Sophie Hannah_Spilling CID 04 (15 page)

‘Who are they all?’ Charlie asked.

‘The people in the pictures? Neighbours, mostly, or people who used to live round here. The Winstanley estate collection.’ Mary’s smile was like a sneer, directed at herself. She nodded at the portraits stacked against the opposite wall. ‘I couldn’t tell you most of those people’s names now—I paid them, they sat for me, that was it.’

Charlie looked again at the faces, to see if she recognised anyone she’d ever arrested.

‘You’re wondering why I’d choose to paint strangers who mean nothing to me,’ said Mary, though Charlie hadn’t been. ‘Painting people you care about is like offering yourself an emotional breakdown. I avoid it if I can, though it’s not always possible. Sometimes a compulsion takes hold and you have to suffer the consequences.’

Charlie saw the tension in her posture as she spoke, the way she hunched herself together so that her body became more compact.

‘If you had to paint a portrait, who would you choose? Your fiancé?’ Mary was looking at Charlie’s hand. ‘I saw the ring.’

‘I really don’t know.’ Charlie felt her skin heat up. No way could she paint Simon; it would be too intimate, too close. He’d never let her. He’d ended up staying the night on Saturday, after the party; he and Charlie had slept side by side, but they hadn’t kissed or touched. The hug he’d given her downstairs—that had been it in terms of physical contact. Still, Charlie was pleased. She’d never been able to persuade him to stay the night before. It was progress.

‘Definitely not your fiancé,’ said Mary. ‘So either you don’t care enough about him to bother, in which case I’d call off the engagement, or you know what I’m talking about: like offering yourself a breakdown.’

‘You said pretty much all your pictures were here,’ Charlie changed the subject. ‘Where are the rest, if you never sell your work?’

‘Ruth Bussey’s got one. I gave it to her as a present.’ A smile played around Mary’s lips. ‘Remember the sempervivum I showed you outside?’

Charlie didn’t. Then she realised Mary was talking about the rubbery green rose sticking out of the wall.

‘Ruth told me it was called that. I didn’t know. I don’t know any plant names. My experience of gardening is limited. I completely ruined a garden once and decided to leave it at that. After I gave Ruth the painting—I hadn’t given anybody a present in a long time and it felt strange—but I thought to myself, she’s given me a present too. That name: sempervivum. Live for ever, live always—that’s what it means.’

‘You aren’t in the habit of giving presents?’ Charlie asked gently. There was a story here, and she found herself wanting to know what it was. Where was the garden Mary had mentioned? Where did she live before Megson Crescent?

‘No presents,’ said Mary. ‘I’m not giving you a picture for free, and I won’t sell you one. I only gave Ruth one as a form of apology.’

‘For what?’

‘I lost her her job. It’s a long story, one I’m not going to tell you. It doesn’t show either of us in a good light.’

‘You mean her job at the Spilling Gallery?’

‘What does it matter?’ Mary asked warily.

A woman with a lot of boundaries, thought Charlie.
Too many for life to be easy for her.
‘I just wondered. That’s where Ruth worked before she worked for Aidan Seed.’

Charlie had never seen a person’s face shake before, but Mary’s did. It was as if she’d suffered an internal electric shock. ‘Ruth . . . Ruth works for Aidan Seed?’ She tucked her hair behind her ear, repeating the action, three, four times.

‘They also live together,’ said Charlie. ‘As a couple.’

All the colour drained from Mary’s face. ‘That’s not true. Ruth lives alone. In the lodge house at Blantyre Park. Why are you lying?’

‘I’m not. I don’t understand. Why does it matter? You say you don’t know Aidan.’

‘My picture. I gave Ruth my picture.’ She bit her lip. ‘Where are my cigarettes? I need a cigarette.’ She made no attempt to look for them. Her eyes were blank, moving to and fro, not settling on anything for long. ‘What’s Aidan Seed done? I need to know. Why are the police after him?’

Not knowing if it would prove to be the key that unlocked everything or a disastrous error, Charlie said, ‘As far as we know, Aidan’s harmed nobody. But
he’s
telling us different. He’s saying he hurt someone, badly, and he says that person was you.’

Mary’s chin jutted out. Charlie guessed she had resolved to show no more emotion after her brief lapse. Another shock, then.

Charlie took a step towards her. ‘Mary, believe me, I know how odd this sounds. Aidan Seed came to us voluntarily, wanting to confess to a crime. He described you—your appearance, where you live, your work . . .’

