Headlong

by Michael Frayn

Genres: Humor & Satire

Synopsis

An unlikely con man wagers wife, wealth, and sanity in pursuit of one of art’s elusive old masters.

Martin Clay, an easily distracted philosopher, and his scrupulous art-historian wife are invited to dinner by a boorish local landowner to assess the value of three dusty paintings moldering in the freezing breakfast room. But blocking the soot from the chimney is nothing less, Martin believes, than one of the world’s lost treasures, camouflaged by misattribution and the grime of centuries. Thus begins a wild trail of lies and concealments, soaring hopes and sudden panics, as Martin embarks on an obsessive quest to prove his hunch, separate the painting from its owner, and resolve one of the great mysteries of European art.

Release date: September 1, 2000

Publisher: Henry Holt and Co.

Print pages: 352

Sample

Headlong

The Prospect Presented




Early spring, yes. It's one of those cautiously hopeful days at the beginning. of April, after the clocks have made their great leap forward but before the weather or the more suspicious trees have quite had the courage to follow them, and Kate and I are traveling north in a car crammed with food and books and old saucepans and spare pieces of furniture. We're on our way to the country.
Where is the country? Good question. I privately think it begins around Edgware, and goes on until Cape Wrath, but then I don't know much about it. Kate's rather a connoisseur of the stuff, though, and it's not the country for her, not the real country, until we've driven for at least a couple of hours, and turned off the motorway, and got onto the Lavenage road. Even here she's cautious, and I can see what she means. It's all a bit neat and organized still, as if it were merely a representation of the country in an exhibition. The hedges are machined smooth. There are too many stables and riding schools. We get impressive whiffs of decaying vegetable and animal waste from time to time, but we keep passing the wrong sort ofhouses--the sort of houses you might find around Edgware--and the people don't look right. There aren't many people to be seen, in fact, except in passing cars, like us. A lot of the cars are designed for rural life, it's true--specially squarish vehicles very high off the ground, made to keep their occupants well clear of foot-and-mouth disease. But the people inside them look disconcertingly urban. And on the few occasions when we've got close enough to any of their occupants to smell them--when we've stopped for petrol at Cold Kinver, for instance, or organic vegetables at Castle Quendon--they haven't smelled of earth or dung or moldy turnips. They've smelled of nothing at all, just like us and the people we know in London. I share Kate's unease about this. We don't want to drive a hundred miles out of London only to meet people who have driven a hundred miles out of London to avoid meeting people like us.
The country, what we call the country, begins after we've turned off the Lavenage road down the unmarked lane just past Busy Bee Honey. After a mile or two the lane begins to fall away into a little forgotten fold in the landscape. The county council has evidently not investigated the state of the hedges here for some time. There's a half-mile squish of mud and shit under the tires where a herd of live cows goes regularly back and forth between meadow and milking shed. Beyond the undergrowth on the left, at one point, is a scattering of bricks and broken tiles, growing a mixed crop of nettles and ancient leaky enamelware. Rusty corrugated iron flaps loose on ramshackle empty structures abandoned in the corners of tussocky fields. Lichen-covered five-bar gates lean at drunken angles on broken hinges, secured with rusty barbed wire. We begin to relax our guard; this is the real stuff, all right. This is what we pay a second lot of bills for.
We're both silent as we get closer to our destination. It's not the authenticity of our surroundings that's worrying us now. We've started to think about what we're going to find when we arrive. This is our first visit of the year. How damp will the bed be? How cold thekitchen? Will the knives and forks have been stolen? How much will the mice have eaten? Will they have scoffed crucial parts of the bedding again? Will they have started on the electrical insulation?
This isn't like any of our former visits. This time we're coming not for the weekend, or even the odd week. We're here for two months at least, possibly three or even four. Shall we be able to stand so much reality for so long?
There's another unsettling novelty about this visit, too--the long box jammed among all the junk on the backseat, and held carefully in its place with two seat belts. Faint sounds are beginning to emerge from it. Kate twists round and gazes at the contents.
"You did put the nappy-rash cream in?" she asks.
"We should have woken her up before. You'll have to feed her before we've even got the fire alight."
Yes, what will Tilda feel about the country? How will she and the mice get along? Will she find the cold and damp as bracing as we do? Will she appreciate the reality of everything?
I stop the car in the lake that collects in the dip by the wood where we found the dead tramp.
"Perhaps we should turn around?" I say. "Go back home?"
Kate looks at me. I remember, too late, that this will count as yet another example of what she sees as my infirmity of purpose, my alleged sudden shifts from one project to another. But all she says this time is: "I'll feed her in the car while you unpack. We'll leave the engine running."
