While Noreen Tucker sank weeping into a priceless Chippendale chair and Helen Clyde went to her and put a comforting hand upon her shoulder, the door closed behind the tour group and within moments they were being asked to admire the drawing room, especially the pendant plasterwork of its remarkable ceiling. It was called the King Edward Drawing Room, their much-subdued guide told them, its name taken from the statue of Edward IV that stood over the mantelpiece. It was a three-quarter-size statue, she explained, not life-size, for unlike most men of his time, Edward IV was well over six feet tall. In fact, when he rode into London on the twenty-sixth of February in 1460…

Frankly, no one could believe that the young woman was going on. There was something indecent about being asked to admire chandeliers, flocked wallpaper, eighteenth-century furniture, Chinese vases, and a French chimneypiece in the face of Ralph Tucker's death. No matter that the man was essentially no one to any of them. He was still dead and out of respect for his passing, they might have abandoned the rest of the tour.

So everyone was restless and uneasy. The air was close. Composure seemed brittle. When Cleve Houghton finally rejoined them in the winter dining room with the news that Ralph Tucker's body had been taken away, he passed along the information that Thomas Lynley had also put out a call for the local police.

“Police?” Emily Guy whispered, horrified by the implication.

The word quickly swept through the rest of the company. The students of the History of British Architecture class began eyeing each other with grave suspicion.

Everyone knew it had to be the trail mix. The difficulty was the same for all of them, however: No one could root out the answer to the pressing question of why anyone on earth or anywhere else would want to murder Ralph Tucker.