Ruth Galloway (32 page)

‘Haven't you dug them up?' asks Nelson.

‘No,' says Ruth, ‘we need to record and draw the grave and skeleton on plan so that we can understand its context. It'll be really important to check which way the skeleton is lying. Could be significant if it points to the east, for example.'

‘The brothers used to tell us to sleep with our feet to the east,' says Nelson suddenly remembering, ‘so that if we died in the night we could walk to heaven.'

‘An interesting survival of superstition,' says Ruth coolly. Nelson remembers that she has no time for religion. ‘Churches,' Ruth goes on, ‘are nearly always built east to west, never north to south.'

‘I'll remember that.'

‘And sometimes,' cuts in Max, ‘men are buried facing west and women facing east.'

‘Sounds sexist to me,' says Nelson straightening up.

‘And you're never sexist,' says Ruth.

‘Never. I've just been on a course all about redefining gender roles in the police force.'

‘What was it like?'

‘Crap. I left at lunchtime.'

Ruth laughs and Max, who has been looking disapproving, smiles too, looking from Ruth to Nelson and back again. Clearly more is going on here than he realised.

‘We're just off to the Phoenix for a drink,' Ruth is saying. ‘Do you want to come?'

‘I can't,' says Nelson regretfully, ‘I've got some sort of do to go to.'

‘A do?'

‘A ball in aid of the festival. It's being held at the castle. Black tie and all that. Michelle wanted to go.'

‘How the other half lives,' says Ruth.

Nelson's only reply is a grunt. He can't think of anything worse than poncing around in a monkey suit in the company of a load of arty-farty types. But not only his wife but his boss, Gerry Whitcliffe, were insistent that he should go. ‘Just the sort of PR the force needs,' Whitcliffe had said, carefully not mentioning that it was Nelson's handling of the
Saltmarsh case that had left the local force so in need of good publicity. PR! Jesus wept.

‘Pity,' says Max lightly, his hand just hovering around Ruth's shoulders. ‘Another time perhaps.'

Nelson watches them go. The beer garden of the Phoenix is filling up with early evening drinkers. He can hear laughter and the clink of glasses. He can't help hoping that Leah's uncle has run out of cider.

Ruth drives slowly along the A47 towards King's Lynn. Although it is past eight, the traffic is never-ending. Where can they all be going, thinks Ruth, tapping impatiently on her steering wheel and looking out at the stream of lorries, cars, caravans and people carriers. It's not the holiday season yet and it's far too late for the school run or even the commuter traffic. What are all these people doing, heading for Narborough, Marham and West Winch? Why are they all trapped on this particular circle of hell? For several junctions now she has been stuck behind a large BMW with two smug riding hats on the back shelf. She starts to hate the BMW family with their Longleat sticker and personalised number-plate (SH3LLY 40) and their horse riding at weekends. She bets they don't even really like horses. Brought up in a London suburb, Ruth has never been on a horse though she does have a secret fondness for books about ponies. She bets that Shelly got the car for her fortieth birthday along with a holiday in the Caribbean and a special session of Botox. Ruth will be forty in two months' time.

She'd enjoyed the drinks in the pub, though she'd only
had orange juice. Max had been very interesting, talking about Roman burial traditions. We tend to think of the Romans as so civilised, he'd said, so outraged by the barbaric Iron Age practices but there is plenty of evidence of Roman punishment burials, ritual killing and even infanticide. A boy's skull found in St Albans about ten years ago, for example, showed that its owner had been battered to death and then decapitated. At Springfield in Kent foundation sacrifices of paired babies had been found at all four corners of a Roman temple. Ruth shivers and passes a hand lightly across her stomach.

But Max had been good company for all his tales of death and decapitation. He'd been brought up in Norfolk and obviously loved the place. Ruth told him about her home on the north Norfolk coast, about the winds that come directly from Siberia and the marshes flowering purple with sea lavender. I'd like to visit one day, Max had said. That would be nice, Ruth had replied but neither had said more. Ruth had agreed to visit the dig next week though. Max has a whole team coming up from Sussex. They are going to camp in the fields and dig all through May and June. Ruth feels a rush of nostalgia for summer digs; for the camaraderie, the songs and dope-smoking round the camp fire, the days of back-breaking labour. She doesn't miss the lack of proper loos or showers though. She's too old for all that.

