Unnatural Causes (27 page)

He turned from the window and looked round the room as if seeing it for the first time. There was a folded blanket across the back of the easy chair by the window and a pillow resting on the arm. His aunt must have spent the night sleeping there. It could hardly have been because of concern for him. He remembered now. They had brought Latham back to Pentlands with them; his aunt must have given up her room. The realisation irritated him and he wondered whether he was being petty enough to resent his aunt’s concern for a man he had never liked. Well, what of it? The dislike was mutual if that were any justification and the day threatened to be traumatic enough without beginning it in a mood of morbid self-criticism. But he could have done without Latham. The events of the night were too raw in the memory to relish the prospect of exchanging small talk over breakfast with his partner in folly.

As he made his way downstairs he could hear a murmur of voices from the kitchen. There was the familiar morning smell of coffee and bacon but the sitting room was empty. His aunt and Latham must be breakfasting together in the S
kitchen. He could hear Latham’s high arrogant voice more clearly now although his aunt’s softer replies were inaudible. He found himself treading softly so that they might not hear him, tiptoeing across the sitting room like an intruder. Soon, inevitably, he would have to face Latham’s excuses and explanations, even—horrible thought—his gratitude. Before long the whole of Monksmere would arrive to question, argue, discuss and exclaim. Little of the story would be news to him, and he had long outgrown the satisfaction of being proved right. He had known who for a long time now and since Monday night he had known how. But to the suspects the day would bring a gratifying vindication and they could be expected to make the most of it. They had been frightened, inconvenienced and humiliated. It would be churlish to grudge them their fun. But for the moment he trod warily, as if reluctant to waken the day.

There was a small fire burning in the sitting room, its thin flame flickering wanly in the brightness of the sun. He saw that it was after eleven o’clock and the post had already arrived. There was a letter for him propped on the mantelpiece. Even across the room he could recognise Deborah’s large sloping handwriting. He felt in his dressing-gown pocket for his own unposted letter to her, and with difficulty propped it up beside that other envelope, his small and upright hand looking obsessionally neat beside her generous scrawl. Hers was a thin envelope. That meant one page at the most. Suddenly he knew just what Deborah could have written on no more than one quarto page and the letter became infected with the menace of the day, opening it a chore which could reasonably be postponed. As he stood there angry at his own indecision and trying to force himself to that one simple action, he heard the approaching car. So they were coming
already, avid no doubt with curiosity and pleasurable anticipation. But when the car drew nearer he recognised the Ford which Reckless used and, moving to the window, could see that the Inspector was alone.

A minute later the car door slammed and Reckless paused, as if bracing himself to approach the cottage. Under his arm he carried Celia Calthrop’s tape recorder. The day had begun.

Five minutes later the four of them listened together to the murderer’s confession. Reckless sat beside the tape recorder frowning at it constantly with the anxious, slightly peeved look of a man who expects it at any moment to break down. Jane Dalgliesh sat in her usual chair on the left of the fire, motionless, hands folded in her lap, listening as intently as if to music. Latham displayed himself against the wall, one arm drooping from the chimney piece, his bandaged head resting against the grey stones. He looked, thought Dalgliesh, like a slightly passé actor posing for a publicity photograph. He himself sat opposite his aunt balancing a tray on his knees, spearing with a fork the small cubes of buttered toast which she had prepared for him or cupping his hands, comfortably insulated, round a steaming beaker of coffee.

The voice of the dead girl spoke to them, not with the familiar irritating submissiveness, but clear, confident and controlled. Only from time to time was there a trace of excitement quickly restrained. This was her paean of triumph, yet she told her dreadful story with the assurance and detachment of a professional broadcaster reading a book at bedtime.

“This is the fourth time I’ve dictated my confession and it won’t be the last. The tape can be used over and over again. One can always improve. Nothing need be final. Maurice Seton used to say that, working away at his pathetic books as if they were worth writing, as if anyone cared what word he used.
And as likely as not it would be my word in the end, my suggestion, breathed oh so tentatively and quietly so that he wouldn’t notice that it was a human being who spoke. I wasn’t ever that to him. Just a machine who could take shorthand, type, mend his clothes, wash up, even do a little cooking. Not a really efficient machine, of course, I hadn’t the use of my legs. But that made it easier for him in some ways. It meant that he didn’t even have to think of me as female. He never saw me as a woman, of course. That was to be expected. But after a time I wasn’t even female. I could be asked to work late, stay the night, share his bathroom. No one would talk. No one would care. There was never any scandal. Why should there be? Who would want to touch me? Oh, he was safe enough with me in the house. And, God knows, I was safe enough with him.

