A Room Full Of Bones

anything in here.’ It’s a statement more than a question.

‘No, sir. Scene-of-the-crime boys are on their way.’

Quite right. That was the way modern policing worked. Don’t touch anything until the SOCO team get there with their space-age suits and brushes and little plastic boxes. In the old days, when Nelson was a young PC in Blackpool, they’d be in there right away, moving the body, getting their fingerprints over everything. Now Nelson rotates slowly on the spot, taking in the crime scene at a distance. If it is a crime scene.

There are a few streaks on the floor which might be blood and the tiles, though obviously recently swept, are still grubby in places. That’s good. The forensic boys love a bit of dirt, perfect for catching prints, DNA, all the stuff they like. The curtains flap more wildly. The wind is getting up.

Nelson turns to Henty. ‘Was the window open when you got here?’

‘Yes.’

Strange to have an open window in October. Nelson walks over to it and looks out. They are on the ground floor and it would be fairly easy to get in that way. Outside is the car park, a few dustbins and a charity recycling box. No handy soil for footprints but someone in the adjoining offices may have seen something. He’ll have to send Rocky house-to-house.

Nelson walks slowly round the room. He realises that the patterns on the walls are in fact a series of pictures. Norfolk Through The Ages. One scene in particular catches his eye: a circle of wooden posts on a beach, a crudely drawn figure in a white robe in the centre of the circle, arms stretched out like a scarecrow, an improbably yellow sun shining overhead. Nelson goes closer. ‘Bronze Age wooden henge on Saltmarsh Beach,’ he reads, ‘discovered in 1997 by Professor Erik Anderssen of the University of Oslo.’ And by Ruth Galloway, he thinks. He thinks also of the Saltmarsh, the bleak expanse of wind-blown grass, the treacherous stretches of quicksand, the tide rushing in across the mudflats, turning land into sea – a fatal trap for the unwary. Nothing could be further from the cheery blue and yellow beach scene on the wall. He looks at the next wall. ‘Roman Villa at Swaffham, believed to be part of a garrison town.’ A white-pillared house stands smugly in landscaped grounds, like something from an upmarket housing estate. Nelson frowns at it. He doesn’t like the Romans any better than he likes the Bronze Age idiots. Between the Roman Villa and the henge is a cartoon which could, if charitably interpreted, be said to represent a girl lying on her side. ‘Iron Age girl, discovered in 2007 by Dr Ruth Galloway of the University of North Norfolk.’

‘Boss?’

Nelson turns round, grateful that Tom Henty can’t see his thoughts.

‘Do you want to speak to Dr Galloway? Only she was saying something about having to collect her little girl from the childminder’s.’

Nelson sighs. ‘OK. When the SOCO boys come, get them to check over by the window. I think there may have been forced entry.’

‘Do you think it’s murder then, boss?’

‘I don’t know. Could have been natural causes, I suppose, but I don’t like the open window. Looks as if there may have been a break-in. Is Chris Stephenson on his way to the hospital?’

Chris Stephenson is the police pathologist. Not high on Nelson’s list of favourite people (admittedly, that’s not a long list).

‘Yes. Apparently he was at some Halloween party with his kids.’

‘Well, maybe he’ll fly there on his broomstick.’

Nelson doesn’t like Halloween. Old people frightened by feral teens in fright masks, eggs thrown at cars, bricks through windows. He thinks that Michelle may have taken their daughters trick-or-treating when they were little but it seemed a gentler affair in those days. The girls always refused to dress as anything as unaesthetic as witches anyway. He remembers a couple of Disney fairies dancing off to the neighbours to collect handfuls of Haribos. Admittedly, Rebecca did go through a vampire stage, but that was later.

‘Right,’ he says. ‘Is there an office or something where I can talk to Dr Galloway?’

‘Curator’s office is just down the corridor.’

‘Grand. Send her down to me will you?’

He finds the office without difficulty. It’s at the end of a corridor that also doubles as an art gallery, another succession of gloomy oil paintings. Here there are trestle tables laid out with wine boxes and plastic glasses, the only signs so far that the museum was expecting visitors that day. Nelson takes a crisp from a bowl as he passes. He’s meant to be on a diet but murder always makes him hungry. Halfway down the corridor there’s a door marked ‘Fire Exit.’ Nelson tries the handle. Locked. A breach of health and safety rules. Or maybe someone wanted to block off possible escape routes?

Inside the curator’s office Nelson finds himself in a confused space of cardboard boxes and exhibits from the museum, maybe removed for repair or because they were in some way surplus to requirements. He pushes past a stuffed beaver and a wall-eyed Viking in a one-horned helmet. There’s a pile of DIY tools on the floor. Perhaps Topham meant to mend the exhibits himself.

The desk is covered with paper, which irritates Nelson whose desk at King’s Lynn Police Station is famously clear apart from his ever-present To Do List. Nelson loves lists and feels that a few lists would have done Neil Topham the power of good. Might even have stopped him being killed. 1. Come to work. 2. Tidy office 3. Avoid being murdered by a knife-wielding maniac. But there is no knife and he doesn’t even know for sure that Neil Topham was murdered. At some point he’ll have to search the office properly, but first, Ruth Galloway.

The door is pushed open. ‘You sent for me?’ Ruth’s voice is heavy with irony.

‘I just thought we should talk somewhere private.’

Ruth’s sarcastic expression is replaced by something a little more… what? Wary? Vulnerable?

‘So.’ Nelson clears a space on the desktop, pushing aside old editions of Museums Today, and gestures at Ruth to sit down. ‘You arrived at the museum when?’

‘Are you taking notes?’ The sarcastic note has returned.

Nelson produces a notebook with a flourish. He nods encouragingly.

‘I arrived at approximately two-sixteen p.m.-’

‘Bit early wasn’t it? I thought the bun fight started at three.’

‘I’d been to the supermarket. Didn’t think it was worth driving home and back.’ She looks at Nelson. ‘It’s Kate’s birthday tomorrow. I was shopping for her party.’

There is a long silence. Nelson flinches as if her words cause him actual, bodily pain. Then, as if continuing a conversation started a long time ago, they both speak at once.

‘I’m sorry…’

‘I didn’t…’

They both stop. Ruth’s face is flushed, Nelson’s very pale. She looks away. The window is high in the wall, too small to see out of if you’re sitting down, but she gazes at it anyway.

‘I didn’t mean to upset you. I know you don’t want to talk about her.’

‘It’s not that.’ Nelson looks down at the untidy desk, starts to move objects randomly. A fossil paperweight here, a pile of unopened bills there. ‘It’s just…’ He stops. ‘I promised.’

‘I know. You promised Michelle you wouldn’t see her.’ Ruth’s voice is flat. ‘Or me.’

‘It was the only way I could save my… make it up to her.’

‘I understand. I said so at the time, didn’t I?’

‘You’ve been great. It’s just me.’ He shifts the paperweight again and gives a sigh that is almost a groan. ‘I’ve messed things up for everyone.’

‘Oh, spare us the Catholic guilt Nelson.’ Ruth gets out her phone and checks the time. A new phone, Nelson notices. Rather a smart one. ‘Let’s get on with it. I thought you were meant to be conducting an investigation here.’

‘Fine.’ Nelson squares his shoulders. ‘You arrived at two-sixteen. Was anyone else here?’

‘No. I thought it was odd. After all, the event was in less than an hour’s time. Anyway, the place was deserted so I thought I’d just have a look round. I went through the Natural History Gallery…’

‘The one with all the stuffed animals?’

‘That’s right.’

‘Gives me the creeps.’

‘Me too. Then I went into the Local History Room and there he was, lying by the coffin.’