Scared to Live (45 page)

a couple of attendants leaned against a wall, looking bored as they waited for owners to return for their vehicles. Sensing that something was wrong, Cooper twisted his head round, and stamped on the brakes. 'Damn. The Citroen is on the forecourt in front of the main entrance. I almost didn't see it.' Motorists in the queue of stalled traffic stared at him curiously as he reversed a few yards towards Mullen's car. It was parked at an awkward angle between two other vehicles that had been left there when the Car park full signs went up. 'He must have swung straight across the pavement as he went through the pedestrian crossing. And I bet none of these people noticed anything.' 'They don't look happy about the hold-up,' said Kotsev. 'Why should they report another driver for escaping it?' Cooper parked the Toyota across the Citroen's tail end to block it in. As they approached the vehicle on either side, he spoke into his radio. 'Diane, we've got Mullen's car, in the main entrance to the shopping village. Right on the forecourt in front of the doors, you can't miss it.' 'You said that about Dinkie Donuts.' 'Georgi and I are right here.' 'Who's in the car?' Cooper peered in through the windows, though he'd already guessed the answer. 'No one. They've legged it.' 'Where could they have gone? The shopping village is closed.' 'They can't have gone far.' Then Cooper saw an iron stairway leading down from the forecourt. At the bottom was a door into the second level of the car park, just below the road. The door was painted red and lit up like a beacon. And it was open. 'That's the obvious way, Georgi, wouldn't you say? Especially if you were in a hurry.'

'Let's go, then.' 'Hold on a minute.' Cooper fetched his torch from the back seat of the Toyota. It was a four-cell Maglite, nearly fifteen inches long and weighing at least a couple of pounds. Not only would it give him a good light, but it was handy as a weapon, at a push. Then he found a spare torch from the car and handed it to Kotsev. 'You might need this.' He turned at the sound of a horn, and saw Fry's Peugeot approaching, and her window winding down. 'We'll come in from the other direction,' she called. 'There's a roof level up the ramp, Diane. You might start there.' 'OK.' She began to put her car into gear again, but Cooper put his hand on the door. 'How far are we going with this?' he said. 'I mean, Brian Mullen hasn't committed any crime that we know of.' Fry gazed back coolly. 'He's running for a reason,' she said, as the Peugeot pulled away. Cooper and Kotsev clattered down the iron stairs and through the red door. Inside, the parking levels were already half empty, the gaps between vehicles allowing a view right down to the ramps at the entrance. They shone their torches into the corners and along the sides of the ramps. They hadn't been inside the car park long when Cooper heard a voice in his ear. 'We're coming in now,' said Fry. 'These attendants haven't seen anyone in the last few minutes, but I'll leave them to keep watch. How many parking levels are there, Ben?' 'Three, I think.' Cooper found a door by the stairs, which led into the main building. 'Hey, there's a door open here,' he said. 'Be careful, Ben.' 'Aren't I always?'

'Actually, no.' Cooper allowed himself a smile as he entered the darkened mill. The times Fry expressed concern for his welfare were so rare that they were worth collecting and treasuring for posterity. He and Kotsev made their way slowly through the shopping floor. Although it was open-plan, there were far too many places to hide - counters and display units, racks of winter coats and free-standing shelves full of pottery. It would take dozens of people to search this place properly. Without the presence of people, the dominant smell was the scent of polish rising from the wooden floors, as if they were walking through a low-lying mist. Cooper's torchlight reflected off mirrors everywhere, dazzling him with sudden bursts of glare. Time and again, he caught a movement across the other side of the floor and swung his Maglite towards it, only to see himself or Georgi staring back from a full-length mirror, pale and wide-eyed like ghosts. When they came to the central stairs, Kotsev gestured upwards, and Cooper nodded. He watched until Georgi reached the top of the first flight, then he moved on. And it was better on his own, without the distraction of someone else's footsteps behind him, another person's breathing in his ear, or that continual jump and flutter on the edge of his vision. Now, he could concentrate on the natural sounds of the building, he could listen for the subtle intrusions into the silence, the surreptitious movement in the darkness. When he felt the floorboards shift and groan under his feet, Cooper knew he was near the wooden steps that led down to the museum at river level. Standing perfectly still, he held his breath and listened. The faint creak of boards came from below him, somewhere near the bottom of the stairs. The stairs led down to two doors, one opening into the spinning room and the other into the weaving shed. A

