Ruth Galloway (47 page)

‘Looks like it – I've got the census here. Yep, census of 1951. Christopher Spens, Rosemary Spens, children Roderick and Annabelle.'

‘Right.' Nelson gets to his feet. ‘Cloughie, you find out all you can about the Spens family. Judy and Tanya, you get on to the lab for the test results. I'm going to have a little chat with Edward Spens.'

*

The weather stays bright all the way to Swaffham but as Ruth pulls off the A47 (carefully mirror-signal-manoeuvring) dark clouds are scudding across the sky. As she parks on the grass at the foot of the hill, fat raindrops are beginning to fall. She watches as the students run laughing down the slope, holding coats and tarpaulins over their heads. Most disappear into the pub, some bundle into dilapidated cars and drive off in a blur of exhaust smoke. Soon Ruth's is the only vehicle parked at the bottom of the mound.

*

‘Is it important, Harry? Otherwise one does rather like leave weekends free for the family.'

‘Oh it's important, Mr Spens,' says Nelson grimly. He decides to do away with any introductory niceties. ‘Why didn't you tell me that your family used to live on Woolmarket Street?'

A slight pause. ‘I assumed you knew.'

‘Never assume, Mr Spens. So, even when a body was discovered on the site, you didn't think it was worth mentioning that the house was once your family home?'

‘I never lived there. The house and land was leased to the diocese in 1960.'

‘But you still owned it?'

‘Yes. But you were interested in the years when it was a children's home. The Spens family had nothing to do with the house then.'

‘And now we're interested in the Spens years,' says Nelson smoothly.

‘What do you mean?'

‘We've got evidence that the body was that of a child born in the early to mid-fifties. When would be a good time for me to pop over?'

The rain seems to be slowing down. Ruth, who feels slightly sick after the car journey, decides to take a short walk after all. Just up to the site and back. She gets out of the car, pulling on her yellow sou'wester.

The climb up the hill is hard going and she finds herself staring down at the grass, willing her feet to keep moving. When she gets to the top and looks around her, she realises that the sky is now completely black. Far off, she hears the first faint rumble of thunder.

As she heads towards the main trench she thinks she sees something out of the corner of her eye. She whirls round but there is nothing, just the wind blowing across the coarse grass. But Ruth is sure she saw something – a black shape skirting around the edge of the site. An animal maybe but, for some reason, Ruth feels shaken. She hears Max's voice.
She is meant to haunt crossroads, crossing places, accompanied by her ghost dogs.

Don't be ridiculous, she tells herself. Hecate's hounds are hardly going to be lying in wait for you. It was probably a fox or a cat. But, nevertheless, she has a strong urge to go back to her car and drive as far away from the site as she can. It is only the thought of climbing all the way up the hill for nothing that stops her. She'll just have a quick look in the main trench and go back. Just to say that she's done something.

The sky murmurs again. Pulling her hood further over her head, Ruth lowers herself into the trench.

Ruth stumbles slightly and almost falls onto the packed earth. Suddenly lightning splits open the sky. Ruth shuts her eyes. When she opens them again, there is a dead baby at her feet.

Last night I had a terrible dream – a snake-faced woman, a man with two faces, a child thrown into the furnace, its flesh melting off, like a plastic doll that has fallen in the fire. I woke drenched in sweat but I was too scared to go back to sleep. I stayed awake, reading Pliny and waiting for dawn to break. Why am I troubled in this way? I have made all the right sacrifices yet it is almost as if the gods are angry.

The weather has got warmer. Yesterday Susan was working in the garden with her sleeves rolled up. I could see her arms, speckled like hens' eggs, covered with surprisingly thick blonde hairs. I had to reprimand her, of course. I am the Master.

I am tired. Sometimes I just want to lie down and sleep and forget everything.
By a sleep to say we end the heartache …
Hamlet Act 3, scene 1.
To die, to sleep. To sleep, perchance to dream.

Ay, there's the rub.

Ruth is floating in a dark sea. Toby is somewhere near but she can't see or touch him. It's funny, but suddenly she feels she knows him inside out, his hopes and fears, his loves and hates, as if he were an old friend, not a three-month-old foetus. She even knows what his voice sounds like. It sounds like he's saying goodbye.

She is on the beach and a tide of bones is washing up against the shore. She hears Erik's voice. He is talking to Toby, ‘It's the cycle of life. You're born, you live and then you die. Flesh to wood to stone.' ‘But he's not even born yet,' she wants to scream but somehow her head is underwater and she can't speak or hear or breathe.

