Past Reason Hated

on. On the wall above the stereo was a print of one of Gauguin’s Tahitian scenes: a coffee-skinned native woman, naked to the waist, carrying what looked like a bowl of red berries as she walked beside another woman.

As he approached the sofa, Banks noticed that the sheepskin rug was dotted with dark blotches, as if the fire had spat sparks, which had seared the wool. Then he became aware of that sickling, metallic smell he had come across so often before.

A log shifted on the fire; flames leapt in all directions and their light played over the naked body. The woman lay stretched out, head propped up on cushions in what would have been a very inviting pose had it not been for the blood that had flowed from the multiple stab wounds in her throat and chest and drenched the whole front of her body. It glistened like dark satin in the firelight. From what Banks could see, the victim was young and pretty, with smooth, olive skin and shoulder-length, jet-black hair. Bending over her, he noticed that her eyes were blue, the intense kind of blue that makes some dark-haired people all that much more attractive. Now their stare was cold and lifeless. In front of her, on the low coffee table, stood a half-empty teacup on a coaster and a chocolate layer cake with one slice missing. Banks covered one fingertip with his handkerchief and touched the cup. It was cold.

The spell broke. Banks became aware of Gristhorpe’s voice in the background questioning PC Tolliver, and of Susan Gay standing silent beside him. It was her first corpse, he realized, and she was handling it well, better than he had. Not only was she not about to vomit or faint, but she, too, was glancing around the room, observing the details.

‘Who found the body?’ Gristhorpe asked PC Tolliver.

‘Woman by the name of Veronica Shildon. She lives here.’

‘Where is she now?’ Banks asked.

Tolliver nodded towards the stairs. ‘Up there with the neighbour. She didn’t want to come back in here.’

‘I don’t blame her,’ said Banks. ‘Do you know who the victim is?’

‘Her name’s Caroline Hartley. Apparently, she lived here too.’

Gristhorpe raised his bushy eyebrows. ‘Come on, Alan, let’s go and hear what she has to say. Susan, will you stay down here till the scene-of-crime team arrives?’

Susan Gay nodded and stood aside.

There were only two rooms and a bathroom upstairs. One room had been converted into a sitting room, or a study, with bookcases covering one wall, a small roll- top desk under the window and a couple of wicker armchairs arranged below the track-lighting. The bedroom, Banks noticed from the landing, was done out in coral and sea-green, with Laura Ashley wallpaper. If two women lived in the house and there was only one bedroom, he reasoned, then they must share it. He took a deep breath and went into the study.

Veronica Shildon sat in one of her wicker chairs, head in hands. The neighbour, who introduced herself as Christine Cooper, sat beside her. The only other place to sit was the hard-backed chair in front of the desk. Gristhorpe took it and leaned forward, resting his chin on his fists. Banks stood by the door.

‘She’s had a terrible shock,’ Christine Cooper said. ‘I don’t know if she’ll be able to tell you much.’

‘Don’t worry, Mrs Cooper,’ Gristhorpe said. ‘The doctor will be here soon. He’ll give her something. Is there anyone she can stay with?’

‘She can stay with me if she wants. Next door. We’ve got a spare room. I’m sure my husband won’t mind.’

‘Fine.’ Gristhorpe turned towards the crying woman and introduced himself. ‘Can you tell me what happened?’

Veronica Shildon looked up. She was in her mid-thirties, Banks guessed, with a neat cap of dark-brown hair streaked with grey. Handsome rather than pretty, her thin face and lips, and everything in her bearing, spoke of dignity and refinement, perhaps even of severity. She held a crumpled tissue in her left hand and the fist of her right was clenched so tightly it was white. Even as he admired her appearance, Banks looked for any signs of blood on her hands or her clothing. He saw none. Her grey-green eyes, red around the rims, couldn’t quite focus on Gristhorpe.

‘I just got home,’ she said. ‘I thought she was waiting for me.’

‘What time was this?’ Gristhorpe asked.

‘Eight. A few minutes after.’ She didn’t look at him when she answered.

‘Where had you been?’

‘I’d been shopping.’ She looked up, but her eyes appeared to be staring right through the superintendent. ‘That’s just it, you see. I thought for a moment she was wearing the present I’d bought her, the scarlet camisole. But she couldn’t have been, could she? I hadn’t even given it to her. And she was dead.’

‘What did you do when you found her?’ Gristhorpe asked.

‘I… I ran to Christine’s. She took me in and called the police. I don’t know… Is Caroline really dead?’

