. ‘That’s Aldo Silvestri, one of the owners. And see that man over there, standing beside the Picasso?’

‘That little fat guy there?’

‘I’m sure he’d love to hear you say that. Luigi Corsini is Silvestri’s business partner. But the real money comes from Count Pietro De Crescenzo. Without his influence, the gallery would not have been possible, and certainly not an exhibition of this calibre.’

Donatella pointed out the man to Ben. Late fifties, tall and gaunt with thin oiled hair, he could have passed for an undertaker if it hadn’t been for the dapper bow tie. He was standing with a group of people on the far side of the room, sipping a glass of wine. ‘The De Crescenzos are one of the oldest aristocratic families of this region, with quite a colourful history,’ she filled in.

‘You know them?’

She nodded. ‘The count has funded several of Fabio’s projects in the past.’

De Crescenzo seemed to sense them talking about him. Giving Donatella a smile, he excused himself from the group and approached. Donatella explained to the count that Fabio had been held up, and introduced Ben. ‘Please call me Pietro,’ De Crescenzo said as he shook Ben’s hand. ‘I only use the title to open doors and impress stuffy politicians and museum boards. So, Signor Hope, I gather despite your extremely fluent Italian that you are not from these parts.’

‘I’m just passing through,’ Ben said.

‘You are on vacation? Remaining a few days in Italy?’

‘Sadly not. I’ll be flying to London tomorrow.’

De Crescenzo shuddered. ‘Air travel. I cannot bring myself to get on one of those things. Quite irrational, I know.’

‘It’s a very impressive setup you have here,’ Ben said.

De Crescenzo smiled widely, showing uneven, grey teeth. ‘Thank you, thank you. We have been extremely fortunate in securing such a fabulous and eclectic range of wonderful pieces.’

‘Have your family always been patrons of the arts?’ Ben asked, knowing his supply of cultural small talk was going to run out fast.

‘Far from it. My grandfather, Count Rodingo De Crescenzo, was a boorish and tyrannical man who despised culture with almost as much passion as he loathed the artistic genius of his first wife, Gabriella. It is to her that we owe the artistic heritage of my family. After doing everything in his power to suppress her talent, my grandfather ironically did the most to nurture it when he expelled her from the family home in 1925, leaving her destitute. Freed from his controlling influence, she eventually went on to find fame and fortune painting under her maiden name, Gabriella Giordani.’

Ben nodded and smiled politely, a little taken aback by De Crescenzo’s somewhat dramatic account of his family past. When he suddenly realised that the count was waiting for him to react to the mention of the name Gabriella Giordani, he shrugged apologetically and said, ‘As I was telling Donatella, my knowledge of art is pretty limited. I’m afraid I haven’t come across your grandmother’s work.’

De Crescenzo frowned sadly and shook his head. ‘Rodingo and Gabriella had no children. My father was born only after Rodingo had remarried, to a woman of great beauty but little else. Otherwise, I might have had the honour of being related in more than name to the most accomplished and admired Italian female artist of the twentieth century.’ He swept an arm enthusiastically behind him at a section of the exhibition.

Ben gazed in the direction he was pointing. ‘And that one too?’ he said, motioning at an oil portrait of a striking-looking man of about thirty, in a red velvet jacket with a high collar.

‘You have a keen eye for style, Signor Hope,’ De Crescenzo said. ‘Yes, that is also a Giordani.’

Ben took a step closer to the portrait and examined it for a moment. There was something aristocratic about the man in the painting, yet not supercilious or arrogant. The artist seemed to have captured a real sense of humility and gentleness in her subject. The little plaque below the edge of the frame simply said ‘Leo’, with the date 1925. Ben wondered who Leo had been.