“I'm using the word in its broadest sense,” Barbara cautioned the man.
“Right. I understand. Well, as he considered himself an artist, perhaps he knew something about restoring pictures and came here for an interview with me. Hang on.” He wrestled a black engagement diary from the top middle drawer of his desk. He began going back through the pages, running his index finger down the days as he examined the appointments listed for each. “No Cole, Terry or Terence, I'm afraid. No Cole at all.” He turned next to a dented metal box in which index cards were filed behind dog-eared alphabetical dividers. He explained that it was his habit to keep the names and addresses of individuals whose talents he'd deemed useful to Bowers in one way or another and perhaps Terence Cole was among those individuals …. But no. His name wasn't among those on the index cards either. He was terribly sorry, Neil Sitwell said, but it didn't appear that he was going to be able to assist the detective constable with her enquiry at all.
Barbara tried a last question. Was it possible, she asked, that Terry Cole had come across Mr. Sitwell's business card in another way? From what she'd learned from speaking to the boy's mother and sister, he had dreams of opening his own art gallery. So perhaps he'd run into Mr. Sitwell somewhere, got into a conversation with him, and found himself on the receiving end of one of Mr. Sitwell's cards with an invitation to call in sometime for a chat and some advice …
Barbara said it all encouragingly, without much hope of striking gold. But when she said the words “opening his own art gallery,” Sitwell held up an index finger as if a memory had been jarred loose in his brain.
“Yes. Yes. The art gallery. Of course. I remember. It was because you first said he was a sculptor, you see. The young man never identified himself as a sculptor when he came to see me. Or even an artist, for that matter. He only confided that he hoped—”
“You remember him?” Barbara broke in eagerly.
“It seemed like a rather dubious plan for someone who spoke so”—Sitwell glanced at her and quickly shifted gears—“well, who dressed so …” Sitwell hesitated altogether, caught between the devil and the deep blue sea. Clearly, he realised that he was bordering on giving offence. Barbara's accent betrayed her origins, which were very nearly identical to those of Terry Cole. And as to her manner of dress, she didn't need a full-length mirror to tell her she was no candidate for Vogue.
“Right. He wore black all the time and had a working-class accent,” Barbara said. “Goatee. Cropped hair. A black ponytail.”
Yes. That was the chap, Sitwell confirmed. He'd been at Bowers the previous week. He'd brought along a sample of something that he thought the house might wish to auction. The proceeds of such an auction, he'd confided, would help him fund the gallery that he wished to open.
A sample of something to auction? Barbara's first thought went to the box of call girl cards that she'd found beneath Terry Cole's bed. Stranger things had been sold to the public. But she wasn't sure she could name any of them.
“What was it? Not one of his sculptures?”
“A piece of sheet music,” Sitwell replied. “He said he'd read about someone selling a handwritten Lennon and McCartney song—or a notebook of lyrics, something like that—and he'd hoped to sell a packet of music he had in his possession. The sheet he showed me was part of that packet.”
“Lennon and McCartney music, d'you mean?”
“No. This was a piece by Michael Chandler. The boy told me he'd got a dozen more and was hoping for an auction. I expect he was imagining a scene in which several thousand fans of musical theatre queue up for hours, hoping for the chance to pay twenty thousand pounds for a sheet of paper on which a dead man once made a few pencil smudges.” Sitwell smiled, offering Barbara the sort of expression he must have offered Terry: one of tolerant and paternalistic derision. She itched to smack him. She restrained herself.
“So the music was worthless?” Barbara asked.
“Not at all.” Sitwell went on to explain that the music might have been worth a fortune, but it made no difference because it belonged to the Chandler estate no matter how it happened to come into Terry Cole's possession. So Bowers couldn't auction it off unless the Chandler estate authorised a sale. In which case, the money would go to the surviving Chandlers anyway.
“So how did the music come to be in his possession?”
“Oxfam? Jumble sale? I don't know. People sometimes throw out valuable belongings without realising, don't they? Or they shove them away in a suitcase or a cardboard box and the suitcase or box falls into someone else's hands. At any rate, the boy didn't say and I didn't ask. I did offer to track down the solicitors for the Chandler estate and turn the music over to them, to pass on to the widow and children. But Cole preferred to do that himself, hoping—he said—that there'd be a reward, at least, for handing over found property.”