Death in Dublin - Peter McGarr 16 (13 page)

McGarr’s eyes swept the crowd, who were still stunned by the sight of the ruined car. All that would change the moment they left.

“No they couldn’t have,” said Ward, having read his thoughts. “It’s Sweeney. It’s got to be. When was the last time he was involved in something so vital, and he wasn’t into it up to his hips? I don’t buy his messenger bullshit. Why him? Why not send it directly to som
e
body, anybody, connected with Trinity or the gover
n
ment? You or Sheard or Kehoe.”

“Where’s his advantage?”

“Beyond fi?fty million quid?” Ward shrugged. “R
e
venge on you and Kehoe. He’ll both score the money and hang the both of you with this thing.”

Years past, when Brendan Kehoe had acted as state prosecutor, he had put Sweeney in jail for three years. McGarr had done the same for a lesser period.

“You and I both know how many times he’s said it— he never forgets. Or forgives.”

Nobody detested Sweeney more than McGarr, but Sweeney could not have foreseen the incident with the television crew. Or this.

And they had involved him because of his owne
r
ship of
Ath Cliath
and his conservative Catholic bac
k
ground. Who could beat the drum and make more of getting the books back than Sweeney, to whom they would be precious if not sacred? Why not keep him i
n
formed as a check against any government machin
a
tion or foot-dragging?

Trevor Pape’s house on the Morehampton Road was old, large, and would fetch a handsome price in spite of its condition, which was unimproved.

Unlike nearby houses of the same vintage, its wi
n
dows had not been replaced with double-glazed, its fl?ag walkway was pitched and heaved, and its long front garden—laid out at the time when that part of Dublin had been a suburb—was a tangle of old, exotic growth, including a eucalyptus tree.

Under it was parked an old pearl-gray Jaguar sedan.

McGarr climbed the ten steep steps to the fi?rst-fl?oor entrance and had to reach to twist the disk of a m
e
chanical bell contained in the center of the ornate door. It was as old as the house, McGarr judged, and gave off a weak jingle.

Again and again he rang, until fi?nally he rapped on the frost-glass pane. At length a light fl?ickered on above him, and through the glass he could see a shape approach.

“Yes?” a woman’s voice asked through a faded brass speaker.

“Police.”

“Yes?”

“Trevor Pape—would he be in?”

“Yes.”

There was another long pause.

“May I see him?”

“You are?”

“McGarr. Peter McGarr.”

“From the television.”

McGarr opened his mouth to object but changed his mind. “The same.”

“Then you’d better come in
.
”

The bolt clicked, and the door opened slightly. Mc-Garr pushed it open in time to see a young woman wearing some diaphanous shift with nothing more than a thong below.

Moving quickly to the stairs, she said over her shoulder, “He’s in there.” Her hand swung to a lighted hallway that led farther into the building.

McGarr could not keep himself from noticing how her breasts, which were visible in their entirety through the shift, juddered with each step. Seeing him stare, she glanced down at herself, then back up at him and smiled. It was not an unfriendly smile.

The hallway was long and narrow with a tall ceiling and—could it be?—carved mahogany wainscoting that extended past McGarr’s shoulder. The sliding doors of a dining room appeared on one side, a darkened sitting room with a marble mantel and Hepplewhite furniture next, and fi?nally a well-lighted study that proved to be a long room, lined with bookshelves and containing several library-length tables, reading chairs, and a
fi?
re glowing in a patterned brick hearth.

Near it, Pape was sitting in a leather chair with copper rivets, staring at a television screen that pictured a pride of lions on a parched savanna with Mount Kilimanjaro
in the distance. It was something like a screen-saver; nothing—the grass, the lions, the clouds—was moving.

“Dr. Pape?” McGarr had removed his hat, which he held in his hands before him.

It took a moment for Pape’s head to move to him, his blue eyes focused on the hat. “You.”

“I have something I’d like you to see.”

After another pause, Pape’s eyes fl?ashed up at Mc-Garr. “I’ve seen it on television. You as thug and lout. You’re well suited to what you do, it’s plain. But fl?o
g
ging a few journalists won’t get you your bloody book back, I hope you’re learning.”

His eyes moved up from the hat; they were bright, glassy, the pupils nearly absent. His hands were gri
p
ping the arms of the chair.

“I’d like to show you something. Is that a video player?”

Pape’s head dipped down and then up.

McGarr scanned the tables on either side of the chair and then the room. Pape seemed slightly drunk or in some other way...absent, but there was no sign of a glass or bottle.

“I assume it’s operated like other players.”

“Give it to me—I’ll do it,” said a voice behind him.

McGarr turned to fi?nd the young woman, who had put on a purple V-necked jumper and jeans. Her feet were bare.

“When was the last time we caught a fl?ick with the cops, Poppy?”

The pale skin around Pape’s eyes wrinkled, his mouth opened, but no laugh came out.

“I assume that the thing is rewound.” Bending to the machine, she had to fork her long blondish tresses away from her eyes, and McGarr followed the smooth,
tanned skin on the back of her hand. Few hairline wrinkles, no trace of geriatric sheen. Late twenties, he estimated, at most early thirties.

“There we are.” Turning, she handed McGarr a r
e
mote. “You play.”

Her smile revealed long teeth and stunning dent
i
tion—a fetching woman with a well-structured
f
ace and full lips painted some deep shade of purple to match her eye shadow and jumper, the V neck of which was cut deep. Her jeans were white.

A hand came out. “Gillian Reston. I live here with Poppy.” Her tones were British, privileged but slightly slurred.

