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The Skull Beneath the Skin: A BBC Full-Cast Radio Drama

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Overview


Combining the classic ingredients of a murder mystery with elements of horror, apparitions and hairbreadth episodes, The Skull Beneath The Skin creates a dark and claustrophobic atmosphere in a masterpiece of crime fiction. When leading actress Clarissa Lisle receives threats to her life the young detective, Cordelia Gray, is hired to accompany her to a private island where she is going to star in The Duchess Of Malfi. In this gripping dramatization, the sharp-witted slueth, played by Greta Scaachi, finds ...
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The Skull beneath the Skin (Cordelia Gray Series #2)

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Overview


Combining the classic ingredients of a murder mystery with elements of horror, apparitions and hairbreadth episodes, The Skull Beneath The Skin creates a dark and claustrophobic atmosphere in a masterpiece of crime fiction. When leading actress Clarissa Lisle receives threats to her life the young detective, Cordelia Gray, is hired to accompany her to a private island where she is going to star in The Duchess Of Malfi. In this gripping dramatization, the sharp-witted slueth, played by Greta Scaachi, finds herself in the enclosed setting of a chilling country house on an island with a blood-stained history.

Intense mystery including an eccentric with a private jewel box of a theater and a fading actress whose comeback is booby-trapped.

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Editorial Reviews

Julian Symons
''The Skull Beneath the Skin'' is a disappointment to the extent that the criminal results don't flow as they should from the stated motives, but this is still an absorbing story, paced and written with fine calculation, a work quite beyond the scope of more than a very few of her contemporaries. -- New York Times
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Product Details

  • ISBN-13: 9780563529316
  • Publisher: Blackstone Audio, Inc.
  • Publication date: 2/23/2010
  • Series: Cordelia Gray Series , #2
  • Format: CD
  • Edition description: Unabridged
  • Product dimensions: 4.90 (w) x 5.60 (h) x 1.00 (d)

Meet the Author

P. D. James

P. D. James spent thirty years in various departments of the British Civil Service, including the Police and Criminal Law Departments of the Home Office. She has served as a magistrate and as a governor of the BBC. In 2000, P. D. James celebrated her eightieth birthday and published her autobiography, Time to Be in Earnest. The recipient of many prizes and honors, she was named Baroness James of Holland Park in 1991. She lives in London and Oxford.

Biography

Few writers have left so indelible an impression on crime fiction as P. D. (Phyllis Dorothy) James, an author whose elegant, bestselling novels have found an appreciative audience among readers and critics alike. James's intricately plotted books are filled with macabre events and shocking twists and turns, yet they are so beautifully written and morally complex that they cannot be dismissed as mere murder mysteries...although, in James's view, there's nothing "mere" about mysteries!

In James's native Britain (home of Wilkie Collins, Graham Greene, and the redoubtable Agatha Christie), the mystery is a time-honored form that has never been considered inferior. James explained her feelings in a 1998 interview with Salon.com: "It isn't easy to make this division and say: That's genre fiction and it's useless, and this is the so-called straight novel and we take it seriously. Novels are either good novels or they're not good novels, and that is the dividing line for me."

Although she always wanted to be a novelist, James came to writing relatively late in life. Her formal schooling ended at 16, when she went to work to help out her cash-strapped parents. In 1941 she married a doctor assigned to the Royal Army Medical Corps. He returned from WWII with a severe mental illness that lasted until his death in 1964, necessitating that James become the family breadwinner. She worked in hospital administration and then in various departments of the British Civil Service until her retirement in 1979. (Her experience navigating the labyrinthine corridors of government bureaucracies has provided a believable backdrop for many of her books.)

James's first novel, Cover Her Face, was published in 1962. An immediate success, it introduced the first of her two longtime series protagonists -- Adam Dalgleish, a police inspector in Scotland Yard and a published poet. Her second recurring character, a young private detective named Cordelia Gray, debuted in 1972's An Unsuitable Job for a Woman. Both Dalgliesh and Cordelia went on to star in a string of international bestsellers.

James has only occasionally departed from her series, most notably for the standalone mystery Innocent Blood (1980) and the dystopian sci-fi classic Children of Men (1992), which was turned into an Oscar-nominated film. In 2000, she published a slender "fragment of autobiography" called A Time to Be Earnest, described by The New York Time Book Review as " deeply moving, and all too short."

Good To Know

  • In television mini-series that have aired in the U.S. on PBS, British actors Roy Marsden and Martin Shaw have portrayed Adam Dalgliesh and Helen Baxendale has starred as Cordelia Gray.

