For the Sake of Elena Read online

  Two figures appeared ahead of her on the pavement, one crouched and the other stretched across the width of the path. They were shadowy and largely amorphous, and they seemed to tremble like uncertain holograms, backlit by the wavering, filtered light from the causeway about twenty yards away. Perhaps hearing Elena’s approach, the crouched figure turned towards her, lifted a hand. The other didn’t move.

  Elena squinted through the fog. Her eyes went from one figure to the other. She saw the size. She saw the dimensions.

  Townee, she thought, and rushed forward.

  The crouched figure stood, backed off at Elena’s approach, and seemed to disappear into the heavier mist near the footbridge that joined the path with the island. Elena stumbled to a stop and fell to her knees. She reached out, touched, and found herself frantically examining what amounted to nothing more than an old coat stuffed with rags.

  In confusion, she turned, one hand on the ground, pushing herself to her feet. She drew in breath to speak.

  As she did so, the heavy air splintered before her. A movement flashed on her left. The first blow fell.

  It hit her squarely between the eyes. Lightning shot through her field of vision. Her body flew backwards.

  The second blow crashed against her nose and cheek, cutting completely through the flesh and shattering the zygomatic bone like a piece of glass.

  If there was a third blow, she did not feel it.

  It was just after seven when Sarah Gordon pulled her Escort onto the wide section of pavement right next to the University Department of Engineering. In spite of the fog and the morning traffic, she’d made the drive from her home in less than five minutes, charging over Fen Causeway as if pursued by a legion of ghouls. She set the emergency brake, clambered out into the damp morning, and slammed the door.

  She marched to the boot of the car where she began pulling out her equipment: a camp stool, a sketch pad, a wooden case, an easel, two canvases. When these objects lay on the ground at her feet, she stared into the boot, asking herself if she had forgotten anything. She concentrated on details—charcoal, temperas, and pencils in the case—and tried to ignore her increasing nausea and the fact that tremors weakened her legs.

  She stood for a moment with her head resting against the grimy open lid of the boot and schooled herself to think only of the painting. It was something she’d contemplated, begun, developed, and completed times beyond counting ever since her childhood, so all the elements should have been old friends. The subject, the location, the light, the composition, the choice of media demanded her full concentration. She made an attempt to give it to them. The world of possibility was opening. This morning represented a sacred renaissance.

  Seven weeks ago, she’d marked this day on her calendar, 13 November. She’d written do it across that small, white square of hope, and now she was here to put an end to eight months of paralysed inactivity, utilising the only means she knew to find her way back to the passion with which she’d once greeted her work. If only she could muster up the courage to overcome a minor setback.

  She slammed home the boot lid and picked up her equipment. Each object found its natural position in her hands and under her arms. There wasn’t even a panic-filled moment of wondering how she’d managed to carry everything in the past. And the very fact that some behaviours did seem to be automatic, like riding a bicycle, buoyed her for an instant. She walked back over Fen Causeway and descended the slope towards Robinson Crusoe’s Island, telling herself that the past was dead, telling herself that she’d come here to bury it.

  For too long she had stood numbly in front of an easel, incapable of thinking of the healing propensities inherent to the simple act of creating. All these months, she had created nothing except the means of her own destruction, collecting half a dozen prescriptions for pills, cleaning and oiling her old shotgun, preparing her gas oven, making a rope from her scarves and all the time believing that the artistic force within her had died. But all that was ended, as were the seven weeks of growing dread as 13 November approached.

  She paused on the little bridge spanning the narrow stream that separated Robinson Crusoe’s Island from the rest of Sheep’s Green. Although it was daylight, the mist was heavy, and it lay against her field of vision like a bank of clouds. Through it, the rattling song of an adult male wren shot out from one of the trees above her, and the causeway traffic passed with the muted rise and fall of engines. A duck wak-wacked somewhere nearby on the river. A bicycle bell jingled from across the green.

  To her left, the boat repair sheds were still closed and shuttered. Ahead of her, ten iron steps climbed up to Crusoe’s Bridge and descended to Coe Fen on the east bank of the river. She saw that the bridge itself had been repainted, a fact she had not noticed before. Where once it had been green and orange and patchy with rust, now it was brown and cream, the cream a series of crisscrossing balusters that glistened luminescently through the mist. The bridge itself looked suspended over nothing. And everything round it was altered and hidden by the fog.

  In spite of her determination, she sighed. It was impossible. No light, no hope, and no inspiration in this bleak, cold place. Be damned to Whistler’s night studies of the Thames. To hell with what Turner could have made from this dawn. No one would ever believe she had come to paint this.

  Still, this was the day she had chosen. Events had dictated that she come to this island to draw. Draw she would. She plunged across the rest of the footbridge and pushed open the creaking, wrought iron gate, determined to ignore the chill that seemed to be inching its way through every organ of her body.

  Inside the gate, she felt the squish and ooze of mud sucking noisily against her plimsolls, and she shuddered. It was cold. But it was only the cold. And she picked her way into the copse created by alder, crack willow, and beech.

  Condensation dripped from the trees. Drops splatted with a sound like slow-bubbling porridge onto the sorrel tarpaulin of autumn leaves. A thick, fallen branch undulated across the ground before her, and just beyond it, a small clearing beneath a poplar offered a view. Sarah made for this. She leaned her easel and canvases against the tree, snapped open her camp stool, and propped her wooden case next to it. The sketch pad she clutched to her chest.

  Paint, draw, paint, sketch. She felt her heart thud. Her fingers seemed brittle. Her very nails ached. She despised her weakness.

