Ruth Galloway (59 page)

Desperately she tries to remember what has happened. She was in the trench, looking at the Janus Stone. She can see the two stone faces looking up at her, sinister and impassive. Then someone spoke to her. Who was it? She remembers that she wasn't scared, just curious and slightly annoyed at the interruption. She remembers getting out of the trench and going to look at something in a car. Then something must have frightened her because she tried to ring Nelson. After that – nothing.

‘Ah. You've woken up.'

Ruth turns and sees what should have been clear all along. She is in a boat, very like Max's boat. Hang on, it
is
Max's boat. She can see the stuffed dog, Elizabeth's dog, grinning at her from the bed. She is lying on the galley seat. The sink and cooker where once Max cooked her a gourmet meal, are opposite her. The herbs are still swinging picturesquely from the ceiling. And, standing on the step leading down from the deck, is Sir Roderick Spens. What's he doing here?

‘Can you help me?' she says. ‘I'm tied up.'

Inexplicably Roderick lets out a high-pitched giggle. ‘Tied up? So you are. Dr Galloway's busy. She's tied up.'

Ruth does not know what is happening but she knows that she is suddenly very scared. And Roderick's face, so mild-looking with its faded blue eyes and fringe of white hair, is the scariest thing of all.

‘Let me go,' she says, trying to sound authoritative.

‘Oh I can't let you go,' says Roderick, still sounding gently amused. ‘You have what I want, you see?'

‘What?'

‘You have Detective Inspector Harry Nelson's baby. You lay
with him and now you're with child. You're carrying his daughter. That's what I want.'

Ruth stares, cold with horror. The archaic language ‘lay with him … with child' only serves to heighten the horror. Somehow this old man knows her secret, that she is carrying Nelson's baby, and he is going to use this knowledge in some terrible way.

Still smiling, Sir Roderick approaches and Ruth sees the dull gleam of a knife.

‘I want the baby,' he repeats.

*

Nelson stares at Cathbad.

‘What do you mean?'

‘Max Grey. I think he's got something to do with Ruth disappearing.'

When Cathbad appeared in Nelson's office (was it only yesterday?), he had had some actual information about Max to go with his sixth sense. Apparently Cathbad had been speaking to a fellow Druid who lives in Ireland. ‘He knew Max Grey from a long way back, when he lived in Ireland. He described him in detail. Only he called himself by a different name entirely. And Pendragon—'

‘Who?' Nelson had asked, wincing as if in pain.

‘Pendragon. My friend. He said that this Max Grey character was a real troubled soul. Full of inner violence.'

Whilst admiring the Druid networking system, Nelson had, at the time, dismissed this as mere new age fancy. But now he says with real urgency in his voice, ‘Why do you think he's involved?'

‘Today, when I couldn't find Ruth, I rang him. No answer.
I contacted his students. He hasn't been seen all day.'

‘Where does he live?'

‘On a boat, apparently. Moored near Reedham.'

‘Come on then.' Nelson reaches for his phone. ‘Let's pay him a visit.'

*

Ruth screams, so loudly that it startles both of them. Roderick stops and looks at her quizzically.

‘Why are you frightened?' he asks.

‘Why do you think?' shouts Ruth. ‘I'm stuck here on a boat with a madman. A madman with a knife.'

Roderick looks quite hurt. ‘I'm not mad,' he says. ‘I've got a first in classics from Cambridge.'

From what Ruth has seen of Oxbridge graduates, the two are not mutually exclusive. But she knows that her best hope is in getting Roderick to speak to her. She tries to make her voice calm and reasonable, as if she is having a cosy chat with another academic.

‘I did archaeology at UCL,' she says. ‘They've got a good classics department.'

‘University College London,' muses Roderick. ‘A very respectable university. You must be a clever girl.'

Ruth attempts a simper. ‘Are you a classicist?' she asks, trying to sound suitably admiring.

‘I am a Roman.' His eyes are glittering. Cataracts or madness? At least he sits down on a small stool opposite Ruth, and lowers the knife. ‘I realised that at an early age. I was born at the wrong time. I belong in the age of discipline and self-reliance, of sacrifice and the pure libation of blood. Of the old gods.'