doubling machine and some of the looms had been running last time he was here. The rattle of their bobbins and leather drive belts had seemed normal background noises then. Without them, the place was much too quiet, the long lines of wooden spindles dead and still, like rows of broken fingers. His torchlight gleamed on white and pale blue walls, glared off red fire buckets, picked out the rainbow colours of the cotton on the bobbins. The weaving sheds had pitched roofs that were half glass to provide natural light for the weavers. Tonight, though, the glass only reflected his torch beam and the sporadic glint of machinery from the sheds beneath. Cooper sniffed instinctively. The smell of lubricating oil and leather seemed stronger in the dark. Or perhaps in the silence. He wasn't sure which made the most difference. His jacket whispered against the wall, every footstep squeaked on the boards. At this level, he could hear a deep rumbling noise, and even feel a faint vibration through the floor. Common sense told him it must be the turbines running. If they ran at night, they were probably supplying surplus power to the National Grid. But their rumble sounded more like the heart of the massive building, thudding through the walls of the mill, beating much too fast. Cooper felt his own heart begin to thump faster in rhythm with the turbines, and his chest tightened with anxiety. It was as if he was picking up a sense of fear from the building itself. Be careful. Aren't I always? Actually, no. He froze to the spot, suddenly reluctant to go any further into the weaving shed. He didn't know what he was afraid of. But that was always the most frightening thing, the unknown. You can only fear something that hasn't happened yet. Damn right, Doctor. But lots of things had happened already. How many people had died? Too many to count. For a moment, the rows of looms blurred and distorted. They seemed to change shape, mutating into crouching, angular beasts that lined a tunnel stretching away from him.

They beckoned him further into the darkness, whispering with leathery tongues that had formed from their drive belts and pulleys. Cooper shook his head, trying to drive away the illusion, to deny the lies that his senses were telling him. Then, at the far end of the weaving shed, he saw what his attention was being drawn to. His unsteady torchlight had picked out a shape on the floor. A bundle of rags, a pile of sacking? Well, it was possible in this place. Anything was possible. But Cooper knew it wasn't a bundle of rags, or a pile of sacking, or even a trick of the light. It was a body. 'Oh, shit.' He recognized the smell of blood. This must have been the trigger for his anxiety, the message that his senses had been sending him. Blood meant danger. Be careful. Suddenly, his surroundings came back into normal focus, and his feet began to move him forward again. Cautiously, Cooper edged around the looms and the other machines, checking the darkest corners of the shed, until he was bending over the body and feeling for a pulse. Despite the amount of blood matting the hair and spreading across the concrete floor, there were still signs of life. There had been silence from his ear piece for several minutes now, and Cooper knew he'd lost contact. He pulled out his mobile, praying there'd be a signal. It wasn't guaranteed, especially since he was below road level. But he was in luck for once. First he called for an ambulance, then he rang Fry's number. 'Diane, I've found Brian Mullen.' 'Thank God. Is the child all right?' 'No, listen. I said I've found Mullen. He's unconscious he looks as though he's taken a bad blow to the head, and there's quite a bit of blood. But he's breathing all right. I've got an ambulance on its way.' 'And Luanne?' Cooper didn't answer for a moment. He was staring at the

long rows of looms, the gleaming wooden bobbins. White walls and dusty shelves, the flash of his Maglite reflected and multiplied like stars in the glass roof of the weaving shed. And, almost too far away, a distant doorway that must lead out of the mill to the goyt, where the deep channels drew water from the river. 'Ben, are you there? What about the child?' 'There's no sign of her, Diane. She's gone.' There was silence on the other end of the phone for a moment. Silence, apart from the distant sound of a car engine and faint, echoing voices. He pictured Fry still in the parking levels, struggling to cope with members of the public wanting to remove their cars. 'OK, Ben, hang on there. Stay with Mullen until assistance comes. Is Georgi with you?' 'I think he's still upstairs. But, Diane ' 'Just don't do anything stupid.' And then she was gone. Cooper sighed as he ended the call, and checked Brian Mullen's pulse and breathing again. His skin felt very cold, so Cooper covered him with a bolt of cloth. There wasn't much he could do to stop the bleeding, but scalp wounds always looked worse than they really were. He knew he ought to wait with Mullen, just as Diane said. But he was too conscious of time ticking away, too painfully aware that he might have been able to save John Lowther's life yesterday, if he'd acted more quickly. How could he sit here now and wait while a small girl was nearby, needing his help? Luanne Mullen might at this moment be at risk in the darkness. The thought was intolerable. He knew he'd never be able to live with himself if he did nothing. Goading himself into action, Cooper ran back to the stairs to shout for Georgi Kotsev, at the expense of destroying the silence in the mill. He was saved the trouble when Kotsev appeared at the top of the wooden steps, looking huge framed in Cooper's torchlight.

