The Janus Stone (12 page)

'Dad!' A shout from the sitting room. 'Your phone's ringing.' Grumbling Nelson goes into the hall, where his phone is ringing from his jacket pocket. Of course, it stops as soon as he lays hands on it. 'One missed call from Ruth.' Nelson presses call back.

'Ruth? What is it?'

She sounds very distant but he knows, from her voice, that she has made some sort of breakthrough.

'I've had a call from Debbie Lewis. She's the forensic dentistry expert I mentioned.'

'Bloody hell. That sounds a fun job.'

'It's fascinating. Anyway she's come back with some interesting results. Apparently there are traces of stannous fluoride on the teeth.'

'So?'

'Well stannous fluoride was first introduced by Crest toothpaste as a trial in 1949. But they found that it stained the teeth so, in 1955, they switched to sodium monofluorophosphate.'

'So what?' Nelson's head is starting to swim.

'So the skull must be from a child who was alive before 1955. When was the girl born? The girl in the children's home?'

'Elizabeth Black?' Nelson rifles through the papers on his desk but he thinks he already knows the answer.

'1968,' he says.

CHAPTER 18

Nelson calls a special team meeting in the morning. Working on Saturday means overtime, which won't please Whitcliffe, but he knows it is imperative that they make some headway on the case before the press get hold of it. Nelson arrives at the station in a mood of manic efficiency. He bounds upstairs, crashes open the door to the incident room, rips the picture of Father Patrick Hennessey off the pinboard and barks, 'Right, the priest's in the clear. Any other ideas?'

The effect is rather ruined because Judy and Clough are the only people in the incident room. Clough is eating a McDonald's breakfast burger and Judy is reading the
Mail.

'What did you say?' asks Clough, screwing up greaseproof paper and throwing it in the bin.

'The priest.' Nelson puts the picture on the table. Father Hennessey's blue eyes stare blandly up at him. 'He's innocent. Ruth Galloway has identified traces of fluoride on the skull that could only have come from before 1955. Elizabeth Black was born in 1968.'

'Fluoride?' Clough still looks blank.

'In the teeth. Apparently there's some special sort of fluoride that was only used between 1949 and 1955. So that's our range.'

'Don't they put fluoride in the water anyway?' asks Clough.

'Not in Norfolk,' offers Judy, folding away the paper. 'Fluoride occurs naturally in our water. There's no need to add it to the supply.'

'Anyway, this is different stuff. Stannous fluoride, it's called. Apparently they don't use it any more because it stains your teeth. Or rather they do but only in one specialised brand.'

'So Holy Joe didn't do it?' Clough sounds disappointed.

'No.'

'I never thought he did,' says Judy.

'Well, you're another one of them.'

'What?'

'Catholics.'

'They're everywhere, Cloughie,' says Nelson, 'except in the Masons. Now, come on, we've got work to do.'

Ruth also wakes in an optimistic frame of mind. It is Saturday so she can have a lie-in. Light filters in through the curtains and onto the bed where Flint sleeps stretched out, his claws twitching. Ruth stretches too, touching the cat with her toes. It had been a good night last night. The meal on the boat, getting the pregnancy thing off her chest, the breakthrough in the case. The perfect evening in fact. After the call from Debbie and Ruth's call to Nelson, she and Max had chatted some more and then he had driven her back to her car. Drinkers were still sitting outside the pub and the moon was high above the treetops. He had kissed her cheek and told her to take care. 'See you soon,' Ruth had said. 'I hope so,' Max had replied.

There was something in his tone, and in the kiss, which makes Ruth's heart beat a little faster as she remembers it. He can't possibly fancy her, especially now he knows she is pregnant but, nevertheless, there is something, a hint that they might be more than just friends. Does she fancy him? A little, she admits. He is very much her type, tall and dark and intelligent, a little distant. But all those usual women's magaziney feelings have been submerged by the overwhelming fact that she is expecting a baby. She can't really think of anything else. Even now, lying here luxuriating in the warm bed, she is thinking about the creature inside her. She even fantasises that she can feel him move, although the nurse at the hospital said it was too early. There is something though. A heaviness, a presence, a sense of space filled. She has even thought of a name for him. She has begun to call him Toby. She doesn't know why, she doesn't even particularly like the name, but she just has a feeling that this baby is called Toby.

