The Bulgari Connection (5 page)

It was nonsense of course, yet oddly persuasive. Doris herself had a Mother Courage turn of mind. The land belongs to those who till it. The children belong to those who look after them. The house belongs to those who love it. Yet what had Grace ever done for Wild Oats except let the mice take over and the Agas rust, and not touch the plumbing since the day she moved in, back in eighty something.

Perhaps Barley would have her portrait painted: if the young painter – Walter Wells – came to the flat she could just about afford the time, find a window or two in her busy diary, at least it was only round the corner from work. Just to sit and be, and be appreciated. The more she thought about it, the better a deal keeping her flat seemed. Lady Juliet could be moved to the bathroom, her own portrait could take pride of place in the living room, which heaven knows had seemed attractive enough until Barley came along and dangled Wild Oats under her nose. And she needed a night or so alone from time to time. Sex with Barley was quite exhausting: it wasn't exactly the price you had to pay with a new man, because in all fairness she enjoyed it too, but it was tiring if you were trying to run an arts programme as well.

‘Fourteen thousand,' said Sir Ronald's colleague, Billyboy Justice

‘Good Lord,' came Lady Juliet's laughing, charming voice, ‘fancy being worth so much! You're all such flatterers.' ‘I don't know what's in it for Barley Salt,' said Sir Ronald sotto voce to his wife, ‘but if that peasant Justice thinks I'm doing him any favours because he's buying you for his bedroom wall he's very mistaken.' Sir Ronald loved Lady Juliet. Everybody seemed to love Lady Juliet, that was the trouble. She was so used to adoration she couldn't tell a come-on from a chat. He had named a range of landmines after her, in those bad old savage days when there was more money in making arms than in taking the things to bits.

‘Fifteen thousand,' said Barley.

‘You're so sweet to me, Barley,' said Doris, thinking of other things.

‘Sixteen thousand,' said Billyboy. He had started life as a chemist. His face had been burned in an explosion when he had been about to show a Defence Minister around his plant in Utah. The ecologists had got their knickers in a twist about saran emissions; the de-commissioning work itself was a simple enough process: you just cut up the weapons in a masher and then stewed them in water at forty degrees and most of the chemicals decomposed, or would were it not for the conventional propellants and explosives intrinsic to the weapons. It was these which could all too easily recombine in hot water and simply and old-fashionedly go off. Fortunately none of the Minister's party had been injured – and the contract had gone through. But for its renewal it needed a firm lobbying hand in parliament, which Sir Ronald could provide.

‘Seventeen thousand,' said a squat man who had come to stand next to Billyboy. A Russian accent.

Barley turned to Lady Juliet.

‘Who's the commissar?' he asked.

‘Billyboy brought him along. Makarov, I think his name is. He looks a bit fierce, the way these men from Moscow do, but he's a real charmer. But then I love anyone who puts the bidding up.'

‘Eighteen,' called out Barley.

‘That's the way to go!' cried the auctioneer. ‘Any advance on eighteen?'

‘Twenty,' said a voice from the back and everyone turned to look at Grace, who blushed.

When Walter Wells went up on the little stage to say a few words about the role of art in eradicating world poverty he looked absurdly young and pretty. It was hard for anyone to take him seriously. He looked neither sufficiently corrupt for a young artist nor world weary enough for an old. He was badly in need of gravitas, thought Grace, but no doubt the passage of time would both bless and curse him with it.
If youth but knew, if age but could
…

Grace had assumed that Walter Wells was gay. He reminded her of her son Carmichael, now in Sydney whence he had fled from Barley. Lustrous black curls, narrow and Greek-God-ish face, lissom build, soft voice, intolerably handsome, dressed in shades and textures of black. Polo-necked black silk sweater, a waistcoat in thick, black cotton, black denim jeans; Carmichael had once told Grace all black hues were different, there was no such thing as true black; and she had been noticing this phenomenon ever since. In Walter Wells' case, unlike Carmichael's, as she was to discover, the layered effect was achieved with neither effort nor design by simply putting all garments through the washing machine at whatever temperature the dial happened to be pointing at. But then Walter was an artist, and Carmichael was a dress designer.

