gleaming in the sun a few yards away, and called Brockley station to report Penderecki's death anonymously: 'My wife hasn't seen our elderly neighbour for a while I wonder, could you…' And somehow that made him feel slightly better, somehow it released a small part of the infection. Still, he had to fight to keep his mind on the case, to stop it floating away to Brockley where dark shadows moved along the railway line.
Souness had gone for breakfast and the few early arrivals in the incident room were subdued. Things were not looking good. The golden hours in which a case is often solved were over. They could now define the Rory Peach case as a 'sticker'. From here on leads would decay, connections would be forgotten. What they needed desperately was DNA, but the lab hadn't come back to them yet.
Kryotos had been unable to track down Champaluang Keoduangdy. Instead she had put a blue and white envelope on Caffery's desk for when he came in. Now he took coffee into the SIO's room and shook out the envelope on to his desk. Two Polaroids in plastic zip locks blown-up copies attached slid out. These were the photographs found in 1989 in a rubbish bin on Half Moon Lane. He'd been waiting for them, but now as he looked at them he found his mind wouldn't focus: it kept trying to saunter away, back across the railway track and into Penderecki's house, up the stairs, into the cupboards there has to be somewhere else, another hiding-place
'Stop it.' He rolled a cigarette, digging his heels into the floor. He had to concentrate. He put on his glasses.
The first shot was of a young boy, maybe eight or nine. Caffery knew it was a boy for the simple reason that he was naked from the waist down otherwise the child would have been sexless as his face was turned slightly away from the camera. He was white, very thin and it was clear from his posture that he'd been bound that he'd been bound and tied to the white radiator he was sitting against. On the right of the frame was the edge of what appeared to be a melamine wardrobe and, taped to it, the side of a poster. At the edge of one of the copies an investigating officer from the eighties had circled an area on the floor and written in red the word 'foot?'. Caffery examined the object. It could have been a human foot naked, five small flesh-coloured dabs. Toes? Quite slim and long maybe women's toes? But no: looking at the second photograph he could see it wasn't a woman.
This photograph, taken from a slightly different angle, showed the bound figure of an adult male. He was no more than a crooked trapezoid of limbs, legs propped at an awkward, unnatural angle, all snapped up and odd- looking, his head on one side, facing away from the camera. His arms had been crossed over his chest and he had been bound with sheets and pillowcases, like burial winding sheets. Behind him the wardrobe was in full view the poster was a Teenage Mutant Ninja Turtles one and beyond that was a blurred half-image of the small blond child. Above the boy's head, tantalizingly, the bottom edge of a window-frame. And that was all.
Dim old 1989. Caffery tried to stretch his mind back. He'd been doing his first board, getting a train to Luton, his girlfriend would have been he felt into the dark well of memories Melissa, maybe. Or Emma. She'd looked like Meg Tilly and he'd adored her for the mini-skirts and unfashionable clothes she wore. That year nearly seventy people died in the Loma Prieta earthquake in San Francisco, the Afghan war ended, the Berlin Wall came down, Champ Keoduangdy had been put into intensive care by a length of industrial conduit, and someone had dropped these photographs into a bin on Half Moon Lane.
Were they a hoax? If not a hoax then why had no one come forward? After twelve years someone somewhere would have said something. And if these two people had died shackled to the radiator in a child's bedroom why hadn't the bodies been discovered? He searched the photos for more clues, tracing his fingers across the swarms of pixels, darker here, lighter here. Were there enough similarities between this and the scene at the Peaches' house to link the cases? Maybe this was a staged scene an image of the troll's fantasy. Maybe that was him lying on the floor trussed up and that could be, what? A younger brother? The walls magnolia; the wardrobe MFI? There were a million other bedrooms like it… Suddenly he thought of Carmel, of how convinced she'd been convinced and embarrassed that someone had been taking photographs in their house while they were tied up. And as he thought of it he had the sudden feeling that somewhere there was an obstacle, something stopping things flowing, something diverting him. A vague unease. A vague itch, DI Durham would say. Someone wasn't telling him everything.
He smoked half a packet of tobacco and drank four cups of instant coffee thinking about it, but by the time the morning meeting started he wasn't any wiser, he was just more exhausted. He still had the smell of Penderecki in his nostrils as he went into the incident room with his notes for the meeting.
