Heirs and Assigns Read online

  Table of Contents

  Cover

  A Selection of Recent Titles by Marjorie Eccles

  Title Page

  Copyright

  Part One

  Chapter One

  Chapter Two

  Chapter Three

  Chapter Four

  Part Two

  Chapter Five

  Chapter Six

  Chapter Seven

  Chapter Eight

  Chapter Nine

  Chapter Ten

  Chapter Eleven

  Chapter Twelve

  Chapter Thirteen

  Chapter Fourteen

  Chapter Fifteen

  Chapter Sixteen

  Part Three

  Chapter Seventeen

  Chapter Eighteen

  Chapter Nineteen

  Chapter Twenty

  Chapter Twenty-One

  Chapter Twenty-Two

  Chapter Twenty-Three

  Chapter Twenty-Four

  Chapter Twenty-Five

  Epilogue

  A Selection of Recent Titles by Marjorie Eccles

  THE SHAPE OF SAND

  SHADOWS AND LIES

  LAST NOCTURNE

  BROKEN MUSIC

  THE CUCKOO’S CHILD *

  AFTER CLARE *

  A DANGEROUS DECEIT *

  THE FIREBIRD’S FEATHER *

  The Herbert Reardon historical mysteries

  HEIRS AND ASSIGNS *

  * available from Severn House

  HEIRS AND ASSIGNS

  Marjorie Eccles

  This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights and those responsible may be liable in law accordingly.

  This first world edition published 2015

  in Great Britain and the USA by

  SEVERN HOUSE PUBLISHERS LTD of

  19 Cedar Road, Sutton, Surrey, England, SM2 5DA.

  Trade paperback edition first published

  in Great Britain and the USA 2016 by

  SEVERN HOUSE PUBLISHERS LTD.

  eBook edition first published in 2015 by Severn House Digital

  an imprint of Severn House Publishers Limited

  Copyright © 2015 by Marjorie Eccles.

  The right of Marjorie Eccles to be identified as the author of this work has been asserted in accordance with the Copyright, Designs & Patents Act 1988.

  Eccles, Marjorie author.

  Heirs and assigns.

  1. Police–England–Shropshire–Fiction. 2. Murder–

  Investigation–Fiction. 3. Family secrets–Fiction.

  4. Great Britain–History–George V, 1910-1936–Fiction.

  5. Detective and mystery stories.

  I. Title

  823.9’2-dc23

  ISBN-13: 978-0-7278-8528-9 (cased)

  ISBN-13: 978-1-84751-633-6 (trade paper)

  ISBN-13: 978-1-78010-691-5 (e-book)

  Except where actual historical events and characters are being described for the storyline of this novel, all situations in this publication are fictitious and any resemblance to living persons is purely coincidental.

  This ebook produced by

  Palimpsest Book Production Limited, Falkirk,

  Stirlingshire, Scotland.

  PART ONE

  ONE

  November 1928

  The whole idea is ridiculous, of course. Ida knows she shouldn’t have come. It always unnerves her, returning to what she still regards as home. But if Pen has decided to throw a birthday party for himself – even a sixtieth, for heavens’ sake! – no one is going to refuse to attend. Verity, in fact, had come down to Shropshire for it a week ago and today has unwillingly driven over to Wolverhampton to meet her mother off the London train.

  ‘You’re looking peaky, Verity.’

  Without replying, she had glowered darkly at her mother (brittle and glossy, too old for pencilled eyebrows, long red nails and a shingle). Her mouth is still set in a sulky line half an hour later. She is usually a competent driver, in contrast to the incompetent way she presently chooses to conduct the rest of her life, but today, Ida can only be thankful she hasn’t had to drive down from London with her. The twenty-odd miles to Hinton Wyvering, close to the Welsh border, have not been without their terrifying moments, and Ida’s nerves are frayed. But at least they’ve managed to get so far without actually squabbling, mainly because Ida has kept her eyes closed for most of the way. She doesn’t want to talk anyway. Communication with Verity lately is too exhausting and she has enough on her mind without that.

