'Damn you, Dilly – out to spoil my fun!'
'Come on, Thursday, there are plenty of bigger fools to waste your time on than this one.'
Flakk had dropped the bright pink outfit for a more reserved shade but was still able to fog film at forty yards. She took me by the hand and steered me towards some of the art on display
'You have been leading me around the houses a bit, Thursday,' she said testily. 'I only need ten minutes of your time with those guests of mine!'
'Sorry, Dilly. Things have been a bit hectic. Where are they?'
'He's performing Richard III at the Ritz – you would have thought he'd never been to Swindon the way he's carrying on. Can you please make time for them both tomorrow?'
'I'll try.'
'Good.'
We approached a small scrum where one of the featured artists was presenting his latest work to an attentive audience composed mostly of art critics who all wore collarless black suits and were scribbling notes in their catalogues.
'So,' said one of the critics, gazing at the piece through his half-moon spectacles, 'tell us all about it, Mr Duchamp2924.'
'I call it The id within,' said the young artist in a quiet voice, avoiding everyone's gaze and pressing his fingertips together. He was dressed in a long black cloak and had sideburns cut so sharp that if he turned abruptly he would have had someone's eye out. He continued:
'Like life, my piece reflects the many different layers that cocoon and restrict us in society today. The outer layer – reflecting yet counterpoising the harsh exoskeleton we all display – is hard, thin, yet somehow brittle – but beneath this a softer layer awaits, yet of the same shape and almost the same size. As one delves deeper one finds many different shells, each smaller yet no softer than the one before. The journey is a tearful one, and when one reaches the centre there is almost nothing there at all, and the similarity to the outer crust is, in a sense, illusory.'
'It's an onion,' I said in a loud voice.
There was a stunned silence. Several of the art critics looked at me, then at Duchamp2924, then at the onion.
I was sort of hoping the critics would say something like. 'We'd like to thank you for bringing this to our attention. We nearly made complete dopes of ourselves', but they didn't. They just said:
'Is this true?'
To which Duchamp2924 replied that this was true in fact, but untrue representationally, and as if to reinforce the fact he drew a bunch of shallots from within his jacket and added:
'I have here another piece I'd like you to see. It's called The id within II (grouped), and is a collection of concentric three-dimensional shapes locked around a central core …'
Cordelia pulled me away as the critics craned forward with renewed interest.
'You seem very troublesome tonight, Thursday.' She smiled. 'Come on, I want you to meet someone.'
She introduced me to a young man with a well-tailored suit and well-tailored hair.
'This is Harold Flex,' announced Cordelia. 'Harry is Lola Vavoom's agent and a big cheese in the film industry.'
Flex shook my hand gratefully and told me how fantastically humbled he was to be in my presence.
'Your story needs to be told, Miss Next,' enthused Flex, 'and Lola is very enthusiastic.'
'Oh, no,' I said hurriedly, realising what was coming. 'No, no. Not in a million years.'
'You should hear Harry out, Thursday,' pleaded Cordelia. 'He's the sort of agent who could cut a really good financial deal for you, do a fantastic PR job for SpecOps and make sure your wishes and opinions in the whole story were vigorously listened to.'
'A movie'' I asked incredulously. 'Are you nuts? Didn't you see The Adrian Lush Show? SpecOps and Goliath would pare the story to the bone!'
'We'd present it as fiction, Miss Next,' explained Flex. 'We've even got a title. The Eyre Affair. What do you think?'
'I think you're both out of your tiny minds. Excuse me.'
I left Dilly and Mr Flex plotting their next move in low voices and went to find Bowden, who was staring at a dustbin full of paper cups.