Gristhorpe nodded.

‘Why? Who?’

Gristhorpe leaned forward and spoke softly. ‘That’s what we have to find out, love. Are you sure you didn’t touch anything in the room?’

‘Nothing.’

‘Is there anything else you can tell us?’

Veronica Shildon shook her head. She was clearly too distraught to speak. They would have to leave their questions until tomorrow.

Christine Cooper accompanied Banks and Gristhorpe to the study door. ‘I’ll stay with her till the doctor comes, if you don’t mind,’ she said.

Gristhorpe nodded and they went downstairs.

‘Organize a house-to-house, would you?’ Gristhorpe asked PC Tolliver before they returned to the living room. You know the drill. Anyone seen entering or leaving the house.’ The constable nodded and dashed off.

Back inside the front room, Banks noticed for the first time how warm it was and took off his raincoat. The music stopped, then the needle came off the record, returned to the edge of the turntable and promptly started on its way again.

‘What is that music?’ Susan Gay asked.

Banks listened. The piece – elegant, stately strings accompanying a soprano soloist singing in Latin – sounded vaguely familiar. It wasn’t Bach at all, Italian in style rather than German.

‘Sounds like Vivaldi,’ he said, frowning. ‘But it’s not what it is bothers me so much, it’s why it’s playing, and especially why it’s been set to repeat.’

He walked over to the turntable and knelt by the album cover lying face down on the speaker beside it. It was indeed Vivaldi: Laudate pueri, sung by Magda Kalmar. Banks had never heard of her, but she had a beautiful voice, more reedy, warm and less brittle than many sopranos he had heard. The cover looked new.

‘Should I turn it off?’ Susan Gay asked.

‘No. Leave it. It could be important. Let the scene-of-crime boys have a look.’

At that moment the front door opened and everyone stood aghast at what walked in. To all intents and purposes, their visitor was Santa Claus himself, complete with beard and red hat. If it hadn’t been for the height, the twinkling blue eyes, the brown bag and the cigarette dangling from the corner of his mouth, Banks himself wouldn’t have known who it was.

‘I apologize for my appearance,’ said Dr Glendenning ‘Believe me, I have no wish to appear frivolous. But I was just about to set off for the children’s ward to give out their Christmas presents when I got the call. I didn’t want to waste any time.’ And he didn’t. ‘Is this the alleged corpse? He walked over to the sofa and bent over the body. Before he had done much more than look it over, Peter Darby, the photographer, arrived along with Vic Manson and his team.

The three CID officers stood in the background while the specialists went to work collecting hair and fabric samples with tiny vacuum cleaners, dusting for prints and photographing the scene from every conceivable angle. Susan Gay seemed enthralled. She must have read about all this in books, Banks thought, and even taken part in demonstration runs at the police college, but there was nothing like the real thing. He tapped her on the shoulder It took her a few seconds to pull her eyes away and face him.

‘I’m just nipping back upstairs,’ Bank whispered ‘Won’t be a minute.’ Susan nodded and turned to watch Glendenning measure the throat wounds.

Upstairs, Banks knelt in front of the armchair ‘Veronica,’ he said gently, ‘that music, Vivaldi, was it playing when you got home?’

With difficulty, Veronica focused on him. ‘Yes,’ she said, with a puzzled look on her face. ‘Yes. That was odd I thought we had company.’

‘Why?’

‘Caroline… she doesn’t like classical music. She says it makes her feel stupid.’

‘So she wouldn’t have put it on herself?’

Veronica shook her head. ‘Never.’

‘Whose record is it? Is it part of your collection?’

‘No.’

‘But you like classical music?’

She nodded.

‘Do you know the piece?’

‘I don’t think so, but I recognize the voice.’

Banks stood up and rested his hand on her shoulder. ‘The doctor will be up soon,’ he said. ‘He’ll give you something to help you sleep.’ He took Christine Cooper’s arm and drew her on to the landing. ‘How long have they been living here?’

‘Nearly two years now.’

Banks nodded towards the bedroom. ‘Together?’

‘Yes. At least…’ She folded her arms. ‘It’s not my place to judge.’

‘Ever any trouble?’

‘What do you mean?’

‘Rows, threats, feuds, angry visitors, anything?’

Christine Cooper shook her head. ‘Not a thing. You couldn’t wish for quieter, more considerate neighbours. As I said, we didn’t know each other very well, but we’ve passed the time of day together now and then. My husband…’

‘Yes?’