Ruth Galloway (58 page)

The rain has stopped and teenage girls are pouring out of the school gates, all wearing purple sweatshirts and short black skirts. His heart leaps every time he sees a girl with long brown hair but there are so many of them, so many slim girls with minuscule skirts and long, wavy hair, but not one of them is his. His heart pounds harder than ever and he can hear himself making a moaning sound under his breath, almost a whimper. Please God, he prays madly to the God whom he has ignored for most of his adult life, please God make them be all right.

And then, in a knot of purple sweatshirts, he sees Paige, Rebecca's best friend, ambling along without a care in the world, chatting to a plump girl with hair dyed a virulent pink.

‘Paige!' Nelson's bellow makes every head turn in his direction. ‘Paige!'

He races up to her, grabbing her arm. He is aware how mad he must look. Rebecca's nice, respectable father, a policeman, who is popular amongst the girls for his bad karaoke turns and his willingness to offer lifts, turning into this raving lunatic with staring eyes and trembling hands.

‘Paige! Where's Rebecca?'

Paige backs away, staring. She seems incapable of speech. Her mouth hangs open and he can see the gum inside it. He is suddenly filled with a murderous rage that this girl, this
imbecile, should be safe while his darling daughters are in danger.

‘Where's Rebecca?' he repeats, trying to make his voice calmer.

‘I dunno. She's got an after-school club, I think …' She is still backing away, her eyes round. Nelson closes his eyes, trying to still the demons inside him. Unexpectedly, the pink-haired girl comes to his aid.

‘Drama club,' she says brightly. ‘They're doing
Fiddler on the Roof.
Room C9, Block 3.'

Nelson is running again before she has finished speaking. Sliding over the wet turf of the playing field, scattering a game of hockey (‘Look out!'), crashing through the main doors to Block 3. Christ, why do schools have so many doors? He runs through endless corridors, door after door banging behind him. He shouts ‘Rebecca!' and the sound bounces off the glass and plasterboard and a photo-montage of ‘School Journey 2007'. Room C9, the girl had said. Maddeningly, the rooms do not seem to be in any order: A12, B1, B7, D15. He stops and starts to double back, heart pounding harder than ever. He grabs a passing arm, ‘C9,' he pants. The owner of the arm, a middle-aged man, looks uneasy.

‘Who are you?'

‘Rebecca Nelson's father.
Where is she
?'

And then, behind the man's corduroy back, he sees a door miraculously labelled ‘C9'. Thrusting the man to one side, he launches himself through it.

The large room contains a makeshift stage, a hassled-looking teacher, a few gum-chewing girls and, wonder of
wonders, miracle of miracles, his daughter. Ignoring everyone, Nelson enfolds the outraged Rebecca in a fierce hug.

‘Thank God. Thank God.'

‘Dad! Get off!'

‘Rebecca,' he holds her at arm's length, ‘where's Laura? Where's your sister?' If anything happens to Laura, he will always feel guilty that he came to find Rebecca first.

‘I've got no idea. Dad! Let me go! What are you playing at?'

‘We're going home.'

‘I don't want to go home. I'm playing Tzeitel.'

‘Come on.'

Without letting go of Rebecca's arm, he shouts ‘Sorry' to the now frankly terrified teacher and propels them both out of the room.

In the corridor, he stabs Laura's number into his phone. Straight through to answerphone. He tries again, hardly noticing the four missed calls from Judy Johnson. He looks at his watch. Four o'clock. Michelle won't be home before six. Where is Laura? His darling eldest daughter, so correct and well-behaved always (like one of the girls in
Little Women,
Michelle used to say). Where can she be?

‘Does Laura go to any clubs on a Thursday?'

‘I dunno.'

‘Keep ringing her,' Nelson thrusts his phone into Rebecca's hand, ‘we're going home.'

Ignoring Rebecca's litany of complaints, threats and slurs on his parenting (he's had plenty of practice), Nelson drags her back through the school and across the now deserted
playing field to the place where his car is rammed up against the wall.

‘Dad! Your car!' For the first time, Rebecca sounds shocked.

‘Keep phoning.'

Laura will have gone home. It's not unlike her to get home first, put the kettle on and cook supper for everyone. An angel, that's what she is. Nelson's eyes are wet when he thinks what an angel his eldest daughter is. Rebecca has always been the rebellious one and, besides, Rebecca is sitting beside him, safe and sound, so he doesn't need to sanctify her. But Laura, Laura is out there somewhere with a madman on her trail. Perhaps he has already found her, perhaps he has … Nelson rams his foot down on the accelerator.