  • James explained the essence of a murder mystery in a 2004 essay for Britain's Guardian: "E. M. Forster has written, 'The king died and then the queen died is a story. The king died and the queen died of grief is a plot. The queen died and no one knew why until they discovered it was of grief is a mystery, a form capable of high development.' To that I would add: the queen died and everyone thought it was of grief until they discovered the puncture wound in her throat. That is a murder mystery and, in my view, it too is capable of high development. "

  • In 1983, James was awarded the OBE. In 1991 she was made a Life Peer (Baroness James of Holland Park).

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      1. Also Known As:
        Phyllis Dorothy James White (full name)
      2. Hometown:
        London, England
      1. Date of Birth:
        August 3, 1920
      2. Place of Birth:
        Oxford, England
      1. Education:
        Attended the Cambridge High School for Girls from 1931 to 1937 and later took evening classes in hospital administration

    Table of Contents

    Book One: Call to an Off-shore Island

    Book Two: Dress Rehearsal

    Book Three: Blood Flies Upwards

    Book Four: The Professionals

    Book Five: Terror by Moonlight

    Book Six: A Case Concluded
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    First Chapter

    Chapter One

    There could be no doubt about it; the new nameplate was crooked. Cordelia had no need to adopt Bevis's expedient of dodging through the mid-morning traffic which cluttered Kingly Street and squinting at the plaque through a dazzle of grinding delivery vans and taxis to recognize stark mathematical fact: the neat bronze oblong, so carefully designed and so expensive, was half an inch out of true. Lopsided as it was, it looked, she thought, despite the simplicity of its wording, both pretentious and ridiculous, a fitting advertisement of irrational hope and ill-advised enterprise.


    PRYDE'S DETECTIVE AGENCY
    (Third Floor)
    PROP.: CORDELIA GRAY


    Had she been superstitious, she might have believed that Bernie's unquiet spirit was protesting against the new plaque with the deletion of his name. And, indeed, it had seemed at the time symbolic, the final obliteration of Bernie at her hands. She had never considered changing the name of the agency; while it remained in being it would always be Pryde's. But it had become increasingly irksome to be asked by her clients, disconcerted as much by her sex as by her youth, "But I thought I would be seeing Mr. Pryde." They might as well know from the start that there was now only one proprietor and she a female.

    Bevis rejoined her at the door, his pretty, mobile face a parody of desolation, and said, "I measured it carefully from the ground, honestly, Miss Gray."

    "I know. The pavement must be uneven. It's my fault. We should have bought a spirit level."

    But she had been trying to limit expenditure from petty cash, ten pounds a week kept in the battered cigarette tin inherited from Bernie with its picture of the battle of Jutland, from which money seemed to drain away by a mysterious process unrelated to actual expenditure. It had been only too easy for her to accept the assurance of Bevis, leaping from his typewriter, that he was handy with a screwdriver, forgetting that, for Bevis, any job was preferable to the one he was actually supposed to be doing.

    He said, "If I close my left eye and hold my head like this, it looks all right."

    "But we can't rely on a succession of one-eyed, wry-necked clients, Bevis."

    Glancing at Bevis's face, which had now fallen into an extreme of despair which would not have been inappropriate to the announcement of an atomic attack, Cordelia felt an obscure desire to comfort him for his own incompetence. One of the disconcerting aspects of being an employer of staff, a role for which she increasingly felt herself almost wholly unsuited, was this oversensitivity to their feelings coupled with a vague sense of guilt. This was the more irrational because, strictly speaking, she didn't directly employ either Bevis or Miss Maudsley. Both were hired from Miss Feeley's employment agency on a weekly basis when the agency's case load warranted it. There was seldom competition for their services; both were invariably and suspiciously available when asked for. Both gave her honesty, conscientious timekeeping, and a fierce loyalty; both would, no doubt, have also given her efficient secretarial service if that had lain in their power. Both added to her anxieties, since she knew that the failure of the agency would be almost as traumatic for them as for her.

    Miss Maudsley would suffer the more. She was a gentle, sixty-two-year-old rector's sister, eking out her pension in a bed-sitting-room in South Kensington, whose gentility, age, incompetence, and virginity had made her the butt of the countless typing pools through which she had drifted since her brother's death. Bevis, with his facile, slightly venial charm, was better equipped to survive in the London jungle. He was supposed to be a dancer working as a temporary typist while resting, an inappropriate euphemism when applied to such a restless boy, perpetually fidgeting in his chair or pirouetting on tiptoe, fingers splayed, eyes widened and alarmed, as if poised for flight. He was certificated to type thirty words a minute by an obscure secretarial school long since defunct, but Cordelia reminded herself that even they hadn't guaranteed his proficiency to undertake minor jobs as a handyman.