“You’re his—?”

“Houseguest,” Pape roared. “Get on with it. Get on with it now and get out. I’ve half a mind to ring up Jack Sheard and report you. It’s nearly eleven of the bloody evening, and here you are, of all people, coming round with a bloody video, of all things. Give me that.”

Half a mind exactly, McGarr thought, ignoring Pape’s outstretched hand and activating the player.

“Drink?” Gillian Reston asked.

McGarr shook his head and allowed his eyes to drop down her body. She was nubile, to say the least, with a narrow waist and a pleasant fl?air of hip, and the breasts that he had glimpsed earlier now peaked the cashmere-like material of her top.

“Come, sit.” She patted a cushion of the sofa. “You must have been on your feet at least since your e
n
counter with the press earlier, no?

“Oh, how nice—music too, Poppy. And there I thought it would be some dreary drunk-driving exe
m
plum.”

Pape coughed or cleared his throat. Then, “Whiskey!”

“Poppy’s taking the entire matter of the theft and the murder of the guard too awfully hard,” she said, ge
t
ting up.

While the tape came on, McGarr looked around—at the bookshelves that lined three walls, the long wi
n
dows for daylight, the library tables with colored-glass reading lamps, rather like one of the reading rooms that McGarr remembered from his several excursions to Trinity with Noreen some years past. But furnished for comfort, not scholarship.

There were tall, healthy-looking potted plants in two corners, an immense Oriental rug on a gleaming parquet fl?oor, and the pleasant grouping of large, leather-covered seats around the entertainment center and hearth with its carved—could it be?—rosewood mantel.

The farthest wall from McGarr was fi?lled with a glass-fronted case behind which was a collection of pottery and stone objects that looked to be Celtic or at least ancient in design. Perhaps three dozen items in various conditions from intact to mere shards were kept there.

The crystal whiskey decanter, from which Gillian poured Pape’s drink, was nearly full. If Pape’s odd d
e
meanor was due to drink, he had not drunk much from the decanter.

Delivering the glass to Pape, the young woman bent at the waist and brushed her lips against the side of his face, whispering something McGarr could not hear. Straightening up, she regarded McGarr, her dark eyes defi?ant and—he only now noticed—as bright as any he had ever seen. She returned to the sofa.

“My word,” Pape said over the lip of the glass. “Do
we really have to watch this? I’m no student of history, but this is just...drivel.”

Gillian Reston turned to McGarr, her smile still complete. “Sure I can’t get you something?”

The invitation was complete with a dark, arched eyebrow. Again, McGarr considered her eyes, which sparkled. As though having to gather herself—like Pape had, only less conspicuously—she turned back to the television, arms folded under her breasts in a way that emphasized their splay.

Pape’s chin rose, and he sat up when the hooded fi?
g
ure came on. “Is this the chap?” he asked.

“Chap, Poppy?” she asked, an edge of concern in her voice.

“The chap who murdered Sloane and stole the bloody books, what other chap would I mean?”

“Perhaps if we listen, Poppy—”

“Don’t take that tone with me. You’re here at my behest.”

McGarr increased the volume. “A Judas book. And expendable,” said the hooded fi?gure with the voice-scrambling audio device covering his mouth.

He waited until the fl?ame of the welder’s torch was held to the page before pushing the pause button. “Now, there. Is that a page—can you tell?—out of the Book of Kells?”

Pape held out a hand, then pulled himself up in his chair. The woman quickly moved off the couch toward one of the tables, where she retrieved Pape’s spectacles.

“Now, go through it, no stops.”

McGarr did.

“And again.”

McGarr complied.

“Well, it surely appears to be a page from Kells, a text page. But I should imagine your Garda labor
a
tory will be able to blow up the image, the better to judge.”

“What about the possibility of what we’re seeing there being paper?” the young woman asked.

Pape’s head swung to her. “Gillian—leave the room.”

“From one of the facsimile—”

“Out! Now!”

“Why?”

“Because I’m telling you to.”

“I require a reason. Certainly nobody in his right mind would burn—”

“Now!” Pape as much as bellowed.

Color had risen to her cheeks, and she had again folded her arms across her chest, this time defi?antly. “I won’t.”

Removing his glasses, he made sure his eyes—ag
a
tized both from age and from whatever it was that had narrowed the pupils—met hers. “Oh, yes, you will. Now. Without another word.”

Her head swung to McGarr, her humiliation obv
i
ous. Yet she rose to leave.

“Facsimile?” McGarr asked. “Facsimile, what?”

“And you too. Get out. I didn’t invite you in. I’ll di
s
cuss that”—Pape cast a hand at the screen—“and an
y
thing else with Jack Sheard, who has the background to appreciate the fi?ner points of incunabula. And take your bloody gyre of vulgarity with you.”

Pape tried to rise from the chair, but neither arms nor legs were up to hauling his tall, thin body to a stand. With a grunt, he rocked back heavily into the cushions.

“I’ve told you all I know, and I’ll only speak to Jack henceforth. Am I understood?”

Hitting the eject button, McGarr stepped to the tape player while calling out to the woman, “Hold on, please.”

“Do I have to ring him up?” Pape asked.

She was nearly at the top of the stairs by the time McGarr got into the hall. “Poppy’s collection, the one behind the glass cabinet—Celtic, is it?”

“The Beaker people,” she said without turning her head to him.

Who had been a wave of Celtic immigrants, McGarr seemed to remember.

“Facsimile—what? What did you mean by that?”

She kept climbing.

“What’s OxyContin feel like? Is it pleasurable?”