Grace's psychotherapist, Dr Jamie Doom, had told her that she should ‘let Carmichael go'. That he had his own life to live, and had chosen wisely in going to Australia to do it, far away from his domineering father. He was not convinced by Grace's assertion that Carmichael – christened John Carmichael Salt, he preferred to use the middle name – had assiduously developed first his stammer and then his gayness in order to annoy Barley. Grace, he said, was being unrealistic in her disappointment – that Carmichael hadn't flown back to intervene and take his mother's side when Doris first appeared over the domestic horizon. She was unreasonable to hope he'd be in Court to give moral support – ‘not even there to watch me being sent down!' No doubt, said Dr Jamie Doom, from the sound of it Carmichael had his own pressing emotional problems in Sydney: perhaps, when it came to his parents, he wished a plague on both their houses. As it were.

Sometimes she suspected Dr Doom was in Barley's pay.

As for the Manor House, where she and Barley had spent so many good years, Jamie Doom could not seem to understand why the thought of Doris Dubois changing its name to Wild Oats and tearing it to bits so upset her. ‘You told me you didn't like the place,' he said. ‘Too big, too gloomy and too ostentatious.'

A hundred acres and peacocks which kept them awake at night, built by an 1860 version of Barley, who had made his money in railways, and tried to design it himself, all dark panelling and echoey plumbing. They'd moved in when Carmichael was six: when Barley made his first million. She'd wanted to stay where she was, with Carmichael at the local school, friends with other parents, a small garden to record the passage of the seasons, the familiar and the safe, down-market according to her parents' looks when they came to visit, but fine by Grace. But how Barley wanted to take the look off their faces. If he thought he'd do it by moving the family into the Manor House he was mistaken. ‘A little ostentatious, darling,' they had said. ‘But if you like it …'

And then there'd been the matter of the two Rolls-Royces. Grace had begged Barley not to, but nothing would stop him. In the year Carmichael was born both her sisters married: Emily to an estate manager in Yorkshire, Sara to a stockbroker in Sussex. Both had big weddings. Barley insisted on arriving in a hired Rolls: it was money they could hardly afford at the time. Grace had assured her husband that there were other ways of demonstrating his worth – surely her evident happiness was enough to keep her parents in their place, just about. But he wanted to impress, to sweep away their doubts, as he swept away hers.

When she first took him home the McNabs had taken him for a man of no education, some kind of building labourer. Within three months of his marriage to their daughter he'd been site foreman, within a year at business school, working and saving while Grace worked in a dress shop to pay the bills – a job at which she'd been spectacularly bad – and then into property, and able to buy two Rolls-Royces. But it was never enough for her parents, and could never be enough for Barley. Only Doris Dubois would turn out to be that.

Barley's first crash came when Carmichael was nine. The bottom suddenly fell out of the property market. The millions vanished. He had prudently put the Manor House into Grace's name, and the two Rolls-Royces too. Emily and Sara's husbands had invested heavily in Barley's business. They lost all they had too, including their houses. Grace wanted to sell the Manor House and share what there was. But Barley was against it.

‘Of course he would be,' said Dr Doom, hearing the story. ‘You had to have somewhere to live. Others must be responsible for their own lives.' If the Court hadn't made going to therapy a condition of her freedom she would have got up and walked out there and then.

‘But the cars,' she said.

‘What about the cars?'

‘Nobody needs two Rolls-Royces in the drive,' she said. ‘It's not as if I could drive. I wanted to sell them to help Emily and Sara, but he wouldn't hear of it.'

‘Quite right,' said Dr Doom. ‘The resale value of those cars is absurd.'

It was what Barley had said at the time. Since her prison sentence it had sometimes seemed to Grace that all men were the same man. It had certainly been the view of men enjoyed by most of her fellow inmates. They tended to have husbands and lovers who got drunk and beat them about, whom they wouldn't leave because they loved them, but were nevertheless seldom inclined to speak well of men in general.

Sometimes, lately, Grace had felt nostalgia for prison. At least the place was well-peopled, albeit with a class of people to whom she wasn't accustomed. She had even made a friend: Ethel, a bookmaker who had run off with her employer's takings and earned three years for her pains. Ethel would be coming out in a couple of months; then Grace would find out how good a friend she was. Ethel might prefer to put the past behind her and Grace would understand it if she did.