Thank God, SH3LLY 40 has turned off to the left and Ruth can see signs for Snettisham and Hunstanton. She's nearly home. On Radio 4 someone is talking about bereavement: ‘for everything there is a season'. Ruth loves Radio 4 but there are limits. She switches to cassette (her car is too old
for a CD player) and the air is filled with Bruce Springsteen's heartfelt all-American whine. Ruth loves Bruce Springsteen – the open road, the doomed love, the friends called Bobby Joe who've fallen on hard times – and no amount of derision is going to make her change her mind. She turns the sound up.

Ruth is now driving between overhanging trees, the verges rich with cow parsley. In a moment, she knows, the trees will vanish as if by magic and the sea will be in front of her. She never tires of this moment, when the horizon suddenly stretches away into infinity, blue turning to white turning to gold. She drives faster and, when she reaches the caravan site that marks the start of her road home, she stops and gets out of the car, letting the sea breeze blow back her hair.

Ahead of her are the sand dunes, blown into fantastic shapes by the wind. The tide is out and the sea is barely visible, a line of blue against the grey sand. Seagulls call high above and the red sail of a windsurfer shimmers silently past.

Without warning, Ruth leans over and is violently sick.

*

Norwich Castle, a Victorian icing covering a rich medieval cake, is now a museum. Nelson has been there several times with his daughters. They used to love the dungeons, he remembers, and Laura had a soft spot for the teapot collection. He hasn't been for years though and as he and his wife Michelle ascend the winding pathway, floodlit and decorated with heraldic banners, he fears the worst. His fears are justified when they are met by serving wenches. The invitation did not mention fancy dress but these girls are very definitely
wenches, wearing low-cut, vaguely medieval dresses and sporting frilly caps on their heads. They are proffering trays of champagne and Nelson takes the fullest glass, a fact not wasted on Michelle.

‘Trust you to take the biggest,' she says, accepting a glass of orange juice.

‘I'm going to need alcohol to get through this evening,' says Nelson as they walk up to the heavy wooden doors. ‘You didn't tell me it was fancy dress.'

‘It isn't.' Michelle is wearing a silver mini-dress which is definitely not medieval. In fact, Nelson feels that it could do with a bit more material, a train or a crinoline or whatever women wore in those days. She looks good though, he has to admit.

They enter a circular reception room to be met by more champagne, someone playing the lute, and, most disturbingly, a jester. Nelson takes a step backwards.

‘Go on,' Michelle pushes him from behind.

‘There's a man in tights!'

‘So? He won't kill you.'

Nelson steps warily into the room, keeping his eye on the jester. He has ignored another danger though, which advances from the opposite direction.

‘Ah Harry! And the beautiful Mrs Nelson.'

It is Whitcliffe, resplendent in a dinner jacket with an open-neck shirt, which he presumably thinks is trendy. He's also wearing a white scarf. Wanker.

‘Hallo, Gerry.'

Whitcliffe is kissing Michelle's hand. The jester is hovering hopefully, shaking his bells.

‘You didn't tell me there'd be people dressed up funny,' says Nelson, his northern accent, always evident in times of stress, coming to the fore.

‘It's a medieval theme,' says Whitcliffe smoothly. ‘Edward does these things so well.'

‘Edward?'

‘Edward Spens,' says Whitcliffe. ‘You remember I told you that Spens and Co are sponsoring this evening.'

‘The builders. Yes.'

‘Building contractors,' says a voice behind them.

Nelson swings round to see a good-looking man of his own age, wearing faultless evening dress. No white scarf or open-neck shirt for him, just a conventional white shirt and black tie, setting off tanned skin and thick dark hair. Nelson dislikes him instantly.

‘Edward!' Whitcliffe obviously doesn't share this feeling. ‘This is Edward Spens, our host. Edward, this is Detective Chief Inspector Harry Nelson and his lovely wife, Michelle.'

Edward Spens looks admiringly at Michelle. ‘I never knew policemen had such beautiful wives, Gerry.'

‘It's a perk of the job,' says Nelson tightly.

Whitcliffe, who isn't married (a cause of much speculation), says nothing. Michelle, who is used to male admiration, flashes a wide but slightly distancing smile.

