The Cradle in the Grave (44 page)

‘I've got a book I want you to read,' said Charlie. She nodded at the copy of
Nothing But Love
on the table.

‘A misery memoir?' Olivia slid it towards her, then made a show of wiping her fingers on her trousers. ‘Did you buy it shortly after booking your flight to Malaga?'

‘You can't say no,' Charlie told her. ‘I've just been nearly killed – you have to be nice to me. I'd be interested to know how you think Helen Yardley comes across – as a genuine miscarriage-of-justice victim or as someone playing a part.'

‘Why, do you think she might have killed her kids after all? I thought it turned out that she hadn't.'

Turned out
. Liv had trouble distinguishing between real life and fiction. She opened the book at a random point in the middle and held it up close to her face. The optical effect was surreal, as if she was wearing the back cover of
Nothing But Love
as a mask.
Hello, my name's Olivia, and I've come to this party dressed as a misery memoir
.

‘There are exclamation marks in it – not inside quotation marks, in the narrative,' she said, horrified. She turned another page. ‘Do I really have to—'

Charlie grabbed the book. Her hands trembled, then the shakes spread to the rest of her body. ‘Oh, my God. I don't believe this.' She flicked through the pages as quickly as she could. ‘Come on, come on,' she muttered under her breath.

‘I was reading that,' Liv protested.

The adrenaline pumping through Charlie's body made her fingers too stiff and too wobbly at the same time. She couldn't get them to work properly, and ended up turning too many pages. She flicked back and finally found the page she was looking for. This was it. It had to be.

She stood up, knocking her chair over. Yelling, ‘Sorry,' over her shoulder, she grabbed her car keys and ran out of the house. As she slammed the door behind her, it occurred to her that she must look like the frightened running woman on the cover of the novel Liv had brought her, the one whose title she had already forgotten. Her brain only had room for one book's name at the moment.

Nothing But Love
.
Nothing But Love
.
Nothing But Love
.

An hour and a half after leaving Marchington House, I'm standing outside the Planetarium, as instructed. I'm not sure if Laurie's late or if he's thought better of meeting me and not bothered to inform me of his change of mind; all I know is he isn't here. After twenty minutes, I start to wonder if he might have intended for us to meet inside. I check the text he sent me, which is full of his usual warmth and intimacy: ‘Planetarium 2 p.m. LN.'

I'm about to go and look for him inside when I spot him walking towards me, head down, hands in his pockets. He doesn't look up until he has to. ‘Sorry,' he mumbles.

‘For being late, or for ignoring my calls?'

‘Both.'

He's wearing a pink shirt that looks new. As far as I know, Laurie has never worn pink before. I want to bury my face in his neck and smell his skin, but that's not what I'm here for. ‘Where have you been?' I ask him.

‘Around and about. Let's walk.' He nods at the road ahead, then sets off.

I follow him. ‘Around and about isn't an answer.' I harden my heart, and my voice. ‘I rang the JIPAC office this morning – no one there's heard from you for days. I've been to your house more than five times – you're never there. Where are you staying?'

‘Where are
you
staying?' he fires back. ‘Not at home.'

‘You've been to my flat?'
Don't dare to cave in, Felicity. This has to be done
. ‘I'm staying with Ray Hines in Twickenham, at her parents' place.'

Laurie snorts dismissively. ‘Is that what she told you? Ray's parents live in Winchester.'

I think back over our conversations. I assumed Marchington House belonged to her parents because of the photo in the kitchen, of her two brothers punting down a river. Maybe the house belongs to one of the brothers.

‘I'm camped out at Maya's place,' says Laurie.

‘Maya?' I'm not the only one lying to the police, then. She neglected to mention that Laurie had moved in with her, when they asked her if she knew where he was.

Maya's keen on pink.

‘Is something going on between you?' I ask before I can stop myself.