Damn, she needs to go to the loo again. She might as well make a cup of tea now she's up. Downstairs, the early morning view over the Saltmarsh is spectacular, seagulls wheeling against the pale blue sky. The news is on the radio but soon there will be that blissful listening hour between nine and ten: feel-good stories, inheritance tracks, bizarre facts about people who collect matchboxes or who have unknowingly married close blood relations. Perfection.

Ruth pads upstairs with her tea. She'll listen to the radio and then she'll think about getting up. She might even go for a swim, do something healthy. It'll be good for Toby. Humming tunelessly, she gets back into bed.

Nelson faces his team across the now more crowded incident room. 'So,' he is saying forcefully, 'whilst the evidence needs to be verified, it does seem that we are looking at an earlier timescale for this crime. Elizabeth Black was born in 1968. If the expert evidence is correct, the skull can't possibly be hers.'

'Are we sure the skull and body are the same child, sir?' Nelson cranes his head to see who has asked this excellent question. A new recruit, Tanya Fuller.

'Good question, Tanya. Yes, the DNA results confirm this. So, we're looking at earlier events in the house. Cloughie, what does the title deed registration tell us?'

Clough, who has been glaring resentfully at Tanya, jumps to his feet. He flicks importantly through his file.

'Prior to 1960, the house was owned by ... Bloody hell!'

After breakfast, Ruth contemplates her day. There is always work, of course, but the sun is shining in the dust motes by her window and she doesn't feel like working. Exercise would be good but she no longer fancies the swimming pool with its smell of chlorine and other peoples' feet. A walk, that's what she'd like. A brisk walk with a pub lunch at the end of it.

She almost phones Shona, who is sometimes amenable to walking if compensated by alcohol, but then she hesitates, wondering if she's up to further bulletins on the state of Phil's marriage. Anyway, Shona would want to eat in King's Lynn, somewhere where she can be sure of extra virgin olive oil and ciabatta. Ruth fancies something a little more rustic. Suddenly, a vision of the Phoenix comes into her head—the smell of chicken cooking on the outdoor grill, the view over the hills, the clink of glasses and the hum of conversation.

Didn't Max say something about discovering some more finds on the site? If Ruth drives out to Swaffham, she won't be going to see Max, she'll be going to see the pottery and the coins and the pieces from the Roman board game. That's all right then.

Ruth fetches her jacket.

'Prior to 1960,' Clough looks portentously around the room, 'the house was owned by Christopher Spens.'

'Christopher...' Nelson echoes, 'not the same family...?'

'One and the same.' Clough sounds like he is enjoying himself though, in retrospect, this is an oversight of fairly epic proportions. 'Father of Roderick Spens, grandfather of Edward Spens.'

'Explains why he still owns the site really,' says Tanya brightly. Clough scowls at her.

'Did the Spens family actually live in the house?' asks Judy.

'Looks like it—I've got the census here. Yep, census of 1951. Christopher Spens, Rosemary Spens, children Roderick and Annabelle.'

'Right.' Nelson gets to his feet. 'Cloughie, you find out all you can about the Spens family. Judy and Tanya, you get on to the lab for the test results. I'm going to have a little chat with Edward Spens.'

The weather stays bright all the way to Swaffham but as Ruth pulls off the A47 (carefully mirror-signal-manoeuvring) dark clouds are scudding across the sky. As she parks on the grass at the foot of the hill, fat raindrops are beginning to fall. She watches as the students run laughing down the slope, holding coats and tarpaulins over their heads. Most disappear into the pub, some bundle into dilapidated cars and drive off in a blur of exhaust smoke. Soon Ruth's is the only vehicle parked at the bottom of the mound.