So we drive on, and the proposal to abandon the expedition is never put to the vote. And now here we are. There's no sign to announce us, just a little track opening off to the left, and a certain unsurprised sensation of having arrived that we recognize, even if visitors wouldn't.
Since we don't know anyone round here who might want to visit us, though, this isn't really a problem.
We bump slowly up the track. But when we make the turnbeyond the elders, from which this summer we're hoping to get around to making elderflower wine, it's not our familiar green front door that confronts us. It's a length of fraying baler twine.
There's a lot of baler twine in real country. One of the ways you can tell this is real country is by how much of it's held together with the stuff. Not just bales. Perhaps not bales at all--I've never seen bales of anything tied up with it. Bales of what, anyway? Everything else, though--black plastic sheeting, bright blue plastic bags, gates, trousers, agricultural machinery--everything that used to be secured with string or rusty barbed wire before baler twine was invented. It kinks and unravels, but no one ever throws it away, and it's made of plastic, so it never degrades. Some of it's pink and some of it's orange, so it shows up well against the rural greens and browns. This particular piece is pink, and it's tied across the rear of an ancient Land Rover to hold its tailgate shut.
No question about the authenticity of this vehicle. It's as rural as a turnip.
Kate and I look at each other. A visitor! And not some friend from London--a real countryperson. Perhaps, after only two years, local society is putting out friendly feelers.
I get out to investigate, still in the wrong shoes, still not in country mode, balancing delicately from island to island in the mud. There's a huge barking, and two dogs the size of full-grown sheep come bounding around the side of the cottage. I'm a little taken aback to be kept off my own property by guard dogs--no, not a little taken aback--quite substantially taken aback, smack into the mud I've been avoiding. I'm wrong about the dogs, though; they're not keeping me out--they're welcoming me to the country, enthusiastically thrusting their wet snouts into my groin and wiping their paws confidingly down the front of my sweater. By the time their owner appears around the side of the cottage as well, I look almost as real a part of the scenery as he does. And a more real countryman than him neither Kate nor I has yet set eyes on.
"Heel!" he says, in an effortlessly landowning kind of voice, and the dogs become instantly subservient. I'm tempted to lie at his feet myself, but find the ground a little too muddy, at any rate until I've got my country trousers on, and instead take the hand he's holding out.
"Tony Churt," he says. "One of your neighbors."
He has the grip of a man who's used to wringing the necks of wounded game birds. He's taller than me, and as I raise my eyes to meet his I have plenty of time to take in mud-splashed boots, then mud-colored corduroy trousers and a mud-colored checked jacket. There are holes in his mud-colored jersey, and any hint of garishness suggested by the triangle of muddy green flannel shirt above it is counteracted by his muddy brown tie. He even has a gun, properly broken, in the crook of his arm. His long face, stretching away above me toward a mud-colored flat cap, is the only feature that doesn't quite fit the prevailing color scheme. It's simultaneously raw and bluish-gray, with little overlooked dribbles of dried blood where the razor's nicked it.
"Thought you might be round the back," he says. "Skelton said you were coming down."
Mr. Skelton, as Kate and I call him, is the man who fixes the local pumps and septic tanks. We phoned ahead to book his services. I introduce Kate. Tony Churt raises the mud-colored cap and reveals a brief glimpse of receding mud-colored hair.
"Glad to meet you at last," he says. "I've heard so much about you both."
"From Mr. Skelton?" asks Kate. Though why not? A man who understands your sewerage might have a lot he could tell about you.
"From everyone." Everyone? The woman in the paper shop, who knows which papers we take? Charlie Till, who knows what size of free-range eggs we prefer? "We're all so pleased to have you down here. Great bonus."
The country is finally taking us to its muddy bosom. And TonyChurt has a faint smell that I find instantly and reassuringly authentic. It's the sign that we've always missed in the few other people we've got near enough to sniff, though exactly what it is I find difficult to say. There's dog in the mixture, certainly, and the tarry trace of oiled waterproofs. Also the harshness that goes with a certain kind of rugged woollen cloth. Something else, too. Something stiff and morally bracing. Carbolic soap and cold water, perhaps.
"Laura and I wondered if you might like to come over one evening," he says. "Dinner, why not?"
"How kind of you."
"Nothing special. Say hello. Tell you the local gossip. Get you to tell us what's going on in the great world out there. We get a bit out of touch down here. Monday week? Tuesday? When would suit you?"
I mention Tilda.
"Bring her. Of course. Wonderful. Plenty of rooms to park her in. Upwood. Know where it is? So we'll say Monday week, then? Eight-ish? That fit in with feeding times? We might possibly ask you to help us with a little advice while we're about it, if we may."
A little advice. Of course. As I reverse to let him out, an alarm goes off inside the car with shattering loudness. Our clever little daughter is trying to warn us that someone is breaking into our lives.