Mary wrapped her arms around herself, hugged herself tightly.

In for a penny, thought Charlie. ‘He seems to have got hold of the idea that he killed you,’ she said.

‘Not me.’ Mary let her head fall back, then straightened up, her eyes locking on Charlie’s. ‘Not me.’

I’m cutting glass when I hear footsteps on the path outside. I look up, see a man’s face through the window. I don’t recognise him. Aidan stops what he’s doing. His foot is on the pedal of the mitre machine, but he doesn’t push it down. Normally he stops work only when he has to, when a customer is standing in front of him, and to pretend not to have noticed for a second longer would be too rude even for Aidan to get away with. A lot of the people we frame for dislike him, but they don’t go elsewhere. When I first started here, he told me, ‘You can be friendly to clients if you want to, but friendliness takes time. Your job, our job, is to protect the art people bring in. Remember that. Think of a picture as being in danger until it’s properly framed. Protection is at the heart of picture-framing. That’s why we do it—it’s not for decoration.’

The wooden door scrapes along the ground as it’s pushed open. ‘Hello?’ a deep voice calls out.

I’m about to answer when I see another face at the window and my breath turns solid in my lungs. Charlie Zailer. What’s she doing here? Are she and the man together?

‘You must be Ruth Bussey. DC Simon Waterhouse, Culver Valley CID.’ He opens a small wallet and shows me his police identification. He’s a heavy, rough-faced man with big hands and too-short trousers that don’t quite reach the tops of his shoes.

Sergeant Zailer smiles at me. She says nothing about my coat and I don’t ask. She hasn’t brought it with her. When she tells Aidan her name, I will him not to look at me, not to let his surprise show. ‘Okay if we have a chat?’ she says.

‘I’ve got work to do.’ Aidan doesn’t sound surprised, only sullen.

‘It won’t take long.’

‘I talked to him on Saturday.’ Aidan jerks his head in Waterhouse’s direction. ‘I’ve got nothing to add to what I said then.’

‘Have a guess where I spent most of this morning?’ Charlie Zailer’s tone is soothing and teasing at the same time.

‘No, thanks.’

‘Fifteen Megson Crescent.’

This is followed by a long silence. DC Waterhouse and I look at one another, wondering if one of us will have to break it; at least, that’s what I’m wondering.

‘Fifteen Megson Crescent is where Mary Trelease lives. That’s who I spent the morning with: Mary Trelease.’

Aidan gives her a cold look. ‘How can a dead woman live anywhere?’ he says. ‘I killed her.’

Sergeant Zailer nods. ‘Simon—that’s DC Waterhouse—he told me you’ve convinced yourself of that. I can assure you, you’re wrong. I met Mary Trelease, spoke to her, saw her breathing and moving around.’

Aidan pulls the underpinner towards him, takes two mitred frame edges and puts them in the machine.
Back to work.

‘Do you think I’m lying?’

I can’t stand the stifling tension in the air. ‘Aidan, answer her!’

‘If you hop in the back of my car, I’ll take you to her house so that you can see for yourself that she’s fine.’

‘No.’

‘How did you meet Mary?’ Sergeant Zailer’s voice is gently insistent. ‘You didn’t tell Simon the full story, did you? Will you tell it to me?’

‘No.’

‘Mary says she’s never met you. Which, if she’s telling the truth, means you’ve never met her.’

He looks up, angry to have his attention taken away from his underpinning. ‘If I killed her, I must have met her. It’s simple logic.’ How can he be angry? How does he expect the police to react?

‘Okay,’ says Sergeant Zailer. ‘So tell me about meeting Mary.’

Silence. I stare at him, silently urging him to answer, knowing he won’t. My last hope is disintegrating and there’s nothing I can do. Nobody can help if Aidan won’t talk, not even the police.

‘Aidan? How many times did you and Mary meet before you killed her?’

‘He hasn’t killed anybody,’ I say, starting to cry.

Sergeant Zailer turns her attention to me. ‘Did he tell you he strangled Mary when she was naked? That he left her body in the middle of the bed, in the—’

‘Shut up,’ Aidan snaps.

A violent, sick feeling tears through me, making me gasp.
Strangled. Naked.

‘I don’t think he told her,’ says Waterhouse. ‘Something I don’t understand: you
did
tell Ruth that you killed Mary Trelease years ago. And you told me I’d find the body in the bed if I went to 15 Megson Crescent. Did you really think a dead body might lie undiscovered in a house for years?’