'Is it important, Harry? Otherwise one does rather like leave weekends free for the family.'

'Oh it's important, Mr Spens,' says Nelson grimly. He decides to do away with any introductory niceties. 'Why didn't you tell me that your family used to live on Woolmarket Street?'

A slight pause. 'I assumed you knew.'

'Never assume, Mr Spens. So, even when a body was discovered on the site, you didn't think it was worth mentioning that the house was once your family home?'

'I never lived there. The house and land was leased to the diocese in 1960.'

'But you still owned it?'

'Yes. But you were interested in the years when it was a children's home. The Spens family had nothing to do with the house then.'

'And now we're interested in the Spens years,' says Nelson smoothly.

'What do you mean?'

'We've got evidence that the body was that of a child born in the early to mid-fifties. When would be a good time for me to pop over?'

The rain seems to be slowing down. Ruth, who feels slightly sick after the car journey, decides to take a short walk after all. Just up to the site and back. She gets out of the car, pulling on her yellow sou'wester.

The climb up the hill is hard going and she finds herself staring down at the grass, willing her feet to keep moving. When she gets to the top and looks around her, she realises that the sky is now completely black. Far off, she hears the first faint rumble of thunder.

As she heads towards the main trench she thinks she sees something out of the corner of her eye. She whirls round but there is nothing, just the wind blowing across the coarse grass. But Ruth is sure she saw something—a black shape skirting around the edge of the site. An animal maybe but, for some reason, Ruth feels shaken. She hears Max's voice.
She is meant to haunt crossroads, crossing places, accompanied by her ghost dogs.

Don't be ridiculous, she tells herself. Hecate's hounds are hardly going to be lying in wait for you. It was probably a fox or a cat. But, nevertheless, she has a strong urge to go back to her car and drive as far away from the site as she can. It is only the thought of climbing all the way up the hill for nothing that stops her. She'll just have a quick look in the main trench and go back. Just to say that she's done something.

The sky murmurs again. Pulling her hood further over her head, Ruth lowers herself into the trench.

Ruth stumbles slightly and almost falls onto the packed earth. Suddenly lightning splits open the sky. Ruth shuts her eyes. When she opens them again, there is a dead baby at her feet.

20th June: Festival for Summanus

Last night I had a terrible dream—a snake-faced woman, a man with two faces, a child thrown into the furnace, its flesh melting off, like a plastic doll that has fallen in the fire. I woke drenched in sweat but I was too scared to go back to sleep. I stayed awake, reading Pliny and waiting for dawn to break. Why am I troubled in this way? I have made all the right sacrifices yet it is almost as if the gods are angry.

The weather has got warmer. Yesterday Susan was working in the garden with her sleeves rolled up. I could see her arms, speckled like hens' eggs, covered with surprisingly thick blonde hairs. I had to reprimand her, of course. I am the Master.

I am tired. Sometimes I just want to lie down and sleep and forget everything.
By a sleep to say we end the heartache...
Hamlet Act 3, scene 1.
To die, to sleep. To sleep, perchance to dream.

Ay, there's the rub.

CHAPTER 19

Ruth is floating in a dark sea. Toby is somewhere near but she can't see or touch him. It's funny, but suddenly she feels she knows him inside out, his hopes and fears, his loves and hates, as if he were an old friend, not a three-month-old foetus. She even knows what his voice sounds like. It sounds like he's saying goodbye.

She is on the beach and a tide of bones is washing up against the shore. She hears Erik's voice. He is talking to Toby, 'It's the cycle of life. You're born, you live and then you die. Flesh to wood to stone.' 'But he's not even born yet,' she wants to scream but somehow her head is underwater and she can't speak or hear or breathe.

The tide brings her back again but now she's in the trench and it's too dark to see. She knows there's someone there with her. Someone evil. She sees a woman with two black dogs, a crossroads, the yellow eyes of an owl.

Now it is Max's voice she hears in her head. 'She was the goddess of many things. The Greeks called her the "Queen of the Night" because she could see into the underworld ... She's the goddess of the crossroads, the three ways... Another name is Hekate Kourotrophos, Hecate the child-nurse.'

'Hecate!' she says, forcing the breath out of her lungs, 'save me!'

Then another wave washes over her and everything is black.

Nelson is on his way to interview Edward Spens when he gets the call. He listens intently and then performs a screeching U-turn in the middle of the dual carriageway. Then he switches on the siren.

She is in the sea again and the tide is pulling her backwards and forwards, dragging her body against the stones, engulfing her in darkness. Now and again she sees lights, very far away, darting to and fro in the black water. She hears voices too, sometimes louder, sometimes softer. She hears her mother, Phil, Shona, Irish Ted and the nurse at the hospital.
Are you on your own?

Once she hears Nelson's voice, very loudly. 'Wake up, Ruth!' he is saying. But
he
has to wake up, he has to leave, get back home before his wife finds out. They can never be together again.
Thanks. What for? Being there.

Two children are digging a well on the beach. They are singing, 'Ding Dong Dell, Pussy's in the well.' Flint appears, very large, licking his whiskers. Then Sparky wearing a necklace of blood. A headless bird singing in a cage. The light glinting on coins thrown into a wishing well. A penny for your thoughts.
Ding Dong Dell, Pussy's in the well.

Erik is rowing her to shore. He is talking about a Viking funeral. 'The ship, its sails full in the evening light. The dead man, his sword at his side and his shield on his breast.' The tide rocks the boat up and down. 'Do not be afraid,' Erik tells her, 'it is not your time.' Time and tide wait for no man. The sea carries her back through her life—Eltham, school, University College, Southampton, Norfolk, the Saltmarsh, the child's body buried in the henge circle. Cathbad, torch upraised.
Goddess Brigid, accept our offering.

Another wave takes her right out of the water and leaves her stranded in daylight, gasping and shaking. She opens her eyes and sees Max, Nelson and Cathbad looking down at her.

She closes her eyes again.

Nelson drives like a maniac towards the hospital. 'Ruth's hurt,' Cathbad had said. 'I think she might be losing the baby.'

The baby. He does not stop to wonder how Cathbad knows or what Cathbad knows. He does not even wonder why Cathbad is the one who is ringing him, why he is with Ruth at all. All he can think about is that Ruth's pregnancy, which was hitherto only a suspicion, has become reality. And that the baby she is losing may be his. He presses his foot harder on the accelerator.

At the hospital he finds not only Cathbad, complete with cloak, but the know-all from Sussex University, Max Whatshisname. They are standing in the waiting area, by the rows of nailed-down chairs and ancient copies of
Hello!,
looking helpless.

'What's going on?' barks Nelson, going straight into policeman mode.

'They're examining her now,' says Cathbad, putting a calming hand on Nelson's arm. He shakes it off irritably.

'Let me speak to the doctor.'

'In a second. The doctor's busy with Ruth now.'

Thwarted, Nelson turns on Max who is looking awkward and embarrassed.

'What happened?'

'I found her at the site.' If Nelson sounds like a policeman, Max sounds like a suspect. 'I went to check on the dig after the rain and she was there, in a trench, unconscious.'

'Was anyone else there?'

'Not at first but while I was ... looking at her ... Cathbad appeared.'

'Just appeared?' growls Nelson, looking at Cathbad. 'Got magic powers now, have you?'

Cathbad looks modest. 'I just happened to be at the site. I wanted to have a look round. As you know, I'm interested in archaeology.'

'And you just happened to be there when Ruth collapsed?'

'I must have arrived a few minutes after Max. I saw his car at the foot of the hill.'

'And what happened to Ruth? How come she collapsed?'

In reply, Cathbad holds something out. Nelson recoils.

'What the hell's that?'

It is Max who answers. 'It's a model of a newborn baby. When I saw it, I thought...'

'So did I,' says Cathbad, sounding rather shamefaced. 'That's why I sent you the message.'