Do we know where Upwood is? Yes, even we know where Upwood is. It's the big rambling house half-hidden in the trees at the head of our private valley. And now of course we know who Tony Churt is as well. He owns the valley.
Well, not all the valley. Not the patch of land around our cottage, for instance. Our property, as the urban owners of odd half-acres in the country like to tell you humorously in such circumstances, marches with his. The march isn't long enough to make either propertyvery footsore, it's true, but it gives us a bond. We're fellow landowners. Neighboring proprietors. Brother magnates.
By the time I've got three fan-heaters whirring, and a great log crackling in the hearth, with Tilda full of her mother's milk asleep in front of it, and four assorted oil stoves scenting the rest of the cottage with the cozy stink of kerosene, we're in curiously high spirits. There are fresh patches of damp in the bedroom, it's true, and strange efflorescences on several walls. The mice have eaten the towels and left droppings inside the refrigerator. Other, more surprising changes have come to light, too. I put on a pair of country trousers that I find hanging in the bedroom closet, and can't get them done up round the waist. They've shrunk in the damp. Or is it me that's expanded? Am I catching largeness off Kate? I look at her moving slowly and bulkily about, stacking supplies of nappies on shelves. Three months after the birth, and she's still enormous. She rolls a little as she walks. She does--she rolls! I laugh at her. She smiles at my laughter, and frowns to know the cause of it. I don't say anything, but when she sits down on the long stool in front of the fire to gaze at Tilda, as the gray spring evening outside the windows deepens into night and the three of us fill our little world, I come up behind her, lean over her, take two fat handfuls of face, and tilt it up to kiss, obscurely pleased that there's so much of her to love. Nor am I absolutely displeased that there's a little more of me now to love her.
"So," I say, sitting down beside her, "we're in with the gentry. All our vaguely leftish prejudices down the drain. Instant corruption."
"We could say Tilda was ill."
"You don't want to go?"
"Do you?"
Do I? Yes! Why not? Social adventure. Human contact. Life.
"We shan't enjoy it," says Kate.
"Of course not. It'll be terrible."
She says nothing, which is a sign of disagreement. That is, she agrees it'll be terrible, but she knows I mean it'll be wonderfully terrible, a source of amusement, and this is not how she sees life at all. Also, she knows that my mind's made up. For once. And that although it sometimes unmakes itself of its own accord, it's unlikely to be discomposed by external pressure.
"Come on," I say. "He was charming. He raised his cap to you."
"I don't understand why he's asking us."
"He said--he wants our advice."
"Yes."
"Well, you don't have to give it."
Because what sort of advice does he want from us? Not, I imagine, our moral advice. Nor our advice about agriculture or animal husbandry. Is some small but vexing question of etiquette or precedence bothering him? Should the Lord Lieutenant take the divorced wife of the Queen's second cousin in to dinner? Do I think it would be all right for him to wear a cummerbund to the Hunt Ball?
Or could it be my professional advice that he wants? My opinions as a philosopher on some epistemological question that's come to haunt him? Can he ever truly know that his tenants have feelings? Is everything around him--his estate, his brown checked jacket, his Land Rover--really a dream?
No, Kate and I both know what sort of advice he wants. It's Kate's professional opinion. He has a painting that's always been rumored in the family to be a Constable, a Tintoretto, a Rembrandt, etc. A vase, a jug, a china dog, a porcelain shepherdess, which he of course doesn't suppose for a moment is of any interest or value, but which he'd be grateful if she'd just cast an eye over, if only to set his mind at rest, etc., etc.
"I'll do all the talking," I assure her.
Silence. She means I always do. I mean I'll explain to him that she's on holiday, she's on maternity leave, she can't be asked to identify things. And that even if she weren't on holiday, even if therewere no small baby in the forefront of her thoughts, even if she were sitting in her office at the Hamlish, being paid to think about art, she doesn't think about art like that. She doesn't identify things. She's not that sort of art historian, whatever the woman in the newspaper shop or the man who fixes the septic tank may have told him.