Her own family had chosen to put any past which included her behind them, and she could understand that too. By the time Barley was declared bankrupt Grace's sisters were not speaking to her, and her parents barely so. They felt not only justified in their initial suspicions of their eldest daughter's husband, but that she had been tainted by him in some way. Nor did his return to prosperity impress them. They none of them came to visit her in jail. They'd felt they had put up with enough already when they opened the
Telegraph
one morning to find Grace's picture staring back at them, portrayed as an aggrieved and murderous wife. She had only herself to blame.

Grace had been out of society for so long, embroiled in a divorce, a court case, a prison sentence, then the shock of the new in her gloomy, lonely apartment, that she easily misjudged what was going on around her. Even leaving Carmichael out of it, it was not surprising that she assumed Walter Wells was gay. It had become the tactic of many perfectly heterosexual young men to affect a misleading campness as if in self-defence: a softness of voice, a delicacy of movement, an all-pervasive irony of gesture. This they did to obviate the anticipated reaction of so many young women they approached. ‘
Don't you lay hands on me, you rude, crude, heterosexual beast, you macho scum, all sex is rape, stop looking at me in that disgusting way, you're harassing me, stalking me, go away!
To take on the colours of gayness was to be given time and space to charm and flirt their way in, as Walter Wells now did into Grace Salt's comprehension. She did not turn her head away: she recognised a fellow victim, a young man who might be Carmichael, someone with whom the world was not fully at ease, and so she consented to smile and talk to him, and have fellow feeling with him, and not turn her head stiffly away.
‘We both know how to suffer
.'

It was true she had wondered where exactly Walter Wells' self-interest lay. She was not naïve. She was well aware that beautiful and fashionable young men do not talk to unfashionable women and flatter them unless there is some deeper agenda at work. They do not sit smiling and chatting out of sheer goodness of heart, not to a depressed woman of a certain age, wearing an old dress found in the bottom of a suitcase snatched from home in her hurry to leave, a dress she wore on her honeymoon. (A shake and a cloud of dust and it had seemed to Grace as fit to wear as anything ever would.) But what could the agenda be? She did not look rich or important. She was not hung with jewels. She did not look like the kind of person who would commission a painting of herself, sitting as she did lonely and neglected in a corner, trying to be invisible. And besides, men did that: husbands, fathers, lovers, the kind of men Grace now, perforce, did without. Perhaps she reminded him of his mother? She decided that was it. He was a young man of charm and talent, lucky enough to have Lady Juliet's sponsorship and attention, but he was sensitive and edgy, the artist amongst patrons, and insecure as befitted his age; and thus he had sought her out, dull and dowdy as she was.

When Barley had entered the room with Doris, flushed and pleased, and all conversation was stilled in acknowledgement of their presence, their celebrity status, Grace had felt what she later described as the ‘thickening of the blood in her veins'. Doris saw her, but looked through her as if she did not exist; which was to be expected. But Barley saw her and waved, and in this gesture Grace read the end of all intimacy. He did not even have the interest left to hate her. Her heart faltered; it could hardly get the blood round her body it was so sluggish, as if she'd gone out of a warm room into the sudden sharp and horrid cold of a blizzard. It was the cold of disappointment, the knowledge that Barley was gone from her forever. If it was not one painful truth which dawned in upon her, it was another.

How hard it was to rid herself of the feeling that Barley was somehow still on her side. That when the chips were down he would leave this room with her, not Doris, and the joke would be over. And then it would be her turn to play, and perhaps she would toss her head and say
no! who? you? who are you to me?
and go home with someone else. Or perhaps not. Barley had been to visit her in prison, but she had refused to see him. Some few powers prisoners do have, and this was one of them. Simply to snub. Except as the long hours dragged by, locked in her cell – so many staff were engaged in the attempt to forestall the passage of drugs by kiss, or embrace; to dampen down hysteria, or cart back the screaming, and the distracted and the lost-it to their quarters, that those without visitors must stay locked up – the spasm of pride had seemed mere folly. And now! Locked in her head, her body, her mouth smiling; while the few people who remembered she was there at all turned to see how Grace once Salt, now Grace McNab, reacted to the entrance of the noted celebrity lovers.