  She forced her body onto the camp stool to face the river, and she stared at the bridge. She made an assessment of every detail, trying to see each as a line or an angle, a simple problem in composition which needed to be solved. Like a reflex response, her mind began to evaluate what her eyes took in. With their late autumn leaves tipped by beads of moisture that managed to catch and reflect what little light there was, three alder branches acted as a frame for the bridge. They formed diagonal lines that first stretched above the structure then descended in a perfect parallel to the stairs which led down to Coe Fen where through a swirling mass of fog the distant lights from Peterhouse glimmered. A duck and two swans were misty forms on the river which was itself so grey—a duplication of the air above it—that the birds floated as if suspended in space.

  Quick strokes, she thought, big bold impressions, use a smudge of charcoal to suggest greater depth. She made her first pass against the sketch pad, then a second, and a third before her fingers slipped, losing their grip on the charcoal which slid across the paper and into her lap.

  She stared at the mess she had made of the drawing. She ripped it from the pad and began a second time.

  As she drew, she felt her bowels begin to loosen, she felt nausea begin its process of gripping her throat. “Oh please,” she whispered, and glanced about, knowing she had no time to get home, knowing also that she couldn’t allow herself to be sick here and now. She looked down at her sketch, saw the inadequate, pedestrian lines, and crumpled it up.

  She began a third drawing, forcing all her concentration on keeping her right hand steady. Seeking to hold her panic
at bay, she tried to duplicate the angle of the alder branches. She tried to copy the crisscrossing of the bridge balusters. She tried to suggest the pattern of the foliage. The charcoal snapped in two.

  She pushed herself to her feet. It wasn’t supposed to be like this. The creative power was supposed to take over. Time and place were supposed to disappear. The desire itself was supposed to return. But it hadn’t. It was gone.

  You can, she thought fiercely, you can and you will. Nothing can stop you. No one stands in your way.

  She thrust the sketch pad under her arm, grabbed her camp stool, and struck out southward on the island until she came to a small spit of land. It was overgrown with nettles, but it provided a different view of the bridge. This was the spot.

  The ground was loamy, matted by leaves. Trees and bushes formed a web of vegetation behind which at a distance the stone bridge of Fen Causeway rose. Sarah snapped open the camp stool here. She dropped it to the ground. She took a step back and lost her footing on what seemed to be a branch that was hidden beneath a pile of leaves. Considering the location, she should have been more than prepared, but the sensation still unnerved her.

  “Damn it,” she said and kicked the object to one side. The leaves fell from it. Sarah felt her stomach heave. The object wasn’t a branch, but a human arm.

  2

  Mercifully, the arm was attached to a body. In his twenty-nine years with the Cambridge Constabulary, Superintendent Daniel Sheehan had never had a dismemberment occur upon his patch, and he didn’t want that dubious investigatory distinction now.

  Upon receiving the telephone call from the station house at twenty past seven, he’d come barrelling down from Arbury with lights flashing and siren sounding, grateful for an excuse to leave the breakfast table where the tenth straight day of grapefruit wedges, one boiled egg, and one thin slice of unbuttered toast provoked him into snarling at his teenaged son and daughter about their clothing and their hair, as if they were not both wearing school uniforms, as if their heads were not well-groomed and tidy. Stephen glanced at his mother, Linda did the same. And the three of them tucked into their own breakfasts with the martyred air of a family too long exposed to the unexpected mood-swings of the chronic dieter.

  Traffic had been locked at the Newnham Road round-about, and only by driving half on the pavement was Sheehan able to reach the bridge of Fen Causeway at something other than the hedgehog speed at which the rest of the cars were moving. He could envision the clogged mess which every southern artery into the city had probably become by now, and when he braked his car behind the constabulary’s scenes-of-crime van and heaved himself into the damp, cold air, he told the constable stationed on the bridge to radio the dispatcher for more men to help move traffic along. He hated rubberneckers and thrill seekers equally. Accidents and murders brought out the worst in people.

  Tucking his navy scarf more securely into his overcoat, Sheehan ducked under the yellow ribbon of the established police line. On the bridge, a half a dozen undergraduates leaned over the parapet, trying to get a look at the activity below. Sheehan growled and waved the constable over to deal with them. If the victim was a member of one of the colleges, he wasn’t about to let the word out any sooner than he had to. An uneasy peace had reigned between the local constabulary and the University since a cocked-up investigation at Emmanuel last term. He didn’t particularly want anything to disturb it.

  He crossed the footbridge to the island, where a female constable was hovering over a woman whose face and lips were the colour of unbleached linen. She was sitting on one of the bottom iron steps of Crusoe’s Bridge, one arm curved round her stomach and one fist bearing the weight of her head. She wore an old blue overcoat that looked as if it would dangle to her ankles, the front of it crusted with brown and yellow specks. Apparently, she’d been sick on herself.

  “She found the body?” Sheehan asked the constable, who nodded in reply. “Who’s made it so far?”

  “Everyone but Pleasance. Drake kept him at the lab.”

  Sheehan snorted. Just another little tiff in forensic, no doubt. He raised his chin sharply at the woman in the overcoat. “Get her a blanket. Keep her here.” He went back to the gate and entered the southern section of the island.

  Depending upon how one looked at it, the place was either a dream-come-true or a crime-scene nightmare. Evidence abounded, everything from disintegrating newspapers to partially filled and discarded plastic sacks. The whole area looked like a common dumping ground with at least a dozen good—and obviously different—footprints pressed into the soggy earth.

  “Hell,” Sheehan muttered.

  Wooden planks had been laid down by the scenes-of-crime team. They started at the gate and travelled south, disappearing into the fog. He picked his way along these, avoiding the regular splattering of water from the trