The Corpse Bridge (13 page)

‘Shrieking in the woods, white figures moving through the trees,' she said. ‘What would the folklore say, Ben?'

If he'd been talking to anyone else, Cooper might have mentioned corpse candles. It was the name given to a flame or ball of light seen travelling above the ground on the route from a cemetery to a dying person's house and back again. For some reason the light was usually blue. A similar light appearing in a graveyard was believed to be an omen of approaching tragedy. Cooper seemed to recall that they appeared on the night before a death. The stories told about corpse lights were like those of the will-o'-the-wisps, mischievous spirits who attempted to lead travellers astray.

As Diane Fry would certainly have pointed out, there were always logical explanations for these things. Anyone observing a will-o'-the-wisp might be seeing nothing more than a luminescent barn owl. A wildlife officer had once told him that some barn owls possessed a form of bioluminescence caused by honey fungus. The white plumage of the birds could look eerie enough at night, if you glimpsed one in your torchlight. A luminescent barn owl flitting through the darkness would be enough to spook anyone. And corpse candles? Witnesses might just have been noticing the effect of methane gas, the product of decomposing organic material in marshes and peat bogs.

But even in the twenty-first century, the prosaic scientific explanations weren't always what people wanted. Everyone liked a bit of mystery. Generation after generation, the more superstitious inhabitants of Derbyshire had preferred to believe in spirits.

‘Who told you that anyway?' asked Cooper.

‘DC Villiers. I heard about the statements from your members of the public this morning.'

‘Oh.'

‘Have you got a problem with that? We're colleagues, aren't we? We should be working together.'

‘If you say so.'

Cooper stopped. He'd caught a glimpse of something blue glittering among the trees, a flash of light, as if from a piece of glass reflecting the sun. The sight was irresistible, a signal tempting him from the path. He had no option but to turn aside and investigate.

When he got closer he could see that what he'd seen was a ball of smoky blue glass, the kind of thing sold in craft centres and gift shops for use as a table ornament or a flower vase. His sister would have taken it home and placed a scented candle inside it.

But inside this one was a tangle of threads. There were lengths of cotton of every colour – not only white and black threads, but bright strands twisted among them in no discernible pattern. It was just a random hotch-potch of colour, all given an eerie glow by the blue of the glass. The neck of the ball was attached to a branch of a rowan tree by a pair of ribbons and it moved slightly in the breeze, spinning one way and then the other. It had been placed at a height just above Cooper's head, but he could reach up to stop its movement. Then he saw the scraps of paper entangled among the threads, rolled into little tubes and thrust into the multicoloured mass.

‘What is it?'

Cooper turned at the sound of Fry's voice. As happened so often, her words intruded like a cold dose of reality from the outside world at a moment when he was contemplating the mysteries of the rural imagination, feeling the centuries of belief in magic running disturbingly through his veins. There was something about these old superstitions that made him shiver, not only with apprehension, but with understanding too.

‘You don't want to know, Diane,' he said.

‘I suppose that means it's something absurd and rustic.'

‘Well, it's a witch bottle,' said Cooper.

Fry snorted. ‘Exactly.'

Cooper looked at her, not at all surprised this time that she'd noticed him leaving the path and decided to follow him. It was like being under twenty-four-hour surveillance. He wondered what she would have done if he'd simply sneaked off to relieve himself behind a tree. Would she have stood there making notes?

‘It should probably be called a “watch ball” actually,' he said. ‘It's used to guard against evil spirits. Its purpose is to draw in and trap negative energy that might have been directed at its owner. It can counteract spells cast by witches or prevent spirits moving about at night. That's why it's placed here, by the coffin road, because it's the route spirits would take. It's a sort of diversion sign, to deflect evil and keep it away from something, or someone.'

Despite her initial reaction, Fry was peering more closely into the blue glass as Cooper held it still. ‘So the pieces of paper inside?'

