Ruth Galloway (69 page)

‘Mmm.' Shona looks unconvinced. ‘I saw the mad Irishman there,' she says. ‘And that purple-haired bitch. Anyone else from the university?'

Ruth looks curiously at Shona as she struggles with the last strap. Shona also works at the university, teaching English, but for the last year she has been having an affair with Ruth's boss, Phil. Just before Christmas, much to everyone's surprise, Phil left his wife for Shona. Ruth isn't sure if Shona herself wasn't rather shocked by this development. Certainly she hasn't rushed to move Phil into her house. He is renting a flat nearby ‘while the kids get used to the situation'. Presumably Shona knows a good deal about the workings of the archaeology department. Ruth wonders why she dislikes Trace so much.

‘Steve and Craig from the field team,' she says. ‘I thought Phil might look in.'

‘Oh, he had a meeting with some sponsors,' says Shona vaguely.

‘How are things?' asks Ruth, not sure that she really wants to know. She gets on all right with Phil, he's a decent enough boss, but that's as far as it goes. He's very much the new style of archaeologist, obsessed with technology and appearing on television. Ruth has always got the impression that Phil regards her as a throwback, an expert in her own field but a grafter, a plodder, not someone suited to the centre stage. Which suits her fine. Their working relationship works. She just doesn't particularly want to get to know Phil in his new guise as her best friend's partner.

‘Oh, all right,' says Shona, twisting a strand of hair between her fingers. ‘His wife's being a cow.'

‘Well, it must be difficult for her,' offers Ruth. ‘They were married for … how long?'

‘Fifteen years. But it hadn't been working for the last five.'

Not for the first time, Ruth wonders how Shona, who is, after all, an astute literary critic, can be so gullible when it comes to men. Who says the marriage hadn't been working for the past five years? Phil, presumably. Ruth has met Phil's wife, Sue, at various department functions over the years and the couple always seemed perfectly comfortable together. They have two children, boys, who must be teenagers by now.

‘Fourteen and twelve,' says Shona, in answer to Ruth's question. ‘I get on brilliantly with them.'

Ruth can believe that this is true. She imagines Shona, with her beauty and vivacity, utterly charming the two boys. Whether the infatuation, on either side, will last, is another matter.

Ruth picks up Kate's bottle, blanket and the various stuffed toys that have become strewn around the room. Shona makes no move to help her, just stays curled up in her chair, sipping her wine. She obviously feels that her work is done and, really, Ruth agrees with her.

Ruth stuffs the last toy in the nappy bag and says, ‘Thank you, Shona. I'm sorry you had such an awful time of it.'

‘That's okay,' says Shona, not denying that it was awful. ‘Any time.'

‘I'm praying Sandra will be better tomorrow,' says Ruth.

*

Driving home across the Saltmarsh, she thinks about her friendship with Shona. They met when Ruth first started working at the University of North Norfolk, but they only
really got to know each other on the henge dig. When Ruth looks back to that time – Erik's ghost stories around the camp fire, the smell of peat smoke in the morning, the wind whistling through the rushes at night, the unforgettable first sight of the henge, black against the blue-grey sand – she thinks of Shona, her red hair flying out behind her as she ran over the sand dunes like a sea sprite shouting ‘It's here! The henge is here!' Shona had been Ruth's first real friend in Norfolk and Ruth values her friends highly. Ever since adolescence, when her parents retreated into the church, putting their relationship with God, it seemed, above their relationship with her, Ruth has relied on her friends for support. She has never been one for the gang. She is bemused by her students, with their hundreds of friends on Facebook or Bebo. Are these real friends, people who would look after your cat or drive you home from hospital, or are they just an amorphous mass, happy enough to leave cute messages (lol!) on your wall but completely removed from your everyday life? How can you have three hundred close friends?