More silence. I know what she's thinking. She's thinking that perhaps it's my views on art he wants. Perhaps, she's suggesting ironically, the Churt family has some painting that they've always believed to be by the Master of the Embroidered Foliage, an artist whose name opens up delicate ground between us. I shan't rise to this. I shall remain as silent as she is. But it's a little unkind of her to bring the subject up now, however wordlessly. I've given her no recent cause for recrimination. In fact, I've just suddenly and surprisingly kissed her, which she loves my doing. But I shan't say a word. I shan't even not say a word. I shall simply nudge her fat shoulder and laugh her out of it.
"Come on," I say. "Just tell him it's a Constable and maybe he'll invite me to go shooting with him."
And as soon as I say it, and the silence sets in again, I realize that even joking about the possibility of my finding alternatives to writing my book while I'm down here is going to stir her suspicions. She was uneasy enough about my sudden pounce sideways out of philosophy into something more like art, or at any rate the philosophy of art, as if I were trespassing on her territory. She was uneasier still when I decided to take a year off to launch my new career by writing a book about the impact of nominalism on Netherlandish art of the fifteenth century; openly alarmed when, seven months into my sabbatical, I suddenly put the book aside to write an extended essay on one particular artist of the period who'd come to seem to me grossly underrated; and not relieved, but even more alarmed, when two months later, deciding that the Master of the Embroidered Foliage, far from being underrated, had no virtues that I could now perceive I abandoned this extramarital fling as suddenly as I'd begunit, and returned to the lawful embrace of nominalism, now with only five months left to finish the book before I'm due back in my department. Eight of my fourteen months of freedom have gone. She suspects that considerably less than eight fourteenths of the book that is going to launch my new career has yet been written. She fears that, come September, I'll turn out to have jumped off philosophy and fallen short of art. She thinks that I've lost my way in life. That, while her reputation in comparative Christian iconography slowly and methodically grows from year to year, like the standard work of reference she's writing on the subject, I've embarrassingly fallen off the back of the cart. This is why we've come down to the country--to get away from any friends or acquaintances, libraries or galleries, that might put some bright new idea into my head. We shall cook, look after Tilda, and write. There'll be nothing to tempt us out of the house, because there'll be nothing to do out there except fall down in the mud, and no one to speak to but sheep and cows. And now, within hours of arriving, I'm humorously contemplating another sudden relaunch as country gentleman. No wonder she's saying nothing.
I nudge her shoulder again, reassuringly, and announce a change of subject. "The iconography of sports jackets. Why does Tony Churt's brown checked sports jacket make it clear that he's a country landowner, while my gray pepper-and-salt sports jacket announces me as an urban intellectual? Why does the seediness of my jacket suggest high-mindedness and poverty, while the seediness of his indicates wealth and limited intelligence?"
Kate says nothing. But says it much more companionably now. Her moment of panic and distrust is over.
"In fact," I say, "the iconography of the entire estate is quite interesting. The battered Land Rover, the broken gates--they're all expressions of a certain style of ironic understatement. They all shout money. We could do a joint paper on the iconic significance of frayed pink baler twine."
"Does he have money?" says Kate.
"Of course he does."
We go on gazing into the fire together.
"His name's probably another irony. Tony Churt. He's really Sir Tony. He's Lord Churt."
"Is he, in fact?"
"No idea. I'm going to go on thinking of him as Tony."
Tilda stirs, then settles again. We gaze at her instead of the fire. She's lovely.
"You're getting as fat as me," says Kate, still looking at Tilda, but I think meaning me, an ambiguity I find curiously touching.
I say nothing. So I'm getting fat, like her and Tilda. All right. It suits me. I've a fat, phlegmatic, cheerful disposition. We all three of us do. I'm going to finish my book, whatever Kate thinks. Everything's going to be all right. I know that. How do I know it? Well, how do I know that the sun's warm and oranges are orange and Tilda's lovely? There's a simple but philosophically rather profound answer to all these questions:
I just do.




