Ruth Galloway (22 page)

‘See those people over there?' Judy indicates a grey-haired couple walking slowly away from the church. ‘They're Lucy Downey's parents. You know the Lucy Downey case?'

‘I've heard of it, yes. How do they know the Hendersons?'

‘When Scarlet went missing, Mrs Downey contacted Delilah Henderson to offer support. They're lovely people. Makes it even worse somehow.'

Ruth watches the lovely people as they walk past the rain-sleek cars. The woman, Lucy Downey's mother, looks old, grey-haired and round-shouldered. Her husband is more robust, he has his arm around her as if he is used to protecting her. How must they feel, attending this funeral when they have never been able to say goodbye to their own daughter? Do they, in some corner of their hearts, still think she is alive?

‘Can I give you a lift home?' asks Judy.

Ruth looks at her, thinking of the drive back to Shona's house; Shona's solicitude, lightly tinged with curiosity, the night in the tasteful spare room.

‘No thank you,' she says. ‘I've got my car. I'm going straight home.'

And she does. She drives straight back to the New Road. She knows she will have to go back to Shona's house to pick up her clothes but, at this moment, all she wants to do is go home. The marshes are grey and dreary under the lowering skies but Ruth is still unaccountably glad to be back. She parks in her usual spot beside the broken fence and lets herself in, shouting joyfully for Flint. He must have been waiting for her because he comes running in from the kitchen, looking ruffled and hard done by. Ruth picks him up, breathing in the lovely, outdoor smell of his fur.

The house is as she left it. David has obviously collected her post and put it in a neat pile. Flint seems fine so he must have remembered to feed him. The empty bottle of
white wine is still on the table next to Nelson's abandoned coffee mug. The sofa cushions are on the floor. Blushing, Ruth picks them up and bashes them back into shape.

The post is mostly boring: bills, overdue library books, a flyer from a local theatre where Ruth went to see a play six years ago, charity appeals, a postcard from a friend in New York. Ruth leaves most of it unopened and goes into the kitchen to make a cup of tea. Flint jumps onto the work surface and meows loudly. He must have been getting into bad habits. Ruth puts him back on the floor whereupon he immediately jumps up again.

‘Stupid cat. What are you playing at?'

‘Cats aren't stupid,' says a voice behind her. ‘They have highly developed mystical powers.'

Ruth starts and swings round. A man wearing a muddy cloak over jeans and an army jacket stands smiling, quite at ease, at her kitchen door.

Cathbad.

Ruth backs away. ‘How did you get in?' she asks.

‘I came in when that man came to feed the cat. He didn't see me. I can make myself invisible, didn't you know? I've been watching the house for a while. I knew you'd be back. This place has got quite a hold over you, hasn't it?'

The statement is disturbing on so many levels that, for a moment, Ruth can only stand and stare. Cathbad has been watching her house. He guesses, quite rightly, that the Saltmarsh has a hold over her. What else does he know?

‘What are you doing here?' she says at last, trying to make her voice steady.

‘I wanted to talk to you. Have you got any herbal teas?' He gestures towards her mug. ‘Caffeine's a poison.'

‘I'm not making you a cup of tea.' Ruth hears her voice rising. ‘I want you to get out of my house.'

‘It's natural for you to be upset,' says Cathbad kindly. ‘Have you been to the funeral? Poor little girl. Poor, undeveloped soul. I've been sitting here sending positive thoughts to Delilah.'

‘I'm sure she was very grateful.'

‘Don't be angry, Ruth,' says Cathbad with a surprisingly sweet smile. ‘We've got no quarrel after all. Erik says you've got a good heart.'

‘Very kind of him.'

‘He says you understand about the Saltmarsh, about the henge. It wasn't your fault the barbarians destroyed it. I remember you that summer, hand in hand with your boyfriend. It was a magical time for you, wasn't it?'

Ruth lowers her eyes. ‘Yes,' she admits.

‘It was for me, too. It was the first time I'd felt really at one with nature. Knowing that the ancients built that circle for a reason. Feeling the magic still there after all those centuries and being able to experience it, just for a short time, before it was gone forever.'