'A problem, Ben?' 'Come down, Georgi, will you?' Kotsev cursed quietly when he saw the body. 'And the child?' 'She's not here.' 'Dyavol da go vzeme.' 'Stay with him, will you, Georgi? Help is on the way.' 'Where are you going?' 'To find the child.' They looked at each other for a moment. Kotsev seemed about to say something, but changed his mind. He nodded briefly. 'I understand.' Then Cooper left him with Brian Mullen, and hurried down to the far end of the shed, tracking the sound of a closing door somewhere ahead. Noises echoed so much inside the mill that it was impossible to move around quietly. But it wasn't quite so easy to tell what direction the noise came from. He had no idea of the layout at this end of the mill. Above Cooper's head, a bridge crossed over the looms to the mill entrance at road level. Ahead of him, a cavernous space gradually revealed itself to be the boiler house. Four black, riveted monsters glinted in his torch beam. Strangely, their upper surfaces were being used to store rabbit hutches. He climbed back up the steps to a heavy steel door set into the outer wall. It looked like the entrance to a tunnel that would lead to the base of the mill chimney. He supposed someone must once have had to crawl in there to clean out the flue. Cooper paused for a moment, trying to decide between several doors and a series of smaller rooms, cramped spaces after the length of the weaving shed. The door he chose turned out to be the bobbin room. The floorboards squealed and moved under the pressure of his feet as he entered. It occurred to him that he could be the

ghost of Arkwright himself, prowling the mill at night, tracking down a fugitive child apprentice. One flick of his torch showed Cooper a room like nothing he'd ever seen before. It contained dozens of musty-smelling hessian sacks spilling bobbins on to the floor. There were wooden tubs full of bobbins, bobbins in drawers and hanging on the walls. And above his head there were hundreds more of them strung in bunches - a thick layer of bobbins hanging as if they'd grown from the ceiling, like a strange fungal growth or a thousand stalactites filling every available inch. There were all kinds of shapes, sizes and colours, and they rattled slightly in a breeze blowing from an open door. Cooper could feel the chill striking through the doorway, and knew this must be the passage that led outside to the goyt, and to the river. He slipped through the door on to a wooden walkway over the water channel. This area was open to the air, filled with the noise of the river and the sensation of empty space all around and above him in the darkness. The water that had once driven the mill's waterwheels still ran the turbines, and it flowed fast under the walkway here. He could hear its rush and feel the vibrations of the current. But beyond the end rail was a stagnant basin. His torch picked out iron chains hanging from ancient pulleys, coated with dust and cobwebs. The chains disappeared into the murk, reaching down towards mysterious shapes that he barely glimpsed in the depths, metal structures with a forgotten purpose. Cooper shivered as he saw bits of dead vegetation floating on the surface. Even an adult might have difficulty in that water. Imagine getting tangled in the chains and dragged to the bottom. His torchlight illuminated a warning sign. But was it the fast-flowing goyt it was warning of? Or the still, dark basin with its shadows below the surface? Cooper turned sharply to the left, not sure what he was

reacting to. His senses were confused by the adjustment from the silent interior of the mill to the noise outside. A series of explosions reminded him that the fireworks display was still going on over the village. The cascade of coloured light helped him to orientate himself. Beyond the goyt he could make out the bank of the river, and directly in front of him was an area of slippery concrete channels and sudden drops into black, lethal water. It didn't feel any safer out here than it had inside. Of course, he ought to let Fry know where he was. So Cooper tried his phone again. But he was down by the river now, with the vast bulk of the mill behind him and the limestone crags towering on both sides. He raised his phone to head height and moved it in a different direction. No signal. The roar of the weir sounded much louder at night. Now that he was close to it, it almost drowned the crack and scream of the fireworks launching from High Tor. Cooper strained to listen for sounds of movement above the rush of water from the weir and the hum of the turbines in the mill. The only other noise he could hear was a tap-tap-tap against the side of the channel as a polystyrene cup bobbed on the surface of the water. Tap-tap-tap on the concrete walls. He thought he heard a shout somewhere, a woman's voice. But the words were incomprehensible. He was almost sure he saw a shadow flickering, and caught the rustle of a long skirt on concrete. Then the tap-tap-tap became a clatter, the sudden sound of running footsteps. Cooper swung his torch, but he couldn't tell which direction the footsteps were coming from. The flashes and crashing of the fireworks were too disorientating, the reflection of his Maglite off the dark water too confusing. So he spun round too late and didn't see the black shape that came at him out of the night, or the fists that smashed into him and knocked him off balance. He teetered for a moment on the concrete edge, drawing a breath to cry out.