The ironic understatement of the Churts' iconography at Upwood begins as soon as you reach the end of their drive. The first touch of it is in the announcement of the house's identity to the world at large. It's as modest as our own: no announcement. The Churts feel, presumably, that everyone they might conceivably wish to see already knows where their house is and what it's called, and they're too modest to boast about it to anyone else. The message for the rest of the world, which appears on a flaking board glimpsed in our headlights through the rain as we turn off the road, is simple: PRIVATE PROPERTY. KEEP OUT.
The style's continued in the string of potholes and lakes on the drive, over and through which our ill-prepared little car thumps andswims with considerable alarm. Kate puts a steadying hand on the precious box on the backseat. "Did you put your boots in?" she asks.
"We shan't need them inside the house," I assure her. "Shall we?"
The house itself, when we reach it, consists phenomenologically speaking of a single lamp in the darkness and what the light from it falls on: a front door vast enough to keep the Peasants' Revolt at bay, with the barking of dogs on the other side of it and the wetness of the rain on my head, reinforced by the spray from a spout of water falling from the gutters somewhere in the night overhead into another lake in the gravel underfoot.
Then the door's open, and we're in the middle of a genial battle to squeeze past a lunging tangled slavering amiable mass of dog. We're simultaneously patting its snorting sneezing endlessly moving heads, holding our small human cargo out of its reach, and shaking hands with its roaring master. "Oh, what bloody fools you are!" he shouts at either the dogs or us. "Come on, come on, don't hang about out there, we'll all freeze to death! ... Don't wipe your filthy noses on her! ... Never mind these half-wits--just shove your way through! ... That's not your dinner they're holding, you great apes."
I was a little apprehensive that Tony Churt--or Tony, as I would call him now I've met him if he were anybody else--or Mr. Churt, since he's at least fifteen years older than me, or Sir Tony, or Lord Churt--no, Tony Churt, why not?--that Tony Churt might have put on a suit for the occasion. Or a velvet smoking jacket, or even a black tie, because who knows what the conventions are here? But all he's changed since we last met, so far as I can tell, unless some of the shades of brown are subtly different, is his boots, which have been replaced by brown carpet slippers, though possibly he's nicked his face in slightly different places. I'm privately a little relieved, since I've defiantly come exactly as I was before, in my corduroys and Donegal tweed jacket. Actually, it was either that or pajamas--I haven't brought anything else to the country with me. Tony Churt--no, come on, Tony, Tony--is wearing a tie, it's true--and in a festiveshade of burnt ocher, now that I look more closely, which means he must have dressed up a little, because I'm pretty sure it was more like burnt sienna before--whereas my collar is as defiantly open as Shelley's. Well, that's me. Take it or leave it. I'm not going to change my ways for Tony, for Tony Churt, for Tony. Also, I've forgotten to bring either of my two ties down from London.
They offer us the nursery for Tilda, but it's a mile away, and long unoccupied, because Tony's two sons are grown up and gone. So she takes up residence in the library, where Laura's turned the heating on specially, or so Tony tells us, though I can see that Kate feels hypothermia still threatens. Tilda's box is installed on the great desk, watched over by ranks of silver-framed Churts and members of the house of Windsor, some of the latter modestly half-concealed behind autograph inscriptions. I sneak a quick look at the books on the shelves. There's abundant leather-bound evidence of the voracious appetite possessed by earlier generations of Churts for genealogy and local curiosities. But by the time the leather bindings cease, literary intake seems to have declined, first to travel diaries and sporting memoirs, then to a few paperback thrillers and spy stories, then, in the last thirty or forty years, so far as I can see, to nothing at all. Our new friend's obviously not a literary man.
We plug in Tilda's alarm and withdraw to a big room where small pools of light in the gloom show up little islands of heavy furniture and threadbare carpet. Kate and I perch at opposite ends of a long sofa, which I think a secondhand furniture salesman might describe as comfortably worn. In fact, the upholstery seems to have been largely deconstructed by the dogs to tone in with the rest of the furnishings. The dogs settle themselves warmly over our feet, while their master pours us unidentified drinks out of a decanter. We sip them appreciatively. They taste ... how do they taste? They taste worn. They taste brown.