The old gods. Ruth thinks of the body buried under the door, the head in the well, the black cockerel. She remembers the feeling that the house on Woolmarket Street belongs to an older, darker, time.

‘Of course,' Sir Roderick is saying, ‘I don't do much these days. I belong to the historical society and, of course, I'm a trustee of the museum.'

The museum. Alarm bells go off in Ruth's head and in quick succession she sees the model baby, the two-headed calf and the black drapery that was thrown over her head. In the same moment, she recognises the smell, lemon and sandalwood. The scent that emanates discreetly from Sir Roderick Spens.

‘My father was a great classicist,' Roderick goes on, ‘Christopher Spens. Have you heard of him?'

Something tells Ruth that she had better say yes.

‘He was a great man. A great headmaster. Wrote many books about Ancient Rome. But he never got the recognition he deserved. He died a broken man. Never got over my sister's death.'

‘Your sister died?' Ruth remembers Nelson saying something about Annabelle Spens. Could Roderick's sister be the child buried under the door?

‘Of scarlet fever, yes. Nothing was ever right again. My mother stayed in her room all day crying. My father spent every hour at the school, never seemed to want to come home. He knew the house was cursed, you see. That's why I had to kill the other baby, you see. To lift the curse.'

Ruth's whole body is suddenly stone cold. ‘What baby?' she whispers.

‘My baby,' says Roderick carelessly. ‘I lay with one of the servants. An ignorant Irish girl but comely enough.' His voice thickens.

‘And she had a baby?'

‘Yes, that's what happens, you see.' He leers at her. ‘I was only a boy, of course. She took advantage of my adolescent urges. She said she loved me. She was a poor thing really. But she had a child, a girl. She called it Bernadette.'

It. Despite everything, Ruth feels tears rush to her eyes. The baby, stabbed, beheaded and buried under the door was Sir Roderick's child. And to him she is still ‘it'.

‘What about the mother?' she asks.

‘Oh, she went back to Ireland. The land of saints and scholars.' He gives that chilling giggle again. ‘I buried the body in the garden but when the pater had the arch and the columns built I dug it up and buried it in the hole under the new doorway. An offering to Janus, y'know. Protect our walls and all that. I put the skull in the well. It seemed the right thing to do.' He smiles complacently.

‘But what have I got to do with all this?' asks Ruth. Even if she gets free, will she be able to get past Sir Roderick? He is old but he looks fit. And he has a knife.

‘That detective, Nelson, he's too close to the truth. I've told my son that I've got Alzheimer's. He was only too ready to believe that I was going senile. Fits in with what he and his brainless wife already think about me. Anyway, he speaks freely in front of me. Doesn't think I understand. I got him to take me to the site. I saw you digging there and I knew you would find out the truth. Then, when I was at the police station, I overheard your call. When DCI Nelson rushed out,
he left his phone behind. Very careless.' Giggle. ‘I read your message and I knew. You were having his baby. So, unless he calls off the investigation, I'm going to kill his daughter. It's only fair after all.'

‘It's not at all fair!' Ruth bursts out, in spite of herself.

Roderick ignores her. He continues speaking, in a self-satisfied tone. ‘I saw you at the Roman site. I was there with the Conservative Association. They'd hired a minibus. Very civilised. Then, when I saw you at the house, I made the connection. I thought I'd try to scare you off. I wrote your name on the stone with the blood of a cockerel. Strong magic. I knew the archaeologist from Sussex would find it and tell you. I thought the dead baby was a nice touch. I knew you'd be there that day because you'd had dinner with him the night before.'

‘You're well-informed,' says Ruth, between dry lips.

‘My granddaughter works on the site,' answers Sir Roderick airily. ‘She tells me all the comings and goings.'

‘Your granddaughter?'

‘An uncouth girl. But useful. Then, of course, when Nelson wanted to do the DNA testing, I knew he'd make the link between me and the body. That's why I had to act. I knew you'd go to the Roman site, to see the stone. I waited for you every morning. I knew you'd come eventually. You were so kind, offering to get something from my car for me. As you were bending over, I hit you over the head with my car torch. A perfectly serviceable tool for the purpose. Then I drove you to the boat.'