‘Charms,' said Cooper. ‘If we can get them out and interpret them, they might give us an idea what evil the witch bottle is designed to counteract and who the charms might be aimed at. And perhaps who put them here.'

‘Well, that sounds like a job for a superstitious country boy,' said Fry. ‘I wonder where we'd find one of those.'

Carefully, Cooper began to untie the ribbons from the branch and reached out to grasp the ball.

‘Fingerprints,' said Fry automatically.

‘You're right, of course.'

Cooper found a fresh pair of latex gloves in his pocket and pulled them on before handling the ball. It was surprisingly light. The glass must be very thin, he supposed.

‘What's in the ball?' asked Fry. ‘What are all those bits of paper?'

Cooper couldn't make out the language written on them or interpret the symbols. But he had a good idea what they would be.

‘Spells,' he said. ‘Probably curses.'

‘Oh, right.'

And there was something else shoved right into the middle. A piece of clay, formed into a distinctive shape. Not human, though. A bird.

‘Now that I recognise,' said Fry. ‘It's an eagle's head.'

‘Yes.'

‘Does it have some significance?' she asked.

‘Around here it does.'

Cooper placed everything into evidence bags for the forensic examiner. As he turned the ball in his hand, he wondered how the colour was introduced into the glass when it was made. The swirls of blue looked so in- substantial and translucent. They could almost have been tiny evil spirits themselves, trapped in the surface of the bottle.

B
en Cooper parked his Toyota outside Earl Sterndale's best-known landmark – its pub, the Quiet Woman. The swinging wooden sign outside was much photographed by tourists in the summer, because it showed an image of a headless woman. According to the story behind the pub's name, that was a previous landlord's solution to the problem of keeping his garrulous wife quiet.

There was a campsite next to the pub, though it was empty. Marston's Burton Ales. Outside the door stood an old sink and a brush for boot washing, and plastic bags were kept in the porch for walkers to put over their dirty boots before entering the pub. It was the same principle as the one used at crime scenes, where forensic examiners and police officers wore plastic overshoes to avoid contaminating the scene with trace evidence and footwear marks.

The pub had milk delivered from a dairy in Hazel Grove. The bottles were still sitting in the porch, even though it was past midday. Of course, the Quiet Woman was closed. Many landlords in the more outlying villages found there was no point in opening their pubs during the day, especially in the winter months. There just wasn't enough lunchtime trade to pay for the overheads.

Cooper looked across the road to locate the Beresfords' house. Luke Irvine would be unhappy that his DS seemed to be covering the same ground, as if Irvine hadn't done a good enough job the first time round. But that couldn't be helped. Not today. It was bad enough having Diane Fry tagging along like a spare part. Didn't she have anything better to do with her time? He supposed he could ask her, but he would only get a sarcastic answer.

‘Are you coming?' he said.

‘No, I'll wait here,' said Fry. ‘I've got a few phone calls to make.'

‘Fair enough.'

Across the road he found Mrs Beresford was at home on her own, which was fine by Cooper.

‘One of your colleagues came the other day, you know,' she said straight away when she answered the door.

‘I know. Just a couple more questions.'

She was a small woman with a chilled look, her ears and nose pink with cold as if she'd just come back from a brisk walk on the moors. Even as Cooper introduced himself, she was removing a quilted body warmer. Perhaps he was lucky to have caught her.

‘I don't know what else I can tell you,' she said.

‘It's about Sandra Blair's husband,' said Cooper.

‘Gary? He died. I did tell—'

‘Yes. About five years ago?'

‘That would be about right.'

‘Do you happen to know where Mr Blair's family are?'

‘His family? Well, I don't think his parents are still around. They used to live at Bowden, of course.'

‘The estate village for Knowle Abbey.'

‘Yes. Sandra and Gary lived with his parents for a while after they got married. But there was no way they could ever have had children there, in one of those little houses. And they were planning a family. At least … Sandra said they were.'

‘And no other relatives in the area?'

‘Not that I know of. Some of the people at Bowden would have a better idea, perhaps.'

‘Thank you.'