‘Dad! Are you trying to kill us?'

‘Keep phoning.'

He takes the turn into the drive on two wheels. Michelle's car isn't there but then he wouldn't expect her to be home yet. Will she kill him for not phoning her first? No, Michelle would want him to do what he is doing – save their daughters' lives.

‘Laura!' yells Nelson, bursting in through the front door.

A silence during which Nelson thinks that he can hear his heart breaking. And then, a faint noise, like a rat scrabbling, directly overhead.

‘Laura?' Nelson starts to climb the stairs.

‘Dad! Don't!' Rebecca grabs his arm. He looks at her, uncomprehending. He tries to shake Rebecca off and, as he does so, notices two things: Laura's flowery backpack lying beside the front door and a pair of man-size trainers next to it.

‘Dad?'

And there is Laura at the top of the stairs. Not dead but gloriously alive, wearing a dressing gown tightly belted around her waist.

‘Laura! Sweetheart!' He bounds upstairs to hug her. She's safe. Thank God, she's safe. Thank you God. I'll go to mass next Sunday. She's alive. They're both alive … A dressing gown?

He loosens his grip, takes in Laura's dishevelled appearance, Rebecca's attempts to make herself invisible, the scuffling sounds still emanating from one of the upstairs rooms. Quick as thought, he kicks open the door to Laura's bedroom.

And finds a youth, half-dressed, trying to climb out of the window.

It takes about a second for Nelson to revert from distraught father to aggressive policeman. He slams the window shut and addresses the cringing boy, ‘Get your clothes on, sunshine, and get out of my house. If I ever see you here again, I'll lock you up.'

At the foot of the stairs, Rebecca and Laura are staring up at him, clinging together for support.

‘Did you know?' he asks Rebecca. ‘Did you know what she was doing?'

‘No. Honestly!'

He knows she is lying but there is no time to do anything about that now. He is already phoning Sergeant Clough. ‘Cloughie. Someone's threatening my girls. I need some protection over here right now.' Glancing at his phone, he sees there are now six missed calls from Judy.

‘Get in the sitting room,' he tells the girls.

‘I want to get dressed,' says Laura.

Nelson experiences a spasm of – what? Revulsion, anger, sadness? His daughter, his angel, was about to have sex with that gangling idiot upstairs. He hears the front door slam.
At least he is gone, maybe he won't come back. Maybe he was just in time to save his daughter's virginity. And then he thinks: who am I kidding? Of course he wasn't in time; he is months, perhaps years, too late.

‘Who was he?' he asks.

‘His name's Lee,' says Laura sulkily. ‘Mum's met him,' she adds, as if this makes it all right.

A fresh horror strikes Nelson's heart. ‘Does your mother know …?'

‘No!' Laura's shocked response somehow reassures him. At least Laura has had the decency to hide her sex life from her parents. At least Michelle isn't colluding with her daughters behind his back.

‘I want you both to stay downstairs,' he says.

It is gradually beginning to dawn on Rebecca that there is more to her father's behaviour than the usual parental paranoia.

‘Dad,' she says, ‘what's going on?'

‘Nothing,' Nelson starts to dial Judy's number.

‘You said someone was threatening us.'

‘Just some nutter,' says Nelson, trying to sound reassuring. ‘There's nothing to worry about, I promise you.'

Both the girls now look completely terrified. They huddle together on the sofa and Rebecca automatically switches on the TV. Nelson is about to shout at her to turn it off but then he thinks that maybe they could do with the soothing mindlessness of MTV or
Hollyoaks
. Certainly, Laura and Rebecca both relax slightly when the screen is filled with loud Americans exchanging complicated handshakes.

Then the doorbell rings and they both scream.

‘It's only Cloughie,' says Nelson. ‘Stay here!' he barks, slightly ruining the calming effect.

But it isn't Clough. It's Cathbad. He is wearing what Nelson calls his ‘semi-Druid' costume; jeans and T-shirt covered by a tattered purple cloak. But his expression as he grasps Nelson's arm is devoid of any play-acting. He looks in deadly earnest.

‘Nelson. I think something's happened to Ruth.'

*

Judy presses ‘redial' again and again as she runs through the rainswept Southport streets. Why the hell isn't Nelson answering his phone? Passing pensioners and glum-looking tourists turn to stare as she races past them. Probably no one has moved that fast in Southport for the last fifty years. When she arrives at the convent, she is wild-haired and out of breath, still punching redial with one finger.