Ruth remembers something that always annoyed her about the druids, even in the old days. They felt that the henge was theirs alone, that they were the only heirs of its creators. We are all descended from them, Ruth wanted to say, it belongs to all of us. She still has no idea what Cathbad is doing here.

‘What do you want?' she says.

‘To talk to you,' says Cathbad again. He stoops and picks up Flint, who disgusts Ruth by purring loudly. ‘This is a very wise cat,' he announces, ‘an old soul.'

‘He's not that bright,' says Ruth. ‘My other cat was cleverer.'

‘Yes. I'm sorry about what happened to her.'

‘How did you know?' asks Ruth. ‘How did you know about my other cat?'

‘Erik told me. Why? Did you think I did it?'

Ruth doesn't know what to think. Is she trapped in the kitchen with a cat killer, or worse, a child murderer? She looks at Cathbad as he stands there, holding Flint in his arms. His face is open, slightly hurt-looking. He doesn't look like a killer but then what does a killer look like?

‘I don't know what to think,' she says. ‘The police have charged you with writing those letters.'

Immediately, Cathbad's face darkens. ‘The police! That bastard Nelson has it in for me. I'm going to sue him for wrongful arrest.'

‘
Did
you write them?'

Cathbad smiles and puts Flint gently back on the floor. ‘I think you know I didn't,' he says. ‘You've read them, after all.'

‘How did you…?'

‘Nelson's not as clever as he thinks he is. He gave it away. Yakking on about archaeology terms. There's only one person who could have told him all that. You're very friendly, you two, aren't you? There's definite energy between you.'

Ruth says nothing. Cathbad may not, as Erik claims, be magic but there is no denying that some of his shots hit the mark.

‘I know you, Ruth,' says Cathbad chattily, hitching himself up to sit on the work surface. ‘I watched you fall
in love with that red-haired fellow all those years ago. I know what you're like when you're in love. You were in love with Erik too, weren't you?'

‘Of course not!'

‘Oh yes you were. I felt sorry for you because you didn't get a look-in, what with his wife and girlfriend both on the dig.'

‘Girlfriend? What do you mean?'

‘That beautiful girl with all the hair. Looks like a Renaissance picture.
Primavera
or something. Teaches at the university. She was sympathetic to us, I remember. Joined in the protests. Well, until it started to get serious.'

‘Shona?' Ruth whispers. ‘That's not true.'

‘No?' Cathbad looks at her, head on one side, while Ruth shuffles quickly through her memories. Shona and Erik always liked each other. Erik called her The Lady of Shalott after the Waterhouse portrait. An image comes to her, clear as a film flashback, of Shona plaiting Erik's grey ponytail. ‘Like a horse,' she is saying, ‘a Viking carthorse,' and her hand rests lightly on his cheek.

Cathbad smiles, satisfied. ‘I need you to clear my name, Ruth,' he says.

‘I thought the police didn't press charges.'

‘Oh no, they didn't charge me with the murders, but if they never find the killer, it'll always be me, don't you see? Everyone will always think I did it, that I killed those two little girls.'

‘And did you?' asks Ruth, greatly daring.

Cathbad's eyes never leave her face. ‘No,' he says. ‘And I want you to find out who did.'

He has come back. When she sees him climbing in through the trapdoor she doesn't know if she is pleased or sorry. She is hungry though. She tears at the food he has brought – crisps, sandwiches, an apple – stuffing another mouthful in her mouth before she has finished the first.

‘Steady,' he says, ‘you'll make yourself sick.'

She doesn't answer. She hardly ever speaks to him. She saves talking for when she is alone, which, after all, is most of the time, when she can chat to the friendly voices in her head, the ones that tell her it is darkest before dawn.

He gives her a drink in a funny orange bottle. It tastes odd but she gulps it down. Briefly she wonders if it is poison like the apple the wicked witch gave Snow White, but she is so thirsty she doesn't care.

‘I'm sorry I couldn't come before,' he says. She ignores him, chewing up the last of the apple, including the pips and core.