Cooper went back to his car and drove through Earl Sterndale. Ahead he saw a distinctive hill called High Wheeldon. He glanced at Fry, but she was still busy with her phone, talking to someone at her office in St Ann's.

‘Everything okay, Diane?' he said, hoping she was being called back to Nottingham.

She nodded. ‘Absolutely fine.'

Cooper sighed and drove on. Fry hadn't even asked where they were going next.

Viewed from the road out of the village, High Wheeldon looked like a Derbyshire pyramid, a transplant from Egypt, or something casually dropped by a passing alien. Artificial, certainly. Nature wasn't capable of constructing such a regular, conical shape. Yet when you got closer and the road skirted its eastern side, you could see that it had been an optical illusion. High Wheeldon wasn't shaped like a pyramid at all from here, but was just another irregular hump in the landscape, mysterious enough in its own enigmatic way, lending itself to leaps of the imagination, the way so much of the Peak District landscape did.

O
nce you turned off the main road to Longnor, it became obvious that Bowden was no ordinary village. To enter it you had to pass through a gateway and over a cattle grid, past the signs warning you that it was private property and part of the Knowle Abbey estate.

The houses were all well constructed from local stone, but in a surprisingly wide variety of architectural styles. It was as if the architect, or the earl who'd commissioned him, couldn't quite make his mind up which design he preferred. There were Norman arches, Tudor-style chimneys, medieval turrets, Swiss roofs and Italianate windows. The paintwork on all the cottages was a collective Knowle Park green. But the houses with arched windows and balconies were larger and more ornate in style, distinguishing them from the plainer cottages. There had always been a social hierarchy, even among workers on the same estate.

It looked as though there had been a farmhouse here. But the house and its outbuildings had been converted. A barn had become a series of small apartments for staff. A lodge with castellations and imitation arrow slits guarded the entrance to Knowle Park itself. Cooper recalled seeing a matching lodge at the north entrance.

Sheep were grazing in an adjacent field and across the park he could see a small herd of cattle. Limousin cross, if he wasn't mistaken. During the landscaping of the park, the course of the River Dove had been altered slightly and a new bridge had been built. Big landowners could do that in those days, if it improved the view. Planning permission was never a concern. Nor was consideration for your neighbours, probably.

Bowden had a small church with a disproportionately tall spire. But the doors were locked and weeds were growing in the porch. On two sides of it was the burial ground, with several untidy rows of headstones, many old enough to be worn and corroded by the weather, their inscriptions almost illegible.

This was where the mourners from those small hamlets to the east would have arrived after their arduous trek across the hills and over the Corpse Bridge. Many of the coffins mouldering under these headstones would have been carried for miles and allowed to rest for a while on the same coffin stone where they'd found the effigy on Friday. Cooper found it hard to grasp the fact that all those people had been brought here at the end of their lives and laid to rest on the earl's property, as if they were a final tribute.

Though he could hear a few children playing somewhere, there seemed to be very few residents of Bowden actually at home. On a small field next to the graveyard he could see piles of wood heaped up in a large stack, ready for Bonfire Night on Tuesday. A short distance away from it a yellow bulldozer was parked behind the church. It must be handy to have that sort of equipment available.

They began to knock on doors and it was Diane Fry who found someone first. Cooper got a call from her on his phone and he walked back across the central green to meet her.

‘This is Mrs Mellor,' said Fry. ‘Mrs Mellor, my colleague Detective Sergeant Cooper.'

She was a woman in her mid to late sixties, with a welcoming smile and a faint smell of pine disinfectant and toasted cheese. In the background Cooper could hear what sounded like daytime TV, perhaps an old episode of
Lewis
or
Midsomer Murders
.

‘Hello. Come in,' she said. ‘Would you like a cup of tea? I don't see many people during the day, even on a Saturday.'

Fry followed him into the house. Cooper wished he was alone in circumstances like this. He would find it easier to get on with people and encourage them to talk. But he seemed to be stuck with her for now.