    He and Miss Maudsley were unexpectedly compatible, and a great deal more chat went on in the outer office between the bouts of inexpert typing than Cordelia would have expected from two such discordant personalities, denizens she would have thought of such alien worlds. Bevis poured out his domestic and professional tribulations, liberally laced with inaccurate and occasionally scurrilous theatrical gossip. Miss Maudsley applied to this bewildering world her own mixture of innocence, High Anglican theology, rectory morality, and common sense. Life in the outer office became very cozy at times, but Miss Maudsley had old-fashioned views on the proper distinction to be made between employer and employed and the inner room where Cordelia worked was sacrosanct.

    Suddenly Bevis cried out, "Oh, God, it's Tomkins!"

    A small black-and-white kitten had appeared at the doorway, shaken one exploratory paw with deceptive insouciance, stretched its tail rigid, then shivered with ecstatic apprehension and darted under a post-office van and out of sight. Bevis, wailing, fled in pursuit. Tomkins was one of the agency's failures, having been repudiated by a spinster of that name who had employed Cordelia to find her missing black kitten with a white eye patch, two white paws, and a striped tail. Tomkins precisely fulfilled the specifications, but his putative mistress had immediately known him for an impostor. Having rescued him from imminent starvation on a building site behind Victoria Station, they could hardly abandon him, and he now lived in the outer office with a dirt tray, a cushioned basket, and access to the roof via a partly opened window for his nightly excursions. He was a drain on resources, not so much because of the rising cost of cat food — although it was a pity that Miss Maudsley had encouraged an addiction to tastes beyond their means by providing the most expensive tin on the market for his first meal and that Tomkins, although in general a stupid cat, could apparently read labels — but because Bevis wasted too much time playing with him, tossing a Ping-Pong ball or drawing a rabbit's foot on string across the office floor with cries of "Oh, look, Miss Gray! Isn't he a clever leaping beastie?"

    The clever leaping beastie, having caused chaos among the traffic in Kingly Street, now streaked into the rear entrance of a pharmacy with Bevis in noisy pursuit. Cordelia guessed that neither kitten nor boy was likely to reappear for some time. Bevis picked up new friends as obsessively as others pick up litter, and Tomkins would be a great introducer. Oppressed by the realization that Bevis's morning was now fated to be almost entirely unproductive, Cordelia was aware of a lethargic disinclination to any further effort herself. She stood against the jamb of the doorway, closed her eyes, and lifted her face to the unseasonable warmth of the late-September sun. Distancing herself by an effort of will from the grind and clamor of the street, the pervading smell of petrol, the clatter of passing feet, she played with the temptation, which she knew she would resist, to walk away from it all, leaving the lopsided plaque as a memorial to her efforts to keep faith with the dead Bernie and his impossible dream.

    She supposed that she ought to be relieved that the agency was beginning to make a reputation for something, even if it was only for finding lost pets. Undoubtedly there was a need for such a service, and one in which she suspected they had a monopoly; and the clients, tearful, desperate, outraged by what they saw as the callous indifference of the local C.I.D., never haggled at the size of the bill and paid more promptly than Cordelia suspected they might have done for the return of a relative. Even when the agency's efforts had been unsuccessful and Cordelia had to present her account with apologies, the bill was invariably paid without demur. Perhaps the owners were motivated by the natural human need at a time of bereavement to feel that something had been done, however unlikely that something, to achieve success. But frequently there were successes. Miss Maudsley, in particular, had a persistence in door-to-door inquiries, coupled with an almost uncanny empathy with the feline mind, that had restored at least half a dozen cats, damp, half starved, and feebly mewing, to their ecstatic owners, while occasionally exposing the perfidy of those animals which had been living a double life and had transferred more or less permanently to their second home. She managed to conquer her timidity when in pursuit of cat thieves and on Saturday mornings walked purposefully through the rowdy exuberance and half-submerged terrors of London's street markets as if under divine protection, which no doubt she felt herself to be. But Cordelia wondered from time to time what poor, ambitious, pathetic Bernie would have thought about the debasement of his dream child. Lulled into a trancelike peace by the warmth and the sun, Cordelia recalled with startling clarity that confident, overloud voice: "We've got a gold mine here, partner, if once we get started." She was glad that he couldn't know how small the nuggets and how thin the seam.

    A voice, quiet, masculine, and authoritative, broke into her reverie.

    "That nameplate's crooked."

    "I know."