“He would have laughed if I had told him that I could make him a good wife. No, not laughed. He would have been disgusted. It would have seemed like mating with a halfwit, or an animal. Why should deformity be disgusting? Oh, he wasn’t the only one. I’ve seen that look in other faces. Adam Dalgliesh. Why should I instance him? He can hardly bear to look at me. It’s as if he’s saying, ‘I like women to be lovely. I like women to be graceful. I’m sorry for you but you offend me.’ I offend myself, Superintendent. I offend myself. But I mustn’t waste tape on preliminaries. My first confessions were too long, imperfectly balanced. By the end they even bored me. But there will be time to get the story right, to tell it perfectly so that I can play the tape over and over for the rest of my life and yet feel the first keen pleasure. Then, perhaps, one day I shall clean it all away. But not yet. Perhaps never. It would be amusing to leave it for posterity. The only drawback to planning and carrying out a perfect murder is that no one else can appreciate it. I may as well have the satisfaction,
however childish, of knowing that I shall make the headlines after my death.

“It was a complicated plot, of course, but that made it all the more satisfying. After all, there is nothing difficult about killing a man. Hundreds of people do it every year and have their brief moment of notoriety before they are as forgotten as yesterday’s news. I could have killed Maurice Seton any day I chose, especially after I got my hands on those five grains of white arsenic. He took them from the Cadaver Club museum, substituting a bottle of baking powder, at the time he was writing
One for the Pot
. Poor Maurice, he was obsessed by this urge for verisimilitude. He couldn’t even write about an arsenical poisoning without handling the stuff, smelling it, seeing how quickly it would dissolve, enjoying the thrill of playing with death. This absorption in detail, this craving for vicarious experience, was central to my plot. It led him, the predestined victim, to Lily Coombs and the Cortez Club. It led him to his murderer. He was an expert in vicarious death. I should like to have been there to see how he enjoyed the real thing. He meant to put the stuff back, of course; it was only borrowed. But before he could do so I did some substituting of my own. The baking powder in the showcase at the club was replaced by Maurice with baking powder—again. I thought that the arsenic might come in handy. And it will. It will shortly come in very handy indeed. There will be no problem for me in putting it into that flask which Digby always carries. And then what? Wait for the inevitable moment when he is alone and can’t face the next minute without a drink? Or tell him that Eliza Marley has discovered something about Maurice’s death and wants to meet him secretly far along the beach? Any method will do. The end will be the same. And once he is dead, what can anyone prove? After a little time I shall ask to see Inspector
Reckless and tell him that Digby has been complaining recently about indigestion and that I have seen him at Maurice’s medicine chest. I shall explain how Maurice borrowed some arsenic once from the Cadaver Club but he assured me that he had replaced it. But suppose he didn’t? Suppose he couldn’t bring himself to part with it? That would be typical of Maurice. Everyone will say so. Everyone will know about
One for the Pot
. The powder in the museum showcase will be tested and found to be harmless. And Digby Seton will have died by a tragic accident but through his half-brother’s fault. I find that very satisfying. It is a pity that Digby, who despite his stupidity has been very appreciative of so many of my ideas, has to be kept ignorant of this final part of the plan.

“I could have used that arsenic for Maurice just as easily and seen him die in agony any day I chose. It would have been easy. Too easy. Easy and unintelligent. Death by poison wouldn’t have satisfied any of the necessary conditions of Maurice’s murder. It was those conditions which made the crime so interesting to plan and so satisfying to execute. Firstly, he had to die from natural causes. Digby, as his heir, would be the natural suspect and it was important to me that nothing should jeopardise Digby’s inheritance. Then he had to die away from Monksmere; there must be no danger of anyone suspecting me. On the other hand I wanted the crime to be connected with the Monksmere community; the more they were harassed, suspected and frightened the better, I had plenty of old scores to be settled. Besides, I wanted to watch the investigation. It wouldn’t have suited me to have it treated as a London crime. Apart from the fun of watching the reactions of the suspects I thought it important that the police work should be under my eye. I must be there to watch and, if necessary, to control. It didn’t work out altogether as I had
planned, but on the whole very little has happened which I haven’t known about. Ironically, I have been less skilful at times than I hoped at controlling my own emotions, but everyone else has behaved strictly according to my plan.