Aidan measures a length of nylon hanging cord and cuts it, as if no one has spoken. He isn’t ignoring Waterhouse—it’s more than that. He’s pretending to be alone in the workshop, wishing us all away. ‘Say something, Aidan!’

‘Why don’t you, if he won’t?’ Charlie Zailer asks me. ‘You lied to me. You said you didn’t know Mary Trelease, but she knows you. She told me she lost you your job, then felt guilty about it and gave you a painting. That true?’

I nod, forcing myself not to look at Aidan. I have no way of knowing how much of the story Mary told her.

‘So you first met Mary when?’

‘Last June.’

‘June. So when Aidan told you in December that he’d killed her years ago, you’d in fact met her six months previously. Presumably you told him he was mistaken. Ruth? Did you tell him that?’

‘I . . .’

‘She told me,’ says Aidan. ‘I told her she was wrong, same as I told DC Gibbs and DC Waterhouse.’

‘Mary Trelease is an artist,’ Waterhouse takes over, and I release the breath I’ve been holding. He isn’t interested in the Spilling Gallery, my run-in with Mary. No one can force me to talk about it if I don’t want to. ‘Your work must bring you into contact with lots of artists. What do you think of them?’

‘Some are all right.’

‘The ones who aren’t—what’s wrong with them?’

Aidan sighs. ‘They treat me like a skivvy.’ He raises his hands. ‘Manual work. It can’t be a skilled profession if you get your hands dirty, that’s what some of them think. You meet them in a restaurant in town and they stare at you blankly—they don’t recognise you clean. When you say hello to them and they make the connection, you can see the shock on their faces: a common labourer in a posh restaurant—who’d have believed it? Then you get the ones who paint the same picture over and over again and think they’ve got a unique style, rather than only one idea, and the ones who only paint in their favourite colours, the same ones they buy all their clothes and carpet their living rooms in.’

‘You
really
don’t like artists,’ says Sergeant Zailer.

‘Let’s have one thing clear: I didn’t kill Mary Trelease because of anything to do with her being an artist. I didn’t know she was one until Ruth told me.’

‘Where’s the painting she gave you?’ Waterhouse asks me. ‘Can we see it?’

Pressure builds in my head. ‘I haven’t got it any more.’

‘How come?’

‘I . . .’ I look at Aidan, but he turns away, lines up two more lengths of glued moulding. Why should I lie to protect him when he won’t tell me what I’m protecting him from? ‘I gave the picture to Aidan,’ I tell Waterhouse. ‘I haven’t seen it since.’

Aidan shoves the underpinner away. ‘Mary Trelease is dead,’ he says through gritted teeth. ‘Dead people don’t paint pictures. Ruth brought home a picture by somebody—it was ugly, so I took it to a charity shop.’ He’s lying.

Charlie Zailer takes a step forward. ‘The front bedroom at 15 Megson Crescent is full of Mary’s paintings. So full I could hardly get in. You say you didn’t know she was an artist. Weren’t the paintings there when you were, when you killed her?’

‘He didn’t kill her!’

I’m surprised when he answers. ‘No. No paintings, nowhere in the house.’

I catch the look that passes between Sergeant Zailer and DC Waterhouse. They’re about to give up.

‘I have to go out,’ Aidan says.

‘Where?’ I ask, at the same time as DC Waterhouse is saying, ‘Do you believe in ghosts, Aidan?’

‘No. I believe in the material world: facts and science. I don’t believe dead women come back to life,’ he says quietly.

‘Then, in your opinion, who is the woman that Sergeant Zailer, DC Gibbs and I have all met at 15 Megson Crescent? If you’re certain you killed Mary Trelease, then the woman who looks like her and owns her home and paints her paintings, who has her passport, driving licence and other documents—she must be a ghost, surely—a very well-equipped one at that.’

‘I told you: I don’t believe in ghosts.’ Aidan walks over to the small basin in the corner and turns both taps on hard. The workshop’s plumbing is ancient; there’s as much noise as there is water. ‘The next time you come looking for me, be ready to charge me, or I’ll have nothing to say.’ He washes and dries his hands.

‘You didn’t answer Ruth’s question,’ says Waterhouse. ‘You volunteer that you killed someone years ago, but you won’t tell her where you’re going this afternoon.’

‘Get out.’