Everyone in AMIT knew that at this point in the Peach case they could allow themselves to be put in a holding pattern, to be stalled by waiting for the DNA, or they could pursue other avenues. This meeting was to ready themselves for a day on the pavement: one pod was going out into Brixton with a liaison officer from the child protection team they were going to talk to the kids, ask them about the mythic thing in the woods, their 'troll', treat their stories seriously another was going to help Kryotos to trace Champaluang Keoduangdy. A third team would spend the day with local child-sex offenders: they were going to push more holes into the already fractured South London paedophile networks, put a little careful pressure on the right pulse points, squeeze a little, until someone gave them a lead. It was for this reason that risk assessment officers of the Lambeth Sex Offenders Unit, and two members of Scotland Yard's paedophile unit had come down from Victoria. Souness's girlfriend Paulina, an intelligence officer for the unit, had used the opportunity to tag along.
It was strange to Caffery that only two people at the meeting that morning seemed to sense the tightness in him. One was Kryotos, with her unerring, almost chemical sense of him she watched him carefully from her desk, not challenging him, just assessing. The other was Paulina, whom he had met only a handful of times.
She was wearing a modern powder-blue skirt suit and looked like a piece of bright porcelain sitting on the desk, coolly smoking a cigarette, checking out Souness's work environment with her bland aquamarine eyes. It seemed to Caffery that every time someone mentioned the paedophile networks Paulina would glance up at him as if she knew how he had spent the night, as if she could sense what he was thinking. She had been the one to tell Souness about Caffery's connection with Penderecki, and he almost expected her to mention it now, to turn those unnerving eyes on him and say, 'Maybe Mr. Caffery can help us here maybe he has contact with someone who could help.'
Her focus on him seemed so acute that the moment the meeting broke up he made his excuses and went into the SIO's room, closing the door behind him.
The crows reminded Rebecca of a school of fish, the way they climbed up the air currents, twisting above the low roofs of Greenwich, turning to display their dark undersides and changing colour as one. She watched them from the table in her studio, a cup of coffee at her elbow, a cigarillo in the ashtray. She was cold.
This was the flat she had shared with Joni, until the attack. Until Joni's back had been broken by Malcolm Bliss and Rebecca had been… 'Oh, God.' She shuddered and picked up the cigarillo. She knew she should find a new place, get out of this flat, with the smells and memories, and the staircase leading up to Joni's room. But it was so easy just to go over to Jack's and let herself in: there was the sound of him showering in the morning, the smoky, urban smell of his suit when he came home in the evenings, sweat on his arms when he came back from his runs, his hard hot stomach against hers in the night. Yeah and his obsession, which is probably going to kill him.
She sat back in her chair and stared around her. The shutters were open flat white oblongs of light lay on the polished oak floors and along the right-hand wall her sculptures were lined up on a trestle table, ready to be taken to the gallery next month. Like little men, or little towers. Ridiculous. Jack's right they're ridiculous. On the left, stacked against the wall, her old paintings, the ones Jack liked, done before the attack. The artwork seemed to have come from two different places, two different mothers. On the left the old. On the right the new. And between them, poking out of the ceiling in the centre of the room, glinting slyly and scattering a secretive glitter on the walls, a butcher's hook.
Rebecca had got up on to a stool and screwed it into the plaster the morning after Jack turned on her in Tesco's. Of course it wouldn't take any weight -certainly not the weight of a body but she wanted it there: she thought it might help kick over the blank on her timeline. But so far it hadn't worked. So far the blank was still there an absence, a space a space with shape and weight and texture and it was directly here, under the hook, between the old paintings and the new. The attack. 'How did you get from there to She clenched the cigarillo between her teeth and reached her arms up above her, trying to make a bridge, an electric charge to leap between the two. 'From there to there.' She tried to picture Malcolm Bliss she must have been in the room with him in that little bungalow… and Joni must have been there too but it felt like forcing a tired muscle, like trying to push her thoughts through a needle eye, and suddenly instead of Bliss she saw Dali's spindle-legged camels and the image of the bungalow slipped out of reach and she was left again with just the hook in the ceiling and nothing else.