  To give herself time to consider, she has shut up for two weeks the little business she runs from the front room of her Chelsea house and has spent most of last night and all of the train journey here turning over the offer to buy it. Not by any means generous but amazing to have received one at all in the present climate, and she is on tenterhooks lest it might be withdrawn. Money is tight everywhere, even ten years after the end of the war with the Germans, and the exclusive designs she sells are expensive, to say the least, and therefore only affordable to the select few. An additional worry is that old Millie Wainwright, a woman with magic in her fingers when it comes to fashioning a model hat, has just announced her retirement. ‘I’m sorry, I don’t want to leave you in the lurch, Mrs Lancaster, but my hands are getting that stiff I can’t hardly hold a needle. I shall miss the money, but I reckon I can manage if I’m careful with my pension, God bless Lloyd George.’

  Ida would have welcomed retirement herself. She is tired – tired of selling hats, tired of flattering customers, tired of keeping up appearances and, most of all, weary of trying to make ends meet. Verity is not interested in millinery – or anything outside of herself it seems, not even nightclubs, jazz or rackety young men in fast cars, as the daughters of Ida’s friends all seem to be. But even if Ida does take up that offer and sells the shop, she will still be left without enough of what she considers it possible to live on.

  They eventually cross the river bridge and begin the steep ascent to Hinton. (No one local ever bothers with the Wyvering part of its name.) Over the centuries, endeavouring to escape the endemic flooding at this point, dwellings have crept further and further up the hill and now form at the top what the residents call a town, although really it’s not much more than a large village. The road, Nether Bank, twists tortuously upwards through a huddle of ancient cottages and forgotten little by-lanes, with Verity taking the bends at a speed that makes Ida’s stomach lurch. Guardian angels must be watching over them for they suffer nothing worse than Ida’s crocodile-skin dressing case toppling on to the suitcases stacked behind the front seats.

  As the porter had stowed these into the little second-hand Austin Seven Ida had been nagged into buying for her daughter, Verity had rolled her eyes. ‘Crikey, Mother! How long do you intend staying for? It’s only Uncle Pen’s birthday party.’

  A birthday party, at his age. What is Pen thinking of? He is a widower, his wife having died many years ago, he is childless and has no one to please but himself, but Ida sees no reason why anyone, even a man, should announce to the world that they are sixty years old, especially when their sister, who is only two years younger and has so far managed to conceal the fact quite successfully, has been invited to join the celebration. An invitation that has come out of the blue but which, in the circumstances, can’t be refused.

  Ida belatedly regrets that spontaneous
remark she’d made on seeing Verity drooping colourlessly on the station platform. It was perhaps tactless – though undoubtedly true – but the subsequent glances she throws across the car now suggest that looking peaky isn’t the only thing she finds unsatisfactory about her daughter. She sighs, frustrated as usual. The child only looks so lumpy because she slouches and takes no trouble with her clothes; she’s naturally pale but scornfully refuses to use make-up, and her quite acceptable features are marred by a disagreeable expression that seems to have become permanent lately. Which is foolish. When she was a child she’d been the apple of Pen’s eye but lately, like everyone else, even he is growing impatient with her. ‘Your Uncle Pen never could stand sulks,’ she remarks unwisely.

  Verity throws her a look of distaste but Ida is examining her maquillage in the mirror of her enamelled compact for any smuts collected on the train journey and doesn’t see it. ‘Why don’t you say what you mean, Mother – that it isn’t in any of our interests to upset him?’

  ‘That was an unnecessary remark.’ Ida snaps her compact shut. But it’s nothing she hasn’t thought herself – and said too, on occasions. They are coming to the top of the hill where the road divides and they turn, leaving the town on their left. Half a mile further along, just past the ruins of a small hill fort that masquerades under the name of castle, built to repel long past Welsh raiders, the motor takes another unnerving swing, narrowly missing a pedestrian with a small white and brown terrier on a lead. ‘Verity!’ she shrieks, clutching her hat. Then, as the car straightens, she adds, ‘Who was that?’