    Cordelia opened her eyes. The voice was deceptive: he was older than she had expected, she guessed a little over sixty. Despite the heat of the day he was wearing a tweed jacket, well tailored but old, with leather patches on the elbows. He wasn't tall, perhaps no more than five feet ten inches, but he stood very upright with an easy, confident stance, almost an elegance, which she sensed concealed an inner wariness as if he were tensed for a word of command. She wondered if he had once been a soldier. His head was held high and fixed, the gray and somewhat sparse hair brushed smoothly back from a high, creased forehead. The face was long and bony, with a dominant nose jutting from cheeks reddened and crossed by broken veins, and a wide, well-shaped mouth. The eyes which scrutinized her, not, she felt, unbenignly, were keen under the bushy eyebrows. The left brow was held higher than the right, and she saw that he had a habit of twitching his brows and working the corners of the wide mouth; it gave his face a restlessness which was singularly at variance with the stillness of his body and which made it slightly embarrassing for her to meet his eyes.

    He said, "Better get the job done properly."

    She watched without speaking while he put down the briefcase he was carrying, took from a pocket a pen and his wallet, found a card, and wrote on the back of it in an upright, rather schoolboyish hand.

    Taking the card, Cordelia noted the single name, Morgan, and the telephone number, then turned it over. She read: Sir George Ralston, Bt., D.S.O., M.C.

    So she was right. He had been a soldier. She asked, "Will he be expensive, this Mr. Morgan?"

    "Less expensive than making a nonsense. Tell him I gave you his number. He'll charge what the job's worth, no more."

    Cordelia's heart lifted. The lopsided name plaque, gravely surveyed by the critical eye of this unexpected and eccentric knight errant, suddenly seemed to her irresistibly funny, no longer a calamity but a joke. Even Kingly Street was transformed with her mood and became a glittering, sunlit bazaar, pulsating with optimism and life. She almost laughed aloud.

    Controlling her trembling mouth, she said gravely, "It's very kind of you. Are you a connoisseur of nameplates or just a public benefactor?"

    "Some people think I'm a public menace. Actually, I'm a client; that is, if you're Cordelia Gray. Don't people ever tell you..."

    Cordelia, unreasonably, was disappointed. Why should she have supposed that he was different from other male clients? She finished the sentence for him: "That it's an unsuitable job for a woman? They do, and it isn't."

    He said mildly, "I was going to say, 'Don't they ever tell you that your office is difficult to find?' This street's a mess. Half the buildings aren't properly numbered. Too much change of use, I suppose. But the new plate should help when it's properly fixed. Better get it done. Gives a poor impression."

    At that moment Bevis panted up beside them, his curls damp with exertion, the telltale screwdriver protruding from his shirt pocket. Holding the richly purring Tomkins against one flushed cheek, he presented his charming delinquency to the newcomer. He was rewarded by a curt "A botched job, that" and a look which instantly rejected him as officer material. Sir George turned to Cordelia.

    "Shall we go up, then?"

    Cordelia avoided Bevis's eyes, which she guessed were rolling heavenward, and they climbed the narrow, linoleum-covered stairs in single file, Cordelia leading, past the single lavatory and washroom which served all the tenants in the building (she hoped that Sir George wouldn't need to use it), and into the outer office on the third floor. Miss Maudsley's anxious eyes looked up at them over her typewriter. Bevis deposited Tomkins in his basket (where he at once began washing away the contamination of Kingly Street), gave Miss Maudsley a wide-eyed admonitory look, and mouthed the word client at her. Miss Maudsley flushed, half rose from her chair, then subsided and applied herself to painting out an error with a shaking hand. Cordelia led the way into her inner sanctum.

    When they were seated, she asked, "Would you like some coffee?"

    "Real coffee or ersatz?"

    "Well, I suppose you'd call it ersatz. But best-quality ersatz."

    "Tea, then, if you have it, preferably Indian. Milk, please. No sugar. No biscuits."

    The form of the request was not meant to be offensive. He was used to ascertaining the facts and then asking for what he wanted.

    Cordelia put her head outside the door and said, "Tea, please" to Miss Maudsley. The tea, when it arrived, would be served in the delicate Rockingham cups which Miss Maudsley had inherited from her mother and had lent to the agency for the use of special clients only. She had no doubt that Sir George would qualify for the Rockingham.

    They faced each other across Bernie's desk. His eyes, gray and keen, inspected her face as if he were an examiner and she a candidate, which in a way she supposed she was. Their sudden, direct, and glittering stare, in contrast to the spasmodically grimacing mouth, was disconcerting.

    He said, "Why do you call yourself Pryde's?"