‘Nelson,' Edward Spens is saying, ‘weren't you the copper involved in the Saltmarsh affair?'

‘Yes.' Nelson hates talking about his work and he particularly dislikes being called a ‘copper'.

‘What a terrible business.' Spens is looking serious.

‘Yes.'

‘Well, thank God you solved it.' Spens pats him heartily on the back.

Thank Ruth Galloway as well, thinks Nelson. But Ruth has always wanted her involvement in the case kept as low-key as possible.

‘Luckily cases like that don't occur very often,' he says.

‘I'll drink to that!' Spens pushes another glass of champagne into his hand.

*

Nobody has seen Ruth throw up so she simply kicks some dirt over the vomit and gets back in the car. Bruce Springsteen is telling the improbably named Wendy that they are born to run. Ruth backs the car out of the caravan site and heads for home.

Her cottage is one of three on the edge of the Saltmarsh. One cottage is empty and the other is owned by weekenders who visit less and less now that their children are growing up. The isolation does not bother Ruth. In fact, as she gets out of her car and drinks in the wide expanse of marsh, the distant sand dunes and the far-off murmur of the sea, her enjoyment is enhanced by the thought that this view is hers and hers alone. Smiling she opens her front door.

Ruth's ginger cat, Flint, has been lying in wait and now advances, complaining loudly. He has food in his bowl but it is obviously out of the question that he should eat it. He purrs around Ruth's legs until she gives him a fresh bowlful, heaving slightly at the smell. Then he sniffs it fastidiously and goes out of the cat flap.

Ruth sits at the table by the window to check her answer-phone messages. One is from her mother asking if Ruth is
still coming to stay at the weekend. Her mother always expects Ruth's plans to change at the last minute, despite the fact that Ruth is actually extremely punctual and reliable. The second message is from her friend Shona, burbling on about her married boyfriend Phil. The third is from Max Grey. Interesting.

‘Hi Ruth. Just to say how much I enjoyed our chat. I was just thinking about our body. If the head is missing, that could be evidence of a head-cult. Have you heard of the Lankhills excavations in Winchester? Seven decapitated bodies were found in a Roman cemetery, including a child's. Could that be what we've got here, I wonder? Anyway, speak soon.'

Ruth thinks how strangely archaeologists speak sometimes. ‘Our body'. The bones found buried under the Roman foundations have become ‘our body', linking Ruth and Max in some strange, surreal way. They both feel a sense of ownership, even sympathy, towards them. But is this enough reason for Max to leave this message? Did he really just want a cosy chat about decapitated bodies or did he, just possibly, want to talk to her again?

Ruth sighs. It's all too complicated for her. Besides, she has other things on her mind. Tomorrow she has to drive to London and tell her mother that she's pregnant.

*

‘So, you see, we're developing three key sites in the heart of Norwich. The old tannery, the Odeon cinema and the derelict house on Woolmarket Street.'

‘Woolmarket Street?' Whitcliffe cuts in. ‘Didn't that used to be a children's home?'

‘I believe so, yes,' says Edward Spens, spreading butter on his roll. ‘Are you a local Norwich boy, Gerry?'

That explains a lot, thinks Nelson, as Whitcliffe nods. Nelson was born in Blackpool and would be back there like a shot if it wasn't for Michelle and the girls. It had been Michelle's idea for him to take the Norfolk job and, deep down, he still resents her for it. The girls don't like Blackpool; everyone talks funnily and you eat your supper at five o'clock. And it's too cold for them, although the local girls seem to wear miniskirts all year round.

They are at the ‘banquet' stage now; roast pork disguised as suckling pig. Michelle has left most of hers. She is sparkling away at her neighbour, some goon called Leo wearing a pink shirt and ridiculous glasses. Nelson's neighbour, a regal woman in blue satin, has ignored him completely, which has left him listening to Edward Spens' relentless sales pitch.

‘It's a family company,' Spens is saying. ‘Built up by my father, Roderick Spens. Actually it's Sir Roderick, he was knighted for services to the building trade. Dad's supposed to be retired but he still comes into the office every day. Tries to tell me how to run things. He's against me developing the Woolmarket site, for example, but it's a prime piece of real estate.' He laughs expansively. Nelson regards him stonily.
Real estate
. Who does this guy think he is?