‘How did you get me on board?' Ruth remembers the jolly barbecuing families at the marina. Surely one of them will
have noticed a man carrying a prostrate body on board. And, come to that, how did Roderick manage to carry her?

‘I wrapped you in a carpet. Like Cleopatra.' Another giggle. ‘I parked my car by the boatyard and one of the men very kindly helped me with my burden. Remarked how heavy the rug was.'

‘Where are you taking me?'

‘To a house where I have the necessary equipment for libations, et cetera.' He could be any elderly eccentric talking about his hobby. Except for the knife in his hand and the deranged glint in his eye.

‘No one will think of looking where I'm taking you,' continues Sir Roderick. ‘Nelson will know he's been beaten by a better man.'

‘Have you told him?' If Nelson knows, he will be on his way. He will move heaven and earth to save her, she knows that. Oh please let him have told Nelson.

‘I sent him a text message. A crude form of communication but effective.'

‘You should call him again.' The police can trace text messages, can't they?

‘
You're
going to call him.'

And, in a worryingly swift movement, he is at her side, holding out a phone with one hand and, with the other, keeping the knife at her throat.

*

Nelson leaves as soon as Clough arrives to keep an eye on the girls. ‘Never fear, Uncle Dave is here,' are Clough's opening words as he settles down on the sofa to watch the American high schools kids battling with the undead.

‘For Christ's sake, keep your wits about you,' growls Nelson.

‘You can rely on me, boss.'

Nelson reaches forty miles an hour before he has backed out of the close but, beside him, Cathbad is calm and serene. He is the only person Nelson has ever met who is not terrified by his driving.

It is nearly six o'clock. Rush hour time. The roads are thick with traffic and when they reach the outskirts of Norwich Nelson puts the siren on and they weave madly between lanes, forcing other drivers up onto grass verges and scattering bollards like ninepins.

Cathbad hums a Celtic folk song.

Outside Reedham, the road is blocked because of an accident, stationary traffic in both directions. Nelson thumps the steering wheel.

‘Look at the map,' he tells Cathbad, ‘find a short cut.'

Cathbad points to an unmade-up road on their left. A pile of abandoned tyres squats by a broken gate. It looks like it couldn't possibly lead anywhere.

‘Try that way.'

‘Why?'

‘I've got a good feeling about it.'

Nelson swings to the left. The Mercedes bumps along rutted tractor tracks, occasionally descending into vast, muddy puddles.

‘If my suspension's buggered, I'll blame you.'

Cathbad keeps humming.

The lane takes them past deserted barns, abandoned cars and, inexplicably, a smart bungalow offering Bed and Breakfast. Finally, Nelson crashes through overhanging trees
and encroaching hedgerows to come to a halt, with his front wheels hanging over the edge of the river bank. He turns wrathfully to Cathbad.

‘It's a dead end. You—'

But Cathbad is pointing through the trees, where a church tower is just visible.

‘Reedham,' he says vaguely.

‘How did you—'

‘The flow,' says Cathbad, ‘you have to go with the flow.'

But Nelson is already striding off along the river bank.

*

At the marina, they find the boat owners in the middle of a party. The wine is flowing and sausages are grilling on the barbecue. Reggae music blasts from one of the boats, a low cruiser called
Dreadlock 2
. Nelson shoves his warrant card in the face of the large man cooking sausages.

‘I'm looking for a boat called the
Lady Annabelle
.'

The man looks blank and there are some giggles, hastily suppressed.

‘I know the
Lady Annabelle
,' says a voice from the reggae boat. A tall man with waist-length dreadlocks smiles up at them. ‘It's owned by that professor, isn't it?'

‘Do you know where it's parked? Moored?' asks Nelson impatiently.

‘Sure.' The man sounds as if he has all the time in the world. Nelson grinds his teeth though Cathbad looks approving. ‘Just along the moorings. To the left.' He gestures. ‘You can't miss it. It's the last boat.'

‘Peace,' calls Cathbad over his shoulder as he and Nelson march towards the wooden gate.

‘Peace and love,' calls back the dreadlocked man.

But at the end of the moorings they find only a frayed rope. The
Lady Annabelle
has gone. From the marina they can hear Bob Marley singing about redemption. The river flows past them, dividing into its two directions, mysterious in the evening light. Midges gather around their heads.