    "Because the agency was set up by an ex-Metropolitan policeman, Bernie Pryde. I worked for him for a time as his assistant, and then he made me his partner. When he died he left the agency to me."

    "How did he die?"

    The question, sharp as an accusation, struck her as odd, but she answered calmly. "He cut his wrists."

    She didn't need to close her eyes to see again that remembered scene, garish and sharply outlined as a cinema still. Bernie had lain slumped in the chair in which she now sat, his half-clenched right hand close to the open cutthroat razor, his shrunken left hand, with its scored and gaping wrist, resting palm upwards in the bowl like some exotic sea anemone glimpsed in a rock pool, curling in death its pale and wrinkled tentacles. But no rock pool had ever been so brightly pink. She could smell again the sickly sweet, insistent odor of freshly spilled blood.

    "Killed himself, did he?"

    His tone lightened. He might have been a golfing partner congratulating Bernie on a well-placed putt, while his quick glance around the office suggested that the action had been in all the circumstances entirely reasonable.

    She had no need to see the room through his eyes. What she saw through her own was depressing enough. She and Miss Maudsley had redecorated her office together, painting the walls pale yellow to give an impression of greater light and cleaning the faded carpet with a proprietary liquid; it had dried patchily so that the final impression reminded her of diseased skin. With its newly washed curtains, the room at least looked clean and tidy, too tidy since the absence of clutter suggested no great pressure of work. Every surface was crammed with plants. Miss Maudsley had green fingers, and the cuttings she had taken from her own plants and lovingly tended in a variety of oddly shaped receptacles picked up during her forays into the street markets had flourished despite the poor light. The resulting rampant greenery suggested that it had been cunningly deployed to conceal some sinister defect in the structure or decor. Cordelia still used Bernie's old oak desk, still imagined that she could trace the outline of the bowl in which he had bled away his life, could still identify one particular stain of spilled blood and water. But then there were so many rings, so many stains. His hat, with its upturned brim and grubby ribbon, still hung on the curved wooden coat stand. No jumble sale would take it, and she found herself unable to throw it away. Twice she had taken it as far as the dustbin in the backyard but had been unable to drop it in, finding this final symbolic rejection of Bernie even more personal and traumatic than the exclusion of his name from the brass plaque. If the agency did finally fail — and she tried not to think what the new rent would be when the present lease came up for renewal in three years' time — she supposed that she would still leave the hat hanging there in its pathetic decrepitude for unknown hands to toss with fastidious distaste into the wastepaper basket.

    The tea arrived. Sir George waited until Miss Maudsley left. Then, measuring milk carefully into his cup, drop by drop, he said, "The job I'm offering is a mixture of functions. You'd be part bodyguard, part private secretary, part investigator, and part — well, nursemaid. A bit of everything. Not everyone's cup of tea. No knowing how it may turn out."

    "I'm supposed to be a private investigator."

    "No doubt. Shouldn't be too purist in these times. A job's a job. And you could find yourself involved in detection, even in violence, although it doesn't seem likely. Unpleasant but not dangerous. If I thought there was any real risk to my wife or to you I wouldn't be employing an amateur."

    Cordelia said, "Perhaps you could explain what exactly you want me to do."

    He frowned into his tea as if reluctant to begin. But when he did his account was lucid, concise, and unhesitating.

    "My wife is the actress Clarissa Lisle. You may have heard of her. Most people seem to know of her, although she hasn't worked much recently. I am her third husband; we married in June 1978. In July 1980 she was employed to play Lady Macbeth at the Duke of Clarence's Theater. On the third night of the advertised six-month run she received what she saw as a death threat. These threats have continued intermittently ever since."

    He began sipping his tea. Cordelia found herself gazing at him with the anxiety of a child hoping that her offering is acceptable. The pause seemed very long. She asked, "You said that she saw the first note as threatening. Are you implying that its meaning was ambiguous? What form exactly do these threats take?"

    "Typewritten notes. Variety of machines by the look of it. Each communication surmounted by a small drawing of a coffin or a skull. All are quotations from plays in which my wife has appeared. All the quotations deal with death or dying: the fear of death, the judgment of death, the inevitability of death."

    The reiteration of that numinous word was oppressive. But surely it was her imagination that he twisted it on his lips with mordant satisfaction. She said, "But they don't specifically threaten her?"

    "She sees this harping on death as threatening. She's sensitive. Actresses have to be, I suppose. They need to be liked. This isn't friendly. I have the notes here, the ones she kept. The first ones were thrown away. You'll need the evidence."