Nelson looks at the model. It is an anatomically perfect plastic replica of a full-term foetus. Its face is blank, its eyes sightless. Turning it over, he sees a name stamped at the base of the spine. 'It's from the museum,' he says. 'I went to some ridiculous party there and I remember it. They've got these models of foetuses at all stages of development.'

Max looks as if he is about to speak but at that moment the doctor (a disconcertingly youthful Chinese woman) appears in front of them.

'Are you with Miss Galloway?'

'Yes,' answers Nelson immediately.

'How is she?' asks Cathbad.

'Still unconscious but her vital signs are good. She should come round soon. I understand she's pregnant?'

'About sixteen weeks,' says Cathbad, 'I told the ambulance crew.'

The doctor nods soothingly. 'There's no sign of a miscarriage but we'll do a scan later. Go in and talk to her. It might help her come round.'

The invitation seems to be addressed to Cathbad alone but all three men follow the doctor into a side ward, where Ruth is lying in a curtained cubicle. Her name is already at the end of her bed. This efficiency strikes Nelson as ominous. Aren't people meant to wait for ages in Casualty, lying on a stretcher in the corridor?

Ruth is lying on her side with one arm flung over her head. She seems to be muttering under her breath. Cathbad sits beside her and takes her hand in his. Nelson stands awkwardly behind him. Max hovers by the curtain, seemingly uncertain about whether he should stay or go.

'What's she saying?' asks Nelson.

'Sounds like Tony,' says Cathbad.

'Toby?' suggests Max from the background.

Suddenly Nelson steps forward. 'Wake up, Ruth!' Ruth's eyes flicker under her lashes.

'Don't shout at her,' says Max. 'That's not going to help.'

Nelson turns on him furiously. 'What's it got to do with you?'

But Cathbad is looking at Ruth.

'She has come back to us,' he says.

'What's happened?' Ruth's voice is faint, but accusatory, as if somehow this is all their fault.

'You fainted,' says Cathbad. His voice is soothing. 'You'll be fine.'

Ruth looks, rather desperately, from one face to another. 'The baby?' she whispers.

'Fine,' says Cathbad bracingly. 'They'll do a scan but there's no sign that anything's wrong.'

'The baby in the trench?'

'It was a model,' says Nelson, 'some nutter must have put it there for a joke.'

He holds out the plastic baby. Ruth turns her head away and tears slide down her cheeks.

'Your baby's OK,' says Nelson in a softer voice. Ruth looks up at him and somehow it seems as if they can't look away. The seconds turn into minutes. Max fiddles with a hand sanitiser on the wall. Cathbad, of course, is incapable of embarrassment.

'I think,' he says brightly, 'that we should all give thanks to the goddess Brigid for Ruth's safe recovery.'

Luckily, at that minute a nurse pushes aside the curtains and says that they are transferring Ruth to another ward. They will keep her in for the night, she says, just for observation. 'And in the morning,' she says cheerfully, 'one of your friends can drive you home.' She looks at the three men, from Cathbad's purple cloak to Max's mud-stained jeans and Nelson's police jacket, and her smile fades slightly.

In the morning, Ruth is only too keen to leave hospital. At first it had been wonderful to lie between the cool, starched sheets and have kind nurses bring her tea and toast. They had wheeled her down for the scan and there was Toby, floating happily in his clouds. To Ruth's embarrassment she had cried slightly, sniffling into the pink tissues handed to her by a nurse. Jesus, they're so
nice
in here. It's a wonder they don't go mad.