‘Is this what was so urgent that you had to talk to me immediately?' Laurie stops walking and turns on me. ‘Look, I don't owe you anything, Fliss. I gave you an opportunity at work because I thought you deserved it. End of story. We had a fuck the other day, but do we have to make a meal of it?'

‘Of the sex? No, we don't. There are a couple of things we do have to make a meal of, though. Three things, to be precise – three meals. Think of them as breakfast, lunch and dinner.'

‘What things?'

‘Let's walk,' I say, setting off in the direction of Regent's Park. I know what this means: I'll never be able to go there again after today. ‘Have you been reading the papers?' I ask Laurie. ‘Turns out that card someone sent me – remember the one I showed you, with the numbers on it? Whoever killed Helen Yardley and Judith Duffy put cards exactly like it on their bodies. I've spoken to Tamsin. I know you got one of those cards too. She saw it on your desk long before Helen Yardley was killed.'

‘So?'

‘Why didn't you mention that, when I showed you the card I'd been sent and asked you what it could mean? Why didn't you say “Someone sent me one of those too”?'

‘I don't know,' Laurie says impatiently.

‘I do. You knew about the card found on Helen's body, didn't you? You must have done – it's the only thing that makes sense. I don't know how you knew, but you did. My guess is that Paul Yardley told you, and you were scared. You worked out that whoever was sending the cards had moved on to killing. If they'd killed Helen, maybe you'd be next. You and Helen and JIPAC have your loyal supporters, but you've also got enemies. I found several anti-JIPAC websites yesterday, all of which claim you've created a climate of fear for doctors and paediatricians. Most of them are terrified to testify in suspected abuse cases, in case you set out to destroy them the way you did Judith Duffy.'

Laurie says nothing, just walks alongside me, head down. I'm glad I can't see his face.

‘You panicked. There was no way you were going to continue with your quest for justice if it meant there might be some actual consequences for you personally, like someone trying to kill you. All that matters to you is you, right? You needed to distance yourself from the crib death murders controversy quickly, so you announced that you were leaving Binary Star, going to Hammerhead. Incidentally, I've been chatting to people at Hammerhead about you. I know when they first made you that offer you couldn't refuse: more than a year ago. Funny how you suddenly decided to accept, the day after Helen Yardley was murdered.'

I stop, so that he can confirm or deny it. He says nothing.

‘You emailed everyone telling them I was taking over the film. You chose me because, if you're right and whoever ends up making that film
is
going to be a killer's next target, better that it should be someone disposable like me, someone who's never going to amount to anything anyway.'

I pick up my pace, full of furious energy. Who'd have thought anger would have aerobic benefits?

‘Course, you could have gone to the police, couldn't you? Told them about the card you'd been sent, how it was the same as the one found on Helen's body. And when I showed you my card, you could have alerted me to the danger I was in. It's pretty obvious why you did neither. You couldn't risk anyone putting two and two together: your being on a killer's mailing list, and your suddenly dropping the crib death film like a hot brick. People might have concluded you were scared. The great Laurie Nattrass – scared! Imagine if that had leaked out to the press. That was why Tamsin had to go. She was the only person who knew you'd been sent those numbers; she'd seen the card on your desk.'

‘Tamsin's redundancy wasn't down to me,' Laurie snaps, making me wonder if this is the first thing he's heard that he disagrees with. ‘Raffi said we were overstretched, we had to make some savings . . .'

‘And you suggested Tamsin as the sacrifice,' I finish the sentence for him. ‘My best friend.'

We're in Regent's Park. I'd probably think it was beautiful if Laurie and I weren't having the most wretched conversation in the world.

‘I had a best friend,' he says tonelessly. ‘Her name was Helen Yardley. And I didn't choose you to take over the film because I thought you were disposable and wouldn't amount to anything – that's your paranoia.'

I chose you because I love you. I chose you because the film is important to me, and so are you
.

‘I thought you'd be easy to control. The film mattered to me, and I thought I could get you to make it the way I wanted it made.'

Oh. Right.