“And then there was Digby’s requirement to be met. He wanted the murder to be associated with L. J. Luker and the Cortez Club. His motive was different, of course. He didn’t particularly want Luker to be suspected. He just wanted to show him that there were more ways than one of committing murder and getting away with it. What Digby wanted was a death which the police would have to accept as natural—because it would be natural—but which Luker would know had been murder. That’s why he insisted on sending Luker the severed hands. I took most of the flesh off them first with acid—it was an advantage to have a dark room in the cottage and the acid available—but I still didn’t like the idea. It was a stupid, an unnecessary risk. But I gave in to Digby’s whim. A condemned man, by tradition, is pampered. One tries to gratify his more harmless requests.

“But before I describe how Maurice died there are two extraneous matters to get out of the way. Neither of them is important but I mention them because both had an indirect part in Maurice’s murder and both were useful in throwing suspicion on Latham and Bryce. I can’t take much credit for Dorothy Seton’s death. I was responsible, of course, but I didn’t intend to kill her. It would have seemed a waste of effort to plan to kill a woman so obviously bent on self-destruction. It couldn’t, after all, have been long. Whether she took an overdose of her drugs, fell over the cliff on one of her half-doped nocturnal wanderings, got killed with her lover on one of their wild drives around the country, or merely drank herself to death, it could only be a matter of time. I wasn’t even particularly interested.
And then, soon after she and Alice Kerrison had left for that last holiday at Le Touquet I found the manuscript. It was a remarkable piece of prose. It’s a pity that people who say that Maurice Seton couldn’t write will never have the chance to read it. When he cared, he could write phrases that scorched the paper. And he cared. It was all there: the pain, the sexual frustration, the jealousy, the spite, the urge to punish. Who better than I could know how he felt? It must have given him the greatest satisfaction to write it all down. There could be no typewriter, no mechanical keys between this pain and its expression. He needed to see the words forming themselves under his hand. He didn’t mean to use it, of course. I did that; merely steaming open one of his weekly letters to her and including it with that. Looking back, I’m not even sure what I expected to happen. I suppose it was just that the sport was too good to miss. Even if she didn’t destroy the letter and confronted him with it he could never be absolutely sure that he himself hadn’t inadvertently posted it. I knew him so well, you see. He was always afraid of his own subconscious, persuaded that it would betray him in the end. Next day I enjoyed myself watching his panic, his desperate searching, his anxious glances at me to see whether I knew. When he asked whether I had thrown away any papers I answered calmly that I had only burnt a small quantity of scrap. I saw his face lighten. He chose to believe that I had thrown away the letter without reading it. Any other thought would have been intolerable to him so that was what he chose to believe until the day he died. The letter was never found. I have my own idea what happened to it. But the whole of Monksmere believes that Maurice Seton was largely responsible for his wife’s suicide. And who could have a better motive for revenge in the eyes of the police than her lover, Oliver Latham?

“It is probably unnecessary to explain that it was I who killed Bryce’s cat. That would have been obvious to Bryce at the time if he hadn’t been so desperate to cut down the body that he failed to notice the slip knot. If he had been in any condition to examine the rope and the method he would have realized that I could have strung up Arabella without lifting myself more than an inch or two in my chair. But, as I had anticipated, he neither acted rationally nor thought coolly. It never occurred to him for a second that Maurice Seton might not be the culprit. It may seem strange that I waste time discussing the killing of a cat but Arabella’s death had its place in my scheme. It ensured that the vague dislike between Maurice and Bryce hardened into active enmity so that Bryce, like Latham, had a motive for revenge. The death of a cat may be a poor motive for the death of a man and I thought it unlikely that the police would waste much time with Bryce. But the mutilation of the body was a different matter. Once the postmortem showed that Maurice had died from natural causes the police would concentrate on the reasons for hacking off the hands. It was, of course, vital that they should never suspect why this mutilation was necessary and it was convenient that there should be at least two people at Monksmere, both spiteful, both aggrieved, both with an obvious motive. But there were two other reasons why I killed Arabella. Firstly I wanted to. She was a useless creature. Like Dorothy Seton she was kept and petted by a man who believed that beauty has a right to exist, however stupid, however worthless, because it is beauty. It took only two twitching seconds on the end of a clothes line to dispose of that nonsense. And then, her death was to some extent a dress rehearsal. I wanted to try out my acting ability, to test myself under strain. I won’t waste time now describing what I discovered about myself. I shall never
forget it; the sense of power, the outrage, the heady mixture of fear and excitement. I have felt that again many times since. I am feeling it now. Bryce gives a graphic account of my distress, my tiresomely uncontrolled behaviour after the body was cut down, and not all of it was acting.