  ‘Who?’

  ‘Didn’t you even see? That man and his dog stepping out from under the trees? They nearly went under the wheels when you threw the car to one side like that.’

  ‘Oh, he’s nobody – and I wouldn’t have needed to swerve,’ says Verity through gritted teeth, ‘if my passenger hadn’t been taking my mind off my driving.’

  In a stiff silence they drive along the ridge of the hill until they take an abrupt turn between stone gateposts and career down the drive of Bryn Glas.

  There’s not much trace now of the green hill after which the house – originally, long ago, a manor house, thereafter a farm and now a house again – is named. It is built on a sort of natural plateau in the hillside and the drive ends on this sizeable flat area, where excavations of the red sandy soil have formed a weird lunar landscape. Ida takes the appalling mess to be the creation of this much talked of garden, where none to speak of has ever previously existed as far as she remembers. It’s being undertaken by a woman who used to work with the famous garden designer Miss Gertrude Jekyll, and who doubtless wears the same sort of men’s hobnailed boots as that lady is reputed to wear, and possibly breeches as well. It seems to Ida that her brother doesn’t intend letting his enforced retirement curtail his enthusiasm for mad ideas, although making a garden is unlikely to turn the sort of profit his other brilliant schemes have generated over the years, making him and Llewellyn Holdings worth more than all the rest of his family put together. As the car skids to the front of the house, the door is flung open by the beaming host himself, and Ida steps out of the car, thankful to be still alive, and allows Penrose to embrace her.

  Concern about the garden project is put to one side. Most things – and most people – recede into the background when Pen Llewellyn appears on the scene, though he is not particularly impressive to look at, no more than medium height, muscular, not handsome but with a thick crop of white hair and bright blue eyes. Despite the heart problem he has, he looks the picture of health today, as he invariably does. ‘Welcome to Bryn Glas, sister dear.’

  TWO

  Claudia Llewellyn is beginning to think this journey will never end, near as they are to their destination now. The warmth from the portable heater having long since expended itself, she is frozen, despite being wrapped in furs. And hungry. It’s beyond her why they couldn’t have travelled in a civilized manner from London by train, like her sister-in-law, Ida. But, although in other respects Theo is cautious to the point of parsimony in her eyes, he loves this expensive motor car with a passion not extended to much else, and Claudia is not a woman who finds it expedient to argue. Besides, he makes this journey regularly to visit his brother and enjoys every minute of it, or so he says; driving long distances apparently helps him to think. Presumably that’s what he’s been doing for the past four or five hours: for the most part of the journey he has been absorbed in a deep, lawyerly silence, his brow furrowed like a melancholy bloodhound’s, the space between himself and his wife filled with the sense of a controlled, inner rage.

  Claudia is a tall, lazily elegant woman, statuesque, with heavy, bronze-coloured hair which she wears unfashionably long, drawn back to a coil at the nape of her neck. Her clothes are classic, ageless. This doesn’t mean she’s out of the swim, indeed she has more social aspirations and expensive tastes than are useful to Theo in his career. But she has no need to follow fashion: she creates her own simply by being her rather beautiful self. She doesn’t mind being thought singular, having at heart a disdainful disregard of lesser beings whom she thinks not as clever as herself, or as well dressed, or who have the misfortune not to be the child of a baronet. An impoverished one, unfortunately, who’d had barely enough money to keep himself solvent, never mind enough to leave to his only child. This party to which she and Theo have been invited – or should that be commanded? – and having to mix with all these Llewellyns, isn’t her cup of tea. Who are they, after all, but descendants of petty Welsh landowners who had fortuitously found themselves in years gone by to be sitting on a coal mine or two? Four generations later they’ve sold up any shares they ever had in those mines, left the coal pits and the echoes of past exploitations and present consequences behind. Neither Pen nor his brother have ever been within spitting distance of extracting coal from the bowels of the earth. Pen, before the heart attack which has caused him to retire to an allegedly quieter life, was a property developer and Theo practices law.

