‘No, it isn’t,’ I said. ‘It may be true but it’s not perfectly simple. Why did Finn make a will in favour of Michael Daley? That was convenient for him, wasn’t it?’
‘Maybe they were going to get married.’
‘Oh, for God’s sake, Rupert. And there’s one other thing.’
‘What’s that?’
‘You may remember that I raised the suspicion about Michael Daley before and you demonstrated to me that he couldn’t have any connection with the burning of the car. As far as I understand it, you have no evidence putting him at the murder scene of the Mackenzies and you told me that he was in Belfast when the car was burned.’
The two men looked at each other sheepishly. Or were they winking at each other? Rupert opened his hands in an appeasing gesture.
‘Sam, Sam, you were right, we were wrong. What do you want us to do, get down on our knees? I admit, there are one or two loose ends, and we are going to do our best to tie them up, but in real life things are hardly ever neat. We know what was done and we know who did it. We probably will never know exactly how.’
‘Would you get a conviction if Michael Daley had got to the shore?’
Baird held up a finger in sanctimonious admonishment.
‘Enough, Sam. This is going to be good for all of us. We’ve got a result. You’re going to be a famous heroine like Boudicca and… er… like…’ He looked helplessly at Angeloglou.
‘Edith Cavell,’ volunteered Angeloglou brightly.
‘She was executed.’
‘Florence Nightingale, then. What’s important is that this is over and that we can all get back to our lives. In a few months we’ll meet for a drink and laugh about all of this.’
‘The George Cross,’ I said.
‘What?’
‘I’ve always rather fancied the George Cross as a medal.’
‘You weren’t
I got up to leave.
‘If I’d drowned, you wouldn’t have known what a wonderful heroine I was. See you on TV, Rupert.’
Thirty
I was doing lots of things at the same time. I was
I got through chapter after chapter of my book, like a burrowing mole. My routine barely altered. Take Elsie to school. Write. Eat sandwich made with what was to hand and didn’t have anything growing on it that wasn’t easily removable. Go for brisk walk down to the sea to catch the tide at its highest. Look at it and think complicated things. Go back home. Write.
Thoughts rotated in my mind as I went over and over them, constructing more or less plausible structures out of the flotsam and jetsam that I could gather. There were simple bits and complicated bits. The motive for the murders was Finn’s inheritance of a great deal of money and perhaps also some sense of grievance. The crime was conceived and committed by Michael Daley with a child who had always been pampered and had, so far as reports showed, never shown any signs of the smallest adolescent rebellion. But of course we psychologists always have a simple response to that. Evidence of rebellion? QED. No evidence at all of rebellion? Worse still, it must have been bottled up, unexpressed, until it all came out at once. QED likewise.
The act itself was simple enough. The murder was presumably being planned anyway when Michael, through his work on the committee monitoring animal terrorism, learned of the threat against Leo Mackenzie. It would be an obvious opportunity. The only requirement was to commit the murders in such a way that it might seem like the work of particularly crazed animal rights activists, hence the trussing up and throat-cutting and wall-daubing. I felt that I had known Leo and Liz Mackenzie only through a couple of blurred photographs in the newspapers and – I felt with a heave in my chest – from a few bland things Finn had said about them. But they didn’t seem real to me. What did seem real, a huge stain in the lattices of my logical thought, was the image of Danny with a gun barrel against his temple. Did he cry and plead, or was he brave and silent? What had I been doing at the moment when he knew there was no hope, that he wouldn’t be able to bargain himself out of being killed? Feeling angry or sorry for myself, probably.
And he’d killed Finn, his accomplice, too. I thought of the garrulous letter she had written to me, and I just could not understand how she could have produced such a gush of words with a gun to her head. Yet how little I knew her, after all. I kept worrying at all the little memories of Finn in my house, as if I were probing a broken tooth with my tongue. Each touch would provoke waves of pain and nausea, yet I couldn’t resist it. Finn sitting numbly on my sofa. Finn in her room. My own brilliant coaxing of her back into life with the use of my own little daughter. Finn destroying her clothes. Conversations in the garden. Sitting drinking wine and giggling together. Telling Finn about chess. Letting Finn look after me. It was a form of self-torture. Confiding in Michael Daley. Michael Daley complimenting me on how well I had handled Finn. Oh God oh God oh God oh God. I was the gull in an extended confidence trick that had begun in blood in a Stamford suburb, continued as a charade enacted in my house and finished in a fire on a lonely stretch of Essex coastline.
Then there was Mrs Ferrer. What was
Suddenly, on one rainy spring afternoon, as I stood in grey rain watching the sailing boats in sunshine a mile away, in the middle of the estuary, I asked myself the question that I tried to cure my own patients of asking: ‘Why me?’ I thought of how I had become part of the murderous deception, and how effectively I had played that part, me with my unmatched expertise, my acuteness of perception, my skill in diagnosis.
‘But she wasn’t my patient,’ I muttered to myself, as if I would be embarrassed for my whining to be overheard by a gull or by the reeds. How I wished that the plan could have been carried out without me or that somebody else could have been chosen, somebody else’s life ruined, someone else’s lover killed.
‘Why me? Why me?’ And then I found myself cutting the question short. ‘Why? Why?’
I put it to myself as a chess match. If you are a clear bishop ahead, you don’t throw yourself into a speculative sacrifice. You simplify. Michael Daley and Finn Mackenzie’s motive was disgusting but it was simple. So why was their crime so complicated? I went over the event in my head yet again. I couldn’t understand why Finn had to be there for the crime, with all the added risk of Michael Daley being caught. She could have been somewhere else, with a perfect alibi, and there would have been no need for the cutting of her throat and the long, detailed, hazardous charade that ensnared me and Elsie and poor Danny and poor, sad Mrs Ferrer, if indeed she had been ensnared. And then why should Finn change her will so suddenly, leaving everything to the man who would murder her? Did she commit suicide after all? Did Michael kill her because he suddenly decided that half was not enough? Neither version seemed to make sense. I tried to construct a scenario in which Michael killed the parents and forced Finn into complicity by threatening her with murder, but none of it quite worked in my