‘Can … I … see … Sister Immaculata please?'

‘I'm sorry, it's out of the question.' The nun at the door looks faintly accusing. ‘She's had a very bad turn. The doctor's with her now.'

‘I'll wait,' pants Judy.

‘She won't be seeing anyone else today.'

At first Nelson hardly takes in what Cathbad is saying. Then, slowly, the wheels turn in his head and his whole body is suddenly icy cold. Ruth … his daughter. I'm going to kill your daughter. Could whoever sent this message possibly know that Ruth is carrying his daughter inside her? He goes so pale that Cathbad looks concerned.

‘Are you all right?'

‘What's happened to Ruth?'

‘We were meant to meet at the Swaffham site. But when I got there there was no sign of her. And I found this in one of the trenches.'

He holds out Ruth's phone.

‘You'd better come in,' says Nelson.

The girls hardly look up as the cloaked figure passes through the sitting room. They are deeply involved in some rubbish involving American high school pupils, loud rock music and vampires. Nelson and Cathbad talk in the kitchen, amongst Michelle's gleaming work surfaces and the cork-board groaning with invitations, shopping lists and school timetables. It seems almost impossible that evil should come here, into this sunny family room, but they both know that it has; they both feel its shadow.

‘I went to her cottage,' Cathbad is saying. ‘It's completely deserted.'

‘The university?'

‘No one there. Her office is locked.'

Nelson picks up Ruth's phone. His was the last number she dialled. He looks at his own phone, six missed calls from Judy Johnson and, before that, one from Ruth Galloway.

It is a shock when his phone rings again. Judy Johnson.

‘Johnson. What is it?'

‘Roderick Spens sir. I think he was the father.'

‘What?'

‘Sister Immaculata. I thought the baby was Sir Christopher's but now I think it was Roderick's. He would have been about fourteen or fifteen when it was conceived. Sister Immaculata, Orla, would have been twenty.'

‘She had an affair with a fourteen-year-old?'

‘I think so. Sister Immaculata said he called her his Jocasta. Jocasta was the mother of Oedipus.'

‘Classical scholar, are you now?'

‘I looked it up.'

‘Have you confronted this Sister Immaculata?'

‘She's too ill to speak to me.'

Nelson remembers Dr Patel saying that Sir Roderick's mind was ‘remarkably sharp'. He remembers that, when Ruth texted to say that she was expecting a girl and he had rung her back, Sir Roderick had actually been in his office, dithering about and pretending to be a sweet little old man.

‘Are you still there, sir?'

‘Yes. Good work, Judy. Keep trying to see the nun. I'll call you later.'

He clicks off the phone. Cathbad leans forward and Nelson sees not the fey Druid but the scientist, the man who would, incredibly enough, have made rather a good policeman.

‘Nelson,' he says. ‘I think Max Grey has kidnapped Ruth.'

I hadn't expected this. Socrates may favour dialogue but I don't. The last thing I needed was a chat with the infant. Apart from anything else, my time was limited. The maids would be back at midday and the mother could come in at any moment.

Then I had a brainwave. ‘Keep quiet,' I said, ‘I've got a surprise for you.'

I bent over the bed. I had hoped she was asleep but she wasn't. Her eyes were open and she looked at me.

She obeyed my order, even putting her finger to her lips. I'm obviously born to command. In fact, I think I've got quite a gift with children.

‘Lie still,' I said. And I pulled the knife out of my pocket.

I raised the knife. She laughed. Sacrilege! I lowered the knife slightly and looked at her. Then she started to cry.

When Ruth opens her eyes it is still dark. She is not scared at first. Instead she feels rather sleepy, soothing memories rocking to and fro in her head: picnicking with her mother and brother in Castle Wood, listening to the radio with her dad, floating in the sea, hair streaming back amongst the seaweed, sleeping on a beach in the sun. Even when she realises that she is, in fact, lying tied up on a narrow bed, she is not immediately filled with terror. The pleasant memories persist along with the gentle rocking motion. Then, as if in an effort to rouse her, the baby in her womb kicks. Ruth is suddenly wide awake, struggling to sit upright. Her hands are tied behind her back so this is a difficult feat, but she manages it. By her head there is a small round window but through it she can see only grey and green, merging and separating like colours in a kaleidoscope. The whole thing is so horribly like a dream that she actually closes her eyes again and wills herself to wake up. But when she opens her eyes it is all still there, the rope (now digging painfully into her wrists), the window onto nothingness, the strange seesawing movement.