    He clicked open the briefcase and took out a stout manila envelope. From it he spilled a heap of small sheets of paper and began spreading them over the desk. She recognized the type of paper at once; it was a popular, medium-quality white writing paper sold over thousands of stationery counters in three sizes with envelopes to match. The sender had been economical and had selected the smallest size. Each sheet bore a typed quotation surmounted by a small drawing about one inch high, of either an up-ended coffin with the initials R.I.P. on the lid or a skull with crossbones. Neither had required much skill; they were emblems rather than accurate representations. On the other hand they were drawn with a certain sureness of line and decorative sense which suggested some facility with the pen or, in this case, with a black-tipped ballpoint. Under Sir George's bony fingers the white slips of paper with their stark black emblems shifted and rearranged themselves like the cards for some sinister game, hunt the quotation, murderer's snap.

    Most of the quotations were familiar, words which would readily come to the mind of anyone reasonably well read in Shakespeare and the Jacobeans who chose to ponder references in English drama to death and the terror of dying. Even reading them now, truncated and childishly embellished as they were, Cordelia felt their nostalgic power. The majority of them were from Shakespeare and the obvious choices were there. The longest by far — and how could the sender have resisted it? — was Claudio's anguished cry from Measure for Measure:


    Ay, but to die, and go we know not where,
    To lie in cold obstruction and to rot,
    This sensible warm motion to become
    A kneaded clod and the delighted spirit
    To bathe in fiery floods, or to reside
    In thrilling region of thick-ribbèd ice —
    To be imprisoned in the viewless winds,
    And blown with restless violence round about
    The pendent world
    .....................
    The weariest and most loathèd worldly life
    That age, ache, penury, and imprisonment
    Can lay on nature is a paradise
    To what we fear of death.


    It was difficult to interpret that familiar passage as a personal threat, but most of the other quotations could be seen as more directly intimidating, hinting, she thought, at some retribution for real or imagined wrongs.


    He that dies pays all debts.
    Oh, thou weed!
    Who are so lovely fair and smell'st so sweet
    That the sense aches at thee, would thou hadst ne'er been born!


    Some care had been taken in the choice of illustration. The skull adorned the lines from Hamlet —


    Now get thee to my lady's chamber, and tell her, let
    her paint an inch thick, to this favour she must come


    — as it did a passage which Cordelia thought might be from John Webster, although she couldn't identify the play:


    Being heretofore drown'd in security,
    You know not how to live, nor how to die;
    But I have an object that shall startle you,
    And make you know whither you are going.


    But, even allowing for the sensitivity of an actress, it would take a fairly robust egotism to wrench these familiar words from their contexts and apply them to oneself; that, or a fear of dying so strong as to be morbid. She took a new notebook from her desk drawer and asked, "How do they arrive?"

    "Most come by post in the same sort of envelope as the paper and with the address typed. My wife didn't think to keep any of the envelopes. A few were delivered by hand either at the theater or at our London flat. One was pushed under the dressing-room door during the run of Macbeth. The first half dozen or so were destroyed — best thing to do with them all in my view. These twenty-three are all we now have. I've numbered them in pencil on the back in the order of receipt as far as my wife can remember and with information about when and how each was delivered."

    "Thank you. That should be helpful. Your wife has played a great deal of Shakespeare?"

    "She was a member of the Malvern Repertory Company for three years after she left drama school and played a fair amount then. Less in recent years."

    "And the first of these — which she threw away — came when she was playing Lady Macbeth. What happened?"

    "The first one was upsetting, but she told no one about it. Thought it was an isolated bit of malice. She says she can't remember what it said, only that it had the drawing of a coffin. Then a second came, and a third, and fourth. During the third week of the season my wife kept breaking down and had to be continually prompted. On the Saturday she ran off the stage during the second act and her understudy had to take over. It's all a matter of confidence. If you think you're going to dry up — drying is the theatrical jargon, I believe — then you dry. She was able to return to the part after a week, but it was a struggle to get through the six weeks. After that she was due to appear at Brighton in a revival of one of those thirties murder mysteries, the sort where the ingenue is called Bunty, the hero is Clive, and all the men wear long tennis flannels and keep dashing in and out of french windows. Curious affair. Not exactly her kind of part — she's a classical actress — but there aren't a lot of opportunities for middle-aged women. Too many good actresses chasing too few parts, so they tell me. Same thing happened. The first quotation appeared on the morning the play opened, and they came at regular intervals thereafter. The play came off after four weeks, and my wife's performance may have had something to do with it. She thought so. I'm not so sure. It was a stupid plot; couldn't make sense of it myself. Clarissa didn't act again until she accepted a part in Webster's The White Devil at Nottingham, Victoria something or other."