The tide brings her back again but now she's in the trench and it's too dark to see. She knows there's someone there with her. Someone evil. She sees a woman with two black dogs, a crossroads, the yellow eyes of an owl.

Now it is Max's voice she hears in her head. ‘She was the goddess of many things. The Greeks called her the “Queen of the Night” because she could see into the underworld … She's the goddess of the crossroads, the three ways …
Another name is Hekate Kourotrophos, Hecate the child-nurse.'

‘Hecate!' she says, forcing the breath out of her lungs, ‘save me!'

Then another wave washes over her and everything is black.

Nelson is on his way to interview Edward Spens when he gets the call. He listens intently and then performs a screeching U-turn in the middle of the dual carriageway. Then he switches on the siren.

She is in the sea again and the tide is pulling her backwards and forwards, dragging her body against the stones, engulfing her in darkness. Now and again she sees lights, very far away, darting to and fro in the black water. She hears voices too, sometimes louder, sometimes softer. She hears her mother, Phil, Shona, Irish Ted and the nurse at the hospital.
Are you on your own?

Once she hears Nelson's voice, very loudly. ‘Wake up, Ruth!' he is saying. But
he
has to wake up, he has to leave, get back home before his wife finds out. They can never be together again.
Thanks. What for? Being there.

Two children are digging a well on the beach. They are singing, ‘Ding Dong Dell, Pussy's in the well.' Flint appears, very large, licking his whiskers. Then Sparky wearing a necklace of blood. A headless bird singing in a cage. The light glinting on coins thrown into a wishing well. A penny for your thoughts.
Ding Dong Dell, Pussy's in the well.

Erik is rowing her to shore. He is talking about a Viking funeral. ‘The ship, its sails full in the evening light. The dead
man, his sword at his side and his shield on his breast.' The tide rocks the boat up and down. ‘Do not be afraid,' Erik tells her, ‘it is not your time.' Time and tide wait for no man. The sea carries her back through her life – Eltham, school, University College, Southampton, Norfolk, the Saltmarsh, the child's body buried in the henge circle. Cathbad, torch upraised.
Goddess Brigid, accept our offering
.

Another wave takes her right out of the water and leaves her stranded in daylight, gasping and shaking. She opens her eyes and sees Max, Nelson and Cathbad looking down at her.

She closes her eyes again.

Nelson drives like a maniac towards the hospital. ‘Ruth's hurt,' Cathbad had said. ‘I think she might be losing the baby.'

The baby. He does not stop to wonder how Cathbad knows or what Cathbad knows. He does not even wonder why Cathbad is the one who is ringing him, why he is with Ruth at all. All he can think about is that Ruth's pregnancy, which was hitherto only a suspicion, has become reality. And that the baby she is losing may be his. He presses his foot harder on the accelerator.

At the hospital he finds not only Cathbad, complete with cloak, but the know-all from Sussex University, Max Whatshisname. They are standing in the waiting area, by the rows of nailed-down chairs and ancient copies of
Hello!
, looking helpless.

‘What's going on?' barks Nelson, going straight into policeman mode.

‘They're examining her now,' says Cathbad, putting a calming hand on Nelson's arm. He shakes it off irritably.

‘Let me speak to the doctor.'

‘In a second. The doctor's busy with Ruth now.'

Thwarted, Nelson turns on Max who is looking awkward and embarrassed.

‘What happened?'

‘I found her at the site.' If Nelson sounds like a policeman, Max sounds like a suspect. ‘I went to check on the dig after the rain and she was there, in a trench, unconscious.'

‘Was anyone else there?'

‘Not at first but while I was … looking at her … Cathbad appeared.'

‘Just appeared?' growls Nelson, looking at Cathbad. ‘Got magic powers now, have you?'

Cathbad looks modest. ‘I just happened to be at the site. I wanted to have a look round. As you know, I'm interested in archaeology.'

‘And you just happened to be there when Ruth collapsed?'

‘I must have arrived a few minutes after Max. I saw his car at the foot of the hill.'

‘And what happened to Ruth? How come she collapsed?'

In reply, Cathbad holds something out. Nelson recoils.

‘What the hell's that?'

It is Max who answers. ‘It's a model of a newborn baby. When I saw it, I thought …'

‘So did I,' says Cathbad, sounding rather shamefaced. ‘That's why I sent you the message.'

