He turned, with great satisfaction, and escorted Nadiuska De Sancha towards the quay and across to the right, out of the reporter’s line of sight. Then, knowing that she liked to work alone, in her own time, he left the pathologist and went to join Cleo and the rest of the team inside the warmth of the SSU truck.
Half an hour later Nadiuska De Sancha came up the steps and said, ‘Roy, I need to show you something.’
Worming himself into his anorak, Grace followed her outside and around to the white van. The pathologist stopped by the driver’s door, which was open.
‘I think we can safely rule out accidental death, Roy, and I’m fairly confident we can rule out suicide, too,’ she said.
He looked at her quizzically.
She pointed up at a small cylindrical object Grace had not taken in before, clipped to the driver’s-side sun visor. ‘See that? It’s a digital underwater camera – and transmitter. And it’s switched on, although the battery’s dead.’
Grace frowned and at the same time felt annoyed that he had not spotted it. How the hell had he missed it? About an inch in diameter and three inches long, with a dark blue metal casing and a fish-eye lens. What was it there for? Had Preece been filming himself?
Then, interrupting his thoughts, she pointed at the man’s hands and gave him a bemused look.
‘Dead man’s grip is caused by rigor mortis, right?’
Grace nodded.
She reached in with a blue, latex-gloved hand and raised one of Preece’s fleshy, alabaster-white fingers. The skin of the tip remained adhered to the steering wheel. It looked like a blister with tendrils attached.
‘I’ll need to do some lab tests to confirm it, but there’s some kind of adhesive that’s been applied here. Looks to me, as an educated guess, that the poor man’s hands have been superglued to the steering wheel.’
55
Tooth sat at the desk in his room at the Premier Inn, in front of his laptop, sipping a mug of coffee and editing the video of Ewan Preece’s last few minutes. The smoke detector in the ceiling was still taped up and a pack of cigarettes and a plastic lighter lay beside the saucer that he was using as an ashtray.
He had used three cameras: the one on his wrist, the one he had fitted to the interior of the van and one he had balanced on the edge of the skip. The film, still in rough-cut stage, which he would refine, began with an establishing exterior shot of the van at night, at the edge of the quay. There was a bollard to its right. A time and date print at the top right of the frame showed it was 2 a.m., Tuesday 27 April. Preece could be seen at the wheel, apparently unconscious, with duct tape over his mouth.
Then it cut to the interior. There was a wide-angle shot of Preece, buckled into his seat, in a grubby white T- shirt. He was opening his eyes as if awaking from sleep, seemingly confused and disoriented. Then he peered down at his hands, which were on the steering wheel, clearly puzzled as to why he could not move them.
He began to struggle, trying to free his hands. His eyes bulged in fear as he started to realize something was wrong. A hand appeared in frame and ripped the duct tape from his mouth. Preece yelped in pain, then turned his head towards the door, speaking to a person out of shot. His voice was insolent but tinged with fear.
‘Who are you? What are you doing? What the fuck are you doing?’
The driver’s door slammed shut.
The camera angle changed to an exterior shot. It showed the whole driver’s side of the van and a short distance behind it. A figure, wearing a hoodie, his face invisible, drove a fork-lift truck into view, steered it right up to the rear of the van, rammed it a few inches forward and began to push it steadily towards the edge of the quay.
Then the van suddenly lurched downwards, as the front wheels went over and the bottom of the chassis grounded on the stonework, with a metallic grating sound.
The film cut back to the interior of the van. Ewan Preece was bug-eyed now and screaming, ‘No, no! What do you want? Tell me what you want? Please tell me! Fucker, tell me!’ Then he visibly lurched forward, held by the seat belt, and his mouth opened in a long, silent scream, as if, in his terror, he could not get any more words out.
The film cut back to the exterior again. The fork-lift truck gave a final shove and the rear of the van disappeared over the edge of the quay and momentarily out of sight. There was a hollow splash.
Now there was a new exterior angle. It was the van floating, rocking in the waves, a short distance away from the quay. It was looking distinctly nose-heavy, and sinking slowly but steadily, bubbles erupting around it
The viewpoint returned to the camera inside the van. Preece’s face was a mask of terror. He was fighting to free his hands – frantically pumping his body backwards and forwards as much as he could against the seat belt, jigging his arms and shoulders, his mouth contorted, yammering in terror. ‘Please… Please… Please… Help me! Help me! Someone help me!’
There was now a long exterior shot, with the van conveniently rotated broadside on to the quay. Preece could be seen gyrating like a contortionist through the open window as the nose sank lower, the whole van now starting to tip forward, water pouring over the sills of the open windows.
The viewpoint returned to the interior again. There was a loud, muffled roaring sound. Dark water with white, foaming bubbles was flooding in. The level was rising rapidly, increasingly covering more of Preece’s thrashing chest. He was rocking himself backwards and forwards, sharp, violent jerks of desperation, trying to free himself, whimpering now, a steady low ‘No… No… No… No…’
The water now covered his neck to just below his chin, then the bottom of his earring, and it was rising rapidly. In seconds it was over his chin. Some went into his mouth and he spat it out. Then his mouth was submerged. In desperation he threw his head back, his chin breaking free from the water. He was crying pitifully now: ‘Help me, please. Someone help me.’
The water rose relentlessly, swallowing up his exposed neck until it reached his chin again. He thrashed his head from side to side.
Tooth took a sip of his coffee, then lit a fresh cigarette, watching dispassionately. He listened to the man breathing, taking deep gulps of air, as if frantically trying to stock up with the stuff.
Then the water reached the ceiling of the van. Preece’s head was twitching, his eyes still wide open. The image became very blurred. A stream of bubbles jetted from his mouth. The twitching slowed, then stopped, and his head moved more gently now, rocking with the current.
The last shot in the sequence was another exterior one. It showed the rear section of the van now, the doors open, slipping beneath the surface of the choppy, inky water. There were some bubbles, then the waves closed over it, like curtains.
56
The post-mortem room at the Brighton and Hove City Mortuary had recently been doubled in size. The work had been necessary both to increase the number of bodies that could be prepared for post-mortem at the same time and to replace the existing fridges with a new, wider generation able to cope with the growing trend for obesity in society.
Roy Grace had always found the previous room claustrophobic, especially when it was occupied by the considerable numbers required for a Home Office post-mortem. Now at least there was more space for them. Although this place, with its tiled walls and stark, cold lighting, still gave him the creeps just as much as ever.
When he had been at the police training college, learning to be a detective, an instructor had read out the FBI moral code on murder investigation, written by its first director, J. Edgar Hoover:
No greater honor will ever be bestowed on an officer or a more profound duty imposed on him than when he is entrusted with the investigation of the death of a human being.