Ruth has always preferred just two or three. Alison and Fatima at school, Caz, Roly and Val at university, Josephine Dumbili from that holiday in Crete. And now Shona. As, over the years, Fatima, Caz and Val acquired husbands and children (Roly is gay and Alison determinedly single in New York) they seemed to move, inexorably, further away from Ruth and she relied more and more on Shona, who sometimes seemed her only ally in a world of motherhood, family holidays and smug Round Robins at Christmas (‘This year Ellie joined Sophie and Laura at the grammar school'). When
she found out that Shona had been lying to her for years, ever since the henge dig in fact, the betrayal hit Ruth hard. But her need for Shona was too strong and their friendship mended itself, not quite as strong as before but pretty resilient all the same. Ruth hopes it can withstand Kate, who seems a force more powerful than ten hurricanes, and that scary two-headed beast called Shona-and-Phil.

She is nearly home. The road is raised up over the flat marshland; at night it seems as if you are driving into nothingness, isolated, vulnerable, a prey to the winds that thunder in from the sea, ‘direct from Siberia,' as the locals always say with pride. Ruth turns on the radio and Mark Lawson's fruity voice fills the car, telling her about an experimental play that she has never heard of and will never see. Thank God for Radio 4. Ruth prays that Kate will stay asleep and maybe (wonderful thought) sleep all the way through the night. Surely she must be exhausted after all that screaming?

When she gets to her cottage, she carries Kate in, opening and shutting the door soundlessly. She knows from experience that, though Kate can sleep through any amount of radio programmes about experimental drama, the smallest unexpected sound will wake her up. She once cried for half an hour after Ruth sneezed. She lifts Kate out of the car seat and carries her carefully up the steep staircase. ‘You can't have a baby in that house,' her mother had said, ‘the stairs are a death trap.' But Ruth successfully negotiates the hazard and lays Kate down, still fast asleep, in her cot. There is a spare room but it is tiny and full of junk so, at present, she and Kate are roommates, a situation which she can see lasting until Kate is about eighteen.

The phone rings as Ruth is switching on the baby monitor. She races downstairs to stop the dreadful clamour. Her ears strain to hear if Kate has woken up but there is silence from the bedroom.

‘Yes?' whispers Ruth into receiver.

‘Ruth. It is I. Tatjana.'

Of all Ruth's friends, the very last one she expected.

*

July 1996. Bosnia. The hottest summer on record. Ruth flew to Srebrenica as part of a team from Southampton University, led by Erik. They stayed in what had once been a four-star hotel but had been bombed so badly that the top three storeys had been destroyed. The remaining rooms were a nightmarish mix of erstwhile luxury and recent necessity. Camp beds were ranged, four deep, in the ballroom, the chandeliers, miraculously undamaged, swayed crazily in the wind that blew through broken window panes and ripped-up floorboards. On the stairs the red carpet was ripped and, in some cases, charred and bloodied. The double doors in the lobby had been replaced with corrugated iron, most rooms had at least one window broken, and in the Grand Dining Room the Red Cross had set up a medical base where starving women and traumatised children waited on spindly gilt chairs and viewed their scared reflections in floor-length mirrors.

‘The Shining,' said one of Ruth's colleagues, as soon as he saw the pock-marked corridors of The Excelsior, and the joke stuck. ‘He-ere's Johnny,' the archaeologists would say, returning to the ballroom at night and making grotesque shadows in the light from the oil lamps (there was no electricity or hot water). One of the doctors, Hank from Louisiana, perfected a Jack Nicholson impression so lifelike that the Bosnian interpreter screamed whenever she saw him.

Thinking back, Ruth doesn't really remember feeling scared, though a lot of the time she was. She remembers more adolescent emotions: feeling left out (the other volunteers were all older than her and veterans of disaster scenes), feeling unsure, lonely and, above all, uncomfortable. She will never forget, though, her first sight of the graves in
Srebrenica. So many bodies, contorted, grinning, arms and legs twisted over one another. The bodies on the surface decomposed quickly in the hot sun but lower down, below the water table, they found men, women and children miraculously preserved. The heat and the stench were almost unbearable. They spent days in those hellish pits, exposing body after body, using trowels, spoons and even chopsticks to pick up every minute fragment of bone. ‘Lose one tooth or even a foot bone,' one of the anthropologists used to say, ‘and you're an accomplice to the crime.'