Nelson looks at the model. It is an anatomically perfect plastic replica of a full-term foetus. Its face is blank, its eyes
sightless. Turning it over, he sees a name stamped at the base of the spine. ‘It's from the museum,' he says. ‘I went to some ridiculous party there and I remember it. They've got these models of foetuses at all stages of development.'

Max looks as if he is about to speak but at that moment the doctor (a disconcertingly youthful Chinese woman) appears in front of them.

‘Are you with Miss Galloway?'

‘Yes,' answers Nelson immediately.

‘How is she?' asks Cathbad.

‘Still unconscious but her vital signs are good. She should come round soon. I understand she's pregnant?'

‘About sixteen weeks,' says Cathbad, ‘I told the ambulance crew.'

The doctor nods soothingly. ‘There's no sign of a miscarriage but we'll do a scan later. Go in and talk to her. It might help her come round.'

The invitation seems to be addressed to Cathbad alone but all three men follow the doctor into a side ward, where Ruth is lying in a curtained cubicle. Her name is already at the end of her bed. This efficiency strikes Nelson as ominous. Aren't people meant to wait for ages in Casualty, lying on a stretcher in the corridor?

Ruth is lying on her side with one arm flung over her head. She seems to be muttering under her breath. Cathbad sits beside her and takes her hand in his. Nelson stands awkwardly behind him. Max hovers by the curtain, seemingly uncertain about whether he should stay or go.

‘What's she saying?' asks Nelson.

‘Sounds like Tony,' says Cathbad.

‘Toby?' suggests Max from the background.

Suddenly Nelson steps forward. ‘Wake up, Ruth!' Ruth's eyes flicker under her lashes.

‘Don't shout at her,' says Max. ‘That's not going to help.'

Nelson turns on him furiously. ‘What's it got to do with you?'

But Cathbad is looking at Ruth.

‘She has come back to us,' he says.

‘What's happened?' Ruth's voice is faint, but accusatory, as if somehow this is all their fault.

‘You fainted,' says Cathbad. His voice is soothing. ‘You'll be fine.'

Ruth looks, rather desperately, from one face to another. ‘The baby?' she whispers.

‘Fine,' says Cathbad bracingly. ‘They'll do a scan but there's no sign that anything's wrong.'

‘The baby in the trench?'

‘It was a model,' says Nelson, ‘some nutter must have put it there for a joke.'

He holds out the plastic baby. Ruth turns her head away and tears slide down her cheeks.

‘Your baby's OK,' says Nelson in a softer voice. Ruth looks up at him and somehow it seems as if they can't look away. The seconds turn into minutes. Max fiddles with a hand sanitiser on the wall. Cathbad, of course, is incapable of embarrassment.

‘I think,' he says brightly, ‘that we should all give thanks to the goddess Brigid for Ruth's safe recovery.'

Luckily, at that minute a nurse pushes aside the curtains
and says that they are transferring Ruth to another ward. They will keep her in for the night, she says, just for observation. ‘And in the morning,' she says cheerfully, ‘one of your friends can drive you home.' She looks at the three men, from Cathbad's purple cloak to Max's mud-stained jeans and Nelson's police jacket, and her smile fades slightly.

In the morning, Ruth is only too keen to leave hospital. At first it had been wonderful to lie between the cool, starched sheets and have kind nurses bring her tea and toast. They had wheeled her down for the scan and there was Toby, floating happily in his clouds. To Ruth's embarrassment she had cried slightly, sniffling into the pink tissues handed to her by a nurse. Jesus, they're so
nice
in here. It's a wonder they don't go mad.

But as the night drew on she had started to worry about Flint (Cathbad had offered to feed him but who knows whether he'd remember), about her baby (how on earth is she going to cope on her own?) and, finally, about herself. It seems that someone is trying to scare her to death. Her name written in blood (Max has confirmed this) and now the final gruesome discovery of the plastic baby. Did whoever put it there know she is pregnant or was it just another grisly classical allusion? And who could it be? It must be someone close enough to put the objects in place the split second these sites are deserted. And why? This is the question that chased itself around in her head all through the long night, full of nurses padding to and fro and white figures hobbling to the loo and back. The woman next to her snored continually, but unevenly, so Ruth was unable even to fit
the noise into a soothing background rhythm. She had nothing to read and eventually this need became so pressing that she asked the nurse for something, anything, with words on. The nurse came back with
Hello!
magazine so Ruth spent the rest of the night reading about footballers' weddings and obscure Spanish royalty to the accompaniment of jagged grunts from the bed next door.