‘I'm sorry,' he says again. He often says this but she doesn't really know what it means. ‘Sorry' is a word from long ago, like ‘love' and ‘goodnight'. What does it mean now? She isn't sure. One thing she knows, if he says it, it can't be a good word. He isn't good, she is sure of it now. At first she was confused, he brought her food and drink and a blanket at night and sometimes he talked to her. Those were good things, she thought. But now she thinks
that he keeps her locked in, which isn't good. After all, if he can climb through the trapdoor, up into the sky, why can't she? Now she is taller she has tried to jump up to the door and the barred window but she never manages it. Maybe one day, if she keeps getting taller and taller, as tall as … what was it called? As tall as a tree, that's it. She'll push her branches through the hole and carry on, up, up to where she hears the birds singing.

When he has gone she digs up her sharp stone and runs the edge of it against her cheek.

Ruth is awoken from confused dreams by a furious knocking at the door. She staggers downstairs, groggy with sleep, to find Erik, dressed in army surplus and a bright yellow sou'wester, standing on the doorstep.

‘Good morning, good morning,' he says brightly, like some crazed holiday rep. ‘Any chance of a cup of coffee?'

Ruth leans against the door frame. Is he mad or is she? ‘Erik,' she says weakly, ‘what are you doing here?'

Erik looks at her incredulously. ‘The dig,' he says. ‘It starts today.'

Of course. Erik's dig. The one approved by Nelson. The dig that aims to answer the riddle of the Iron Age body and the buried causeway. To find out whether the Saltmarsh has any more secrets.

‘I didn't know it was today,' says Ruth, backing into the house. Erik follows, rubbing his hands together. He has probably been up for hours. Ruth remembers that one of his traditions on a dig was to see the sun rise on the first day and set on the last.

‘Yes,' Erik is saying casually. ‘Nelson said it had to be after the funeral and that was yesterday, I believe.'

‘It was. I was there.'

‘Were you?' Erik looks at her in surprise. ‘Why ever did you go?'

‘I don't know,' says Ruth, putting on the kettle. ‘I felt involved somehow.'

‘Well, you aren't involved,' says Erik shortly, removing his sou'wester. ‘High time you stopped all this detective nonsense and concentrated on archaeology. That's what you're good at. Very good. One of my very best students, in fact.'

Ruth, who bridles with indignation at the start of this speech, softens somewhat by the end. Even so, she isn't about to let Erik get away with this.

‘Archaeologists
are
detectives,' she says. ‘That's what you've always said.'

Erik dismisses this with a shrug. ‘This is different, Ruthie. You must see that. You've given the police the benefit of your professional advice. Now leave it at that. There's no need to become obsessed.'

‘I'm not obsessed.'

‘No?' Erik smiles in an irritating, knowing way that reminds Ruth of Cathbad. Have they been discussing her?

‘No,' says Ruth shortly, turning away to pour the coffee. She also puts some bread in the toaster. No way is she going to dig on an empty stomach.

‘The poor girl is dead,' says Erik gently, his accent like a lullaby. ‘She is buried, she is at peace. Leave it at that.'

Ruth looks at him. Erik is sitting by the window, smiling at her. The sun gleams on his snowy hair. He looks utterly benign.

‘I'm going to get dressed,' says Ruth. ‘Help yourself to coffee.'

*

The dig is already well underway by the time Ruth arrives. Three trenches have been marked out with string and pegs,
one by the original Iron Age body, the other two along the path of the causeway. Archaeologists and volunteers are very gently lifting off the turf in one-inch squares; they will aim to put the grass and soil back at the end of the dig.

Ruth remembers from the henge excavation that digging on this marshy land is a tricky business. The furthest trench, which is beyond the tide mark, will fill with water every night. This means it will, in effect, have to be dug afresh every day. And the tide can take you by surprise. Ruth remembers that Erik always used to have one person on ‘tide watch'; sometimes the tide comes in slowly, creeping silently over the flat landscape. At other times the earth becomes water before you have time to catch your breath. These fast tides, called rip tides, could cut you off from land in the blink of an eye.

Even the trenches near to dry land have their problems. Although Erik has already mapped the area, the land can shift overnight, nothing remains certain. Archaeologists tend to become twitchy if they can't rely on their coordinates.

Ruth finds Erik leaning over the furthest trench. Because of the shifting ground, the trench is narrow and reinforced with sandbags. Two men are standing in the trench, looking nervously at Erik. Ruth recognises one of them as Bob Bullmore, the forensic anthropologist.