There were tensions too. The authorities just wanted the graves exhumed as quickly as possible but the archaeologists wanted to identify as many of the dead as they could. ‘To know our dead,' declared Erik, ‘is a fundamental human right. It is why the Egyptians built pyramids and the Victorians built mausoleums, why even the most primitive man buried his ancestors in a sacred place alongside his pots and spears.' But the War Crimes Tribunal did not want to know about the Egyptians or the Victorians, they simply wanted the evidence recorded and the guilty brought to justice. ‘But who is guilty?' Erik would say at night in the ballroom, the lamplight glinting on his long, silver-blond hair. ‘In war it is the victor who writes the history.'

Tatjana had been one of the interpreters, but it soon emerged that she had a degree in archaeology from an American university so she joined the forensics team. Ruth was drawn to her from the first. Tatjana was quiet but composed. She wasn't scared to make her opinions known and Ruth admired that. She was attractive too, with straight dark hair cut in a fringe and large brown eyes. Ruth and Tatjana began spending time
together, working side-by-side in the field by day, and at night, they moved their sleeping bags to a quieter corner of the ballroom, away from the American group with their guitars and games of spin the bottle.

Despite this, Ruth didn't know very much about Tatjana. She came from Trebinje, near the Adriatic coast. It was rumoured that she'd lost her husband in the siege of Mostar but, then, almost every Bosnian had lost someone. You stopped asking after a while and just assumed tragedy. Certainly, in repose, Tatjana's face sometimes looked unbearably sad but she had a reserve that prevented anyone from getting too close. Ruth didn't mind this. She was a private person herself and disliked it when people asked probing questions in the name of friendship.

So, she was surprised, and rather pleased, when Tatjana suggested one evening that they go for a picnic. She remembers that she had laughed. The word picnic conjured up images of cucumber sandwiches and grassy meadows, not this nightmare land where the rolling fields usually turned out to be full of human bones rather than checked tablecloths and cupcakes. But Tatjana had ‘borrowed' a jeep from one of the militia (she could always get round the soldiers) and she had a bottle of wine. What could be nicer? There was a pine forest on the edge of the town. Ruth had never been there, it was on the Serbian border and there were bandits in the hills, as well as the more picturesque dangers of bears and wolves.

‘It'll be fine,' Tatjana had said. ‘Where's your sense of adventure?'

Where indeed? Ruth rather felt that she'd used up her quotient of adventure in volunteering for Bosnia in the first
place. But the idea of being outdoors on a summer evening, of sitting on the grass and talking about Life, was too good to pass up. So Tatjana drove the jeep up to the forest and the two girls did indeed sit on the grass, drinking wine from the bottle, and talking about archaeology, Erik, careers, men, the state of the world. Ruth remembers that she was just feeling pleasantly sleepy and, for the first time that summer, almost relaxed, when Tatjana said, ‘Ruth. Will you do me a favour?'

Ruth will never forget the way that Tatjana's face had become transformed, how it blazed with light. How she suddenly looked both incredibly beautiful and incredibly scary.

‘Of course,' Ruth said nervously. ‘What?'

‘I want you to help me find my son.'

The coroner, a horrendously cheerful man called Chris Stephenson, speculates that the bodies have been in the ground no longer than a hundred years. Ruth makes no comment on this. She has her own research to conduct on the bones. She will measure and analyse, looking for evidence of disease or trauma. She'll send samples for Carbon 14 and DNA testing. She will do isotopic tests on the bones and teeth. Yet, even with all this technology, she still thinks identification is unlikely. If the bodies have lain in the earth all that time, why should anyone claim them now?

Stephenson agrees with Ruth that the bodies are male, aged between twenty-one and fifty (no signs of arthritis or typically ageing conditions, all adult teeth fully erupted) and that cause of death was probably gun shot. On four bodies there were entry and exit wounds which suggested that the men had been shot in the back of the neck, ‘execution style,' Chris Stephenson explained jovially. The bullet found in the grave was from a .455 cartridge, the type used in a Webley Service revolver, a gun used by British soldiers in both the First and Second World Wars.

‘Are we looking at something that happened in one of the wars?' asks Nelson as they leave the autopsy room, shaking off the smell of formaldehyde and the humour of Chris Stephenson.

‘It's possible,' says Ruth. ‘The dates could fit but … six bodies? How could six soldiers be killed and just buried under the cliff without anyone knowing about it? There'd be records, wouldn't there?'