"Don't ask me what it is," says Tony. "Some muck Laura got at the cash-and-carry on the ring road. I tell her to buy booze inSainsbury's, then you know what you're getting, you know they haven't stuck the labels on a consignment of battery acid. But she never takes a blind bit of notice. Frozen food? Same place. Know where I mean? Used to be a factory. Made slug repellent. Poor pet. Half a hundredweight of this, half a hundredweight of that, wholesale prices, breaks her back carting it all into the house. Well, what should we do without them?"
I hope he means cash-and-carries. I suspect he means women. I avoid Kate's eye.
"God knows what's holding her up." He looks at his watch. "She's not doing dinner for twenty."
"Nothing we can do to ... ?"
"No, no. She'll have to get used to it. Did have a woman from the village who came in. Took umbrage, though. Also took twenty quid out of Laura's bag. Twenty quid and umbrage. Bit much, don't you think?"
To take my mind off the disturbing picture of poor Laura, stumbling broken-backed about the kitchen, struggling with unfamiliar saws and cleavers to hack off chunks of complete frozen sheep for our dinner, I have a quiet look around the room, trying to guess what it is he wants Kate to give an opinion on. A vaguely ancestral-looking portrait hangs over the fireplace, discreetly blackened by the smoke of centuries. In the gloom around the outer edges of the room I can just make out prints of racehorses and hunting scenes, of the sort that brewers hang in the grill rooms of suburban hotels, though reassuringly more mottled and fly-spotted. A few modern still lifes and landscapes hang in an alcove. They were painted, I should guess, in the unlikely event of anyone wanting my expert opinion, by someone in the local Women's Institute. It seems to me that the Churts may have very slightly overdone the irony of the iconography. I glance at Kate. She's also sizing up the artwork. She glances at me, and quickly looks away. She evidently feels muchthe same. The Churts' tasteful avoidance of ostentation verges on the garish.
A door opens in the gloom behind us. Tony looks up, and his humorous country gentleman's character changes somewhat. His voice takes on a slightly sharper edge.
"Problems?" he inquires. The dogs and I jump politely to our respective feet. "What's that thing around your hand?"
"What does it look like?" says Laura. "We'll have to get Skelton back to fix that bloody stove."
She advances into the light around the fireplace, and I get rather a surprise. I'd been expecting, if not a broken old crone, then at least another comfortably worn accessory, like the sofa or Tony himself. But she's entirely out of keeping with the iconography. Not much more than half his age, for a start--a lot younger than me--younger than Kate, even. She's thin and dark, and she's dressed not in brown but in scarlet--a loose scarlet sweater that rises high around her neck and comes halfway down over dark velvet trousers. She smiles at us, but doesn't offer her hand, possibly because it's wrapped in kitchen paper. "How super," she says. "What a treat. So sweet of you to come." She makes her point: she's not at all pleased to see us.
She looks suspiciously at the glass that Tony hands her. "What's this?" she says. "Not that homemade muck Skelton sold you?"
"I thought it was the stuff you got from that foul place in Lavenage?"
"What did it say on the label?"
"Nothing. No label. That's why I shoved it in the decanter."
I tuck my glass discreetly behind one of the perhaps priceless china ornaments. I hadn't realized that Skelton bottled aperitifs as well as emptying septic tanks. I nod politely at Laura's parceled hand. "You haven't ... ?"
"Don't worry about her," says Tony. "She's always in the wars. If she's not putting her hand on the hotplate, she's falling downthe stairs. If she's not falling down the stairs, she's falling down in the middle of the floor, because either there's no carpet and there ought to be carpet, or there is carpet and she's got her toe under the edge of it."
He watches her as he speaks. He's a watchful man, it occurs to me. He was watching us earlier, I realize, to see how we were taking his buffoonery. He's watching Laura now because he's irritated by her, and he wants to see whether he's managing to irritate her back.
"Or through the middle of it," she says, giving us a little taut smile. He's succeeding.
"That's right," he says. "Stoves, stairs, rugs, everything in the house--something wrong with all of them. All conspiring against her. Poor sweetheart."
And he's anxious about her. Poor sweetheart her, certainly, but poor sweetheart him, too. He's afraid she's going to run off with someone. Me, perhaps, I think suddenly. I see the whole story unrolling in front of us. It's only too plausible. Impotent aging husband; discontented young wife. Now this comical egghead appears in the district. Someone strangely different. Gray tweed jacket instead of brown. And closer to her own age--someone she can talk to. "A philosopher?" I imagine