    "Vittoria Corombona."

    "Was that it? I was in New York for ten days and didn't see it. But the same thing happened. The first note arrived again on the day the play opened. This time my wife went to the police. Not much joy. They took the notes away, thought about them, and brought them back. Sympathetic but not very effective. Made it obvious that they didn't take the death threat seriously. Pointed out that if people are serious about killing, they do it, they don't just threaten. Must say, that was rather my view. They did discover one thing, though. The note which arrived while I was in New York was typed on my old Remington."

    Cordelia said, "You still haven't explained how you think I can help."

    "Coming to that. This weekend my wife is to play the leading role in an amateur production of The Duchess of Malfi. The play is to be given in Victorian dress and will take place on Courcy Island about two miles off the Dorset coast. The owner of the island, Ambrose Gorringe, has restored the small Victorian theater which was first built by his great-grandfather. I understand that the original Gorringe, who rebuilt the ruined medieval castle, used to entertain the Prince of Wales and his mistress, the actress Lillie Langtry, and the guests used to amuse themselves with amateur theatricals. I suppose the present owner is trying to restore past glories. There was an article in one of the Sunday papers about a year ago describing the island, the restoration of the castle, and theater. You may have seen it."

    Cordelia couldn't recall it. She said, "And you want me to go to the island and be with Lady Ralston?"

    "I hoped to be there myself, but that won't now be possible. I have a meeting in the west country which I can't miss. I propose to motor down to Speymouth with my wife early Friday morning and take leave of her at the launch. But she needs someone with her. This performance is important to her. There's to be a revival of the play at Chichester in the spring, and if she can regain her confidence she might feel that she can do it. But there's more to it than that. She thinks that the threats may come to a head this weekend, that someone will try to kill her on Courcy Island."

    "She must have some reason for thinking that."

    "Nothing that she can explain. Nothing that would impress the police. Not rational, perhaps. But that's what she feels. She asked me to get you."

    And he had come to get her. Did he always procure for his wife whatever she wanted? She asked again, "What precisely am I being employed to do, Sir George?"

    "Protect her from nuisance. Take any telephone calls which come for her. Open any letters. Check the set before the performance if you get the chance. Be on call at night; that's when she's most nervous. And bring a fresh mind to the question of the messages. Find out, if you can in just three days, who is responsible."

    Before Cordelia could respond to these concise instructions, there came again that disconcerting pierce of gray frown under the discordant brows.

    "D'you like birds?"

    Cordelia was temporarily nonplussed. She supposed that few people, except those afflicted with a phobia, would admit to not liking birds. They are, after all, one of the most graceful of life's fragile diversions. But she supposed that Sir George was covertly inquiring whether she could recognize a marsh harrier at fifty yards. She said cautiously, "I'm not very good at identifying the less common species."

    "Pity. The island's one of the most interesting natural bird sanctuaries in Great Britain, probably the most remarkable of those in private hands, almost as interesting as Brownsea Island in Poole Harbor. Very similar, come to think of it. Courcy has as many rare birds, the blue-eared and Swinhold pheasants as well as Canada geese, black godwits, and oyster catchers. Pity you're not interested. Any questions — about the case, I mean?"

    Cordelia said tentatively, "If I'm to spend three days with your wife, ought she not to interview me before any decision is made? It's important that she feel she can trust me. She doesn't know me. We haven't even met."

    "Yes, you have. That's how she knows she can trust you. She was having tea with a Mrs. Fortescue last week when you returned the Fortescue cat — Solomon, I think the brute's called. Apparently you found him within thirty minutes of beginning the search, so your bill was correspondingly small. Mrs. Fortescue is devoted to the animal. You could have charged treble. She wouldn't have queried it. That impressed my wife."

    Cordelia said, "We're rather expensive. We have to be. But we are honest."

    She remembered the drawing room in Eaton Square, a feminine room if femininity implies softness and luxury; a cluttered, cozy repository of silver-framed photographs, an overlavish tea on a low table in front of the Adam fireplace, too many flowers conventionally arranged. Mrs. Fortescue, incoherent with relief and joy, had introduced her guest to Cordelia as a matter of form, but her voice, muffled in Solomon's fur, had been indistinct and Cordelia hadn't caught the name. But the impression had been definite. The visitor had sat very still in her armchair beside the fireplace, one thin leg thrown over the other, heavily ringed hands resting on the arms. Cordelia recalled yellow hair intricately piled and wound above a tall forehead, a small, bee-stung mouth, and immense eyes, deep-set but with heavy, almost swollen lids. She had seemed to impose on the lush conformity of the room a hieratic and angular grace, a distinction which, despite the plainness of the formal suede suit, hinted at some histrionic or eccentric individuality. She had gravely bent her head and watched her friend's effusions with a half-mocking smile. Despite her stillness there had been no impression of peace.