But as the night drew on she had started to worry about Flint (Cathbad had offered to feed him but who knows whether he'd remember), about her baby (how on earth is she going to cope on her own?) and, finally, about herself. It seems that someone is trying to scare her to death. Her name written in blood (Max has confirmed this) and now the final gruesome discovery of the plastic baby. Did whoever put it there know she is pregnant or was it just another grisly classical allusion? And who could it be? It must be someone close enough to put the objects in place the split second these sites are deserted. And why? This is the question that chased itself around in her head all through the long night, full of nurses padding to and fro and white figures hobbling to the loo and back. The woman next to her snored continually, but unevenly, so Ruth was unable even to fit the noise into a soothing background rhythm. She had nothing to read and eventually this need became so pressing that she asked the nurse for something, anything, with words on. The nurse came back with
Hello!
magazine so Ruth spent the rest of the night reading about footballers' weddings and obscure Spanish royalty to the accompaniment of jagged grunts from the bed next door.

Morning starts early with a tepid cup of tea at seven and Ruth is already asking when she can go. She must let the doctor see her first, say the nurses soothingly. By eight she is sitting, fully dressed, on the bed. She had not thought to ask any of her visitors yesterday to bring her a change of clothes and, in any case, she would have been too embarrassed. But there is something sordid about putting the same clothes back on. She hasn't even got a toothbrush but a nurse brings her toothpaste and she rubs it vigorously round her mouth. The woman next door (very pleasant when she isn't snoring) offers her deodorant and some rather violent-smelling body spray. Ruth sits on the bed, smelling of roses, rereading an account of how some actress she has never heard of overcame tragedy to marry some sportsman she has never heard of. It's all very inspiring.

Eventually a teenage boy masquerading as a doctor appears, examines her head and tells her she can go home. 'Come back at once if you have any dizziness or blackouts,' he says sternly. He's wearing baseball boots. Baseball boots! How can Ruth possibly take anything he says seriously?

She has nothing to pack so she asks the nurse if she can call a taxi. 'No need,' says the nurse, smiling sweetly (though, to Ruth's knowledge, she has been on duty for the last twelve hours). 'A friend of yours rang and said he'd come to collect you. Wasn't that nice of him?'

The nurse doesn't say which friend but as she emerges from the main doors Ruth is not really surprised to see Nelson's Mercedes parked in the space reserved for minicabs. She gets into the front seat and for a few minutes they sit in silence.

'Why didn't you tell me?' asks Nelson at last.

'I was going to.'

'Oh, that's all right then.'

'It was difficult,' retorts Ruth, 'you're married. I didn't want to rock the boat.'

'Didn't you think I had a right to know? If it is mine, that is.'

'Of course it's yours,' flares Ruth, 'whose did you think it was?'

'I thought maybe your ex-boyfriend ... Peter.'

'I haven't slept with him for ten years.'

'It's not his then,' says Nelson with a slight smile.

'No, it's definitely yours.' There is another silence broken only by the minicabs behind starting a strident chorus of hooting. Nelson swears and puts the car in gear. They drive in silence through the Norwich backstreets. It's Sunday morning and everything is quiet, people are emerging from newsagents with giant Sunday papers under their arms and café owners are putting tables out on the pavements. As they pass through the centre of the city, they can hear church bells ringing.

'What are you going to do?' asks Nelson, breaking sharply at a zebra crossing.

'Have the baby,' says Ruth determinedly, 'bring it up on my own.'

'I want to help.'

'Help? What do you mean "help"?'

'You know ... financially. And other things. I want to be involved.'

'How involved? Are you going to tell Michelle?'

Nelson says nothing but Ruth sees his eyes narrow. Eventually, he says, 'Look, Ruth. This isn't easy. I'm married. I don't want to break up my family. The girls—'

'Don't think for one second that I want to marry you. That's the last thing I want.'

She thinks Nelson relaxes slightly and when he speaks again his tone is gentler. 'What do you want from me then?'

'I don't know.' She doesn't. Of course, on one level she does want a totally committed partner who will come with her to the birth and bring up the baby with her. But that isn't on offer. 'I just want someone to talk to, I suppose,' she says.

'Well, you can talk to me. Have you had a scan yet?'

'Yes, he's got long legs apparently.'

'He?'

'I think it's a boy. I'm calling him Toby.'

'Toby!' The car swerves. 'Toby! You can't call him Toby.'