‘You've got an inferiority complex.' He makes it sound like a disgusting medical condition, something I should be ashamed of. Surely it's a good thing that some of us are riddled with self-doubt. Don't the people like me balance out the people like Laurie?

‘How could you not tell me?' I say. ‘When I showed you that card, how could you not say . . .'

‘I didn't want to worry you.'

‘
You
were worried, enough to—'

‘Do we have to analyse everything to death?' he cuts me off. ‘You've done what you came to do, staked out the moral high ground.'

I reach into my bag and pull out the second draft of his
British Journalism Review
article. ‘I've read this.' I thrust it at him. He doesn't take it. The pages fall to the ground. Neither of us bends to pick them up. ‘I thought it was better than the first version. Scrapping those names from the list was a good move.'

Laurie frowns. ‘What list?'

‘The one that goes on and on.'

‘Fuck are you talking about?'

‘“Dr Duffy was responsible for ruining the lives of dozens of innocent women whose only crime was to be in the wrong place at the wrong time when a child or children died: Helen Yardley, Lorna Keast, Joanne Bew, Sarah Jaggard, Dorne Llewellyn . . . the list goes on and on.” Ring any bells?'

Laurie turns away.

‘One problem. In this latest draft' – I bend to retrieve the pages – ‘the list doesn't go on and on. In this draft, the list is only three names long: Helen Yardley, Sarah Jaggard, Dorne Llewellyn. I'm no editor, but I think the original version's better. If you want to invoke the dozens of innocent women whose lives were ruined by Duffy, five names works better than three. So what happened? Was it a word-limit thing?'

Laurie is walking away, heading towards the boating lake. ‘Why ask if you already know?' The wind brings his words back to me.

I run to catch him up. ‘You deleted Lorna Keast and Joanne Bew. Keast was a single mother from Carlisle with a borderline personality. She smothered her son Thomas in 1997, and her son George in 1999. Judith Duffy testified against her, and she was found guilty in 2001. By the time Helen Yardley's convictions were quashed, you'd managed to kick up such a stink about Duffy that the CCRC was forced to act: it started to re-examine similar cases. In March this year – I'm guessing just after you wrote the first draft of your ‘Doctor Who Lied' article – Lorna Keast was granted leave to appeal, which had previously been denied. Obviously the honest side of her personality was to the fore that day – she was devastated when her lawyers told her she might be in with a chance of getting out. She'd always protested her innocence up until that point, but when she heard she might soon be freed, she confessed to having smothered both her sons. She said she wanted to stay in prison, wanted to be punished for what she'd done. She wouldn't hear of having the charge changed to infanticide, which was a possibility once she'd confessed, and would have carried a lighter sentence – she wanted to be punished as a murderer.'

‘What your Google searches won't have told you is that, as well as being barking mad, Lorna Keast is one of the thickest women ever to drag her knuckles along the surface of this planet,' says Laurie. ‘Even if she was innocent, being found guilty and sent to prison might have been enough to convince her she was a murderer and deserved to be behind bars.' He flashes a contemptuous look in my direction. ‘Or maybe she preferred the safety of prison life to having to fend for her brainless self on the out.'

‘Or maybe she was guilty,' I say.

‘So what if she was? Does that make Judith Duffy any less dangerous? Of course I knocked Keast's name off the list – I don't want people reading the article and thinking that if Duffy was right about her then she might have been right about all the others. She
wasn't
right about Helen, Sarah Jaggard, Ray Hines, Dorne Llewellyn . . .' Laurie grabs my arm and swings me round to face him. ‘Someone had to stop her, Fliss.'

I shake off his hand. ‘What about Joanne Bew?'

‘Bew was granted leave to appeal.'

‘Whoa, let's rewind a bit. What was she in prison for?'

Laurie's mouth flattens into a thin line.

‘Why don't I tell us the story? Joanne Bew murdered her son Brandon . . .'

‘Let's fast-forward a bit,' Laurie parodies me. ‘There was a retrial and she was acquitted.'