    Cordelia said, "I didn't recognize your wife but I remember her very well."

    "And you'll take the job?"

    "Yes, I'll take it."

    He said without embarrassment, "Rather different from finding lost cats. Mrs. Fortescue told my wife what you charge per day. This will be higher, I suppose."

    Cordelia said, "The daily rate is the same whatever the job. The final bill depends on the time taken, whether I have to use either of my staff, and the level of expenses. These can sometimes be high. But as I'll be a guest on the island, there will be no hotel bills. When do you want me to arrive?"

    "The launch from Courcy — it's called Shearwater — will be at Speymouth jetty to meet the nine-thirty-two from Waterloo. Your ticket's in this envelope. My wife has telephoned to let Mr. Gorringe know that she's bringing a secretary-companion to help her with various odd jobs during the weekend. You'll be expected."

    So Clarissa Lisle had been confident that she would take the job. And why not? She had taken it. And she was apparently equally confident of being able to get her way with Ambrose Gorringe. Her excuse for including a secretary in the party was surely rather thin, and Cordelia wondered how far it had been believed. To arrive for a country-house weekend accompanied by one's private detective was permissible for royalty, but from any less elevated guest showed a lack of confidence in one's host, while to bring one incognito might reasonably be regarded as a breach of etiquette. It wasn't going to be easy to protect Miss Lisle without betraying that she was there under false pretenses, a discovery which would hardly be agreeable for either her host or fellow guests. She said, "I need to know who else will be on the island and anything you can tell me about them."

    "There's not much I can tell. There'll be about one hundred people on the island by Saturday afternoon when the cast and invited audience arrive. But the house party is small. My wife, of course, with Tolly — Miss Tolgarth — her dresser. Then my wife's stepson, Simon Lessing, will be there. He's a seventeen-year-old schoolboy, the son of Clarissa's second husband, who drowned in August 1977. He wasn't happy with the relatives who were his guardians, so my wife decided to take him on. I'm not sure why he's invited; music's his interest. Clarissa probably thought it was time he met more people. He's a shy boy. Then there's her cousin, Roma Lisle. Used to be a schoolmistress but now keeps a bookshop somewhere in north London. Unmarried, age about forty-five. I've only met her twice. I think she may be bringing her partner with her, but if so, I can't tell you who he is. And you'll meet the drama critic Ivo Whittingham. He's an old friend of my wife's. He's supposed to be doing a piece about the theater and the performance for one of the color magazines. Ambrose Gorringe will be there, of course. And there are three servants, the butler, Munter, his wife, and Oldfield, who is the boatman and general factotum. I think that's all."

    "Tell me about Mr. Gorringe."

    "Gorringe has known my wife since childhood. Both their fathers were in the diplomatic. He inherited the island from his uncle in 1977 when he was spending a year abroad. Something to do with tax avoidance. He came back to the UK in 1978 and has spent the last three years restoring the castle and looking after the island. Middle-aged. Unmarried. Read history at Cambridge, I believe. Authority on the Victorians. I know no harm of him."

    Cordelia said, "There's one last question I have to ask. Your wife apparently fears for her life, so much so that she is reluctant to be on Courcy Island without protection. Is there any one of that company whom she has reason to fear, reason to suspect?"

    She could see at once that the question was unwelcome, perhaps because it forced him to acknowledge what he had implied but never stated, that his wife's fear for her life was hysterical and unreal. She had demanded protection and he was providing it. But he didn't think it was necessary; he believed neither in the danger nor in the means he was employing to reassure her. And now some part of his mind was repelled by the thought that his wife's host and her fellow guests were to be under secret surveillance. He had done what his wife had asked of him, but he didn't like himself any the better for it.

    He said curtly, "I think you can put that idea out of your head. My wife has no reason to suspect any of the house party of wishing to harm her, no reason in the world."

    Copyright © 1982 by P. D. James

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    Sort by: Showing all of 7 Customer Reviews
    • Posted August 5, 2013

      A great who done it

      Second mystery of Cordelia is as good as the first. The woman dective has her hands full because all suspects could have done the killing and all were isolated on an island weekend. Keeps you guessing and is great reading.

      1 out of 1 people found this review helpful.

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    • Anonymous

      Posted May 21, 2014

      Genuinely one o the creepiest books I've ever read.

      Genuinely one o the creepiest books I've ever read.

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