  Pen has returned to spend the rest of his life, rather than just the odd weekend, in their childhood home here in Shropshire. Quietly, so he says. Claudia wouldn’t put money on that. Nor does she altogether believe Theo when he says he enjoys his visits here, especially those he’s made of late. Although the scare over Pen’s health has caused concern, Theo would really like to leave this town, and in particular Bryn Glas and its past, behind for ever. But needs must.

  The drive to the house is little more than a dirt road, its potholes, when they occur, hopefully filled in with stones, rubble and gravel. It’s mercifully short, though downward-plunging, before it reaches the level ground by the front door. From the back of the house, where the garden continues to slope more gently towards the cliffs above the river far below, the view to the distant hills, via a patchwork of green fields and red earth, is spectacular, very lovely in spring but not at its best on a gloomy late afternoon in November. Here at the front the old timber-framed house crouches, long and low. Instead of coming back to this shambling old ruin, Pen could have bought a good modern house in which to retire … with a ready-made garden, Claudia thinks, horrified at the ravages evident as they sweep to the front door.

  In fact, the house is by no means a ruin, only to Claudia’s way of thinking, but it’s still an old farmhouse, despite the installation of modern plumbing and a hot water heating system that even so isn’t quite up to it at times. There are rooms all over the place, dark corners, ceilings too low for tall people and floors at different levels, cunningly situated to trip the unwary. In spring, and especially in summer, its cool, shadowy interiors are welcoming, but this dark and melancholy heel of the year brings out the worst in the house. Its low roofs and oak panelling are sombre and absorb the light, the stone floors, however well polished by Mrs Knightly, seem to breathe damp. To give him his due, Pen will have attempted to counteract this by having huge roasting fires made up in every room, the lamps lit earlier than strictly necessary. And yes, the in
side is brilliantly lit, there are people moving around, a look of conviviality. Pen’s famed hospitality, though the party isn’t until Saturday. It isn’t Pen who comes out to welcome them however, but someone they have not expected to see, not in a million years.

  ‘Huwie,’ says Theo, as he gets out of the car at last, schooling himself to hide his initial shock and delivering a brotherly slap on the shoulder. The years have not improved Huwie. His mouth has a downward droop, his hair no longer falls in the boyish flop over his eyes that appeals to ladies, but is greying and receding fast. The once attractively rumpled air has gone and he now looks merely seedy. His fifty-shilling suit has sitting-down creases at the crotch and is shiny at seat and elbows. Beside him, Claudia’s saturnine husband, for all his long, mournful face, his furrowed brow, has presence and authority: Theo is tall, dark, well dressed and obviously prosperous.

  Pen, Theo and Huwie. Three brothers, same parents, same upbringing. So different.

  ‘Well, well, back to Bryn Glas after all these years then?’ says Theo to his younger brother, summoning up heartiness as they go inside.

  ‘When Pen invites,’ Huwie replies, ‘who can refuse?’

  THREE

  After three months, Carey had been expecting that returning home to Hinton would be akin to entering a time warp. But of course events haven’t stopped. As she pays off Swayne’s taxi, she sees Dr Fairlie’s car further along Lessings Lane. May Grimley’s baby arriving? Life, birth and death have continued much the same while she’s been away, of course. Mrs Tansley’s curtains twitch, as usual. The children are still chalking hopscotch squares on the flagstones. But Number Three has evidently gained a new tenant at last; its peeling front door has been repainted a startling, fire-engine red and there are new curtains, white with scarlet poppies. What will Hinton have to say about that? She hears the Grimleys’ door slam, pushes her key into the lock and hurriedly gets herself and her luggage indoors. She’s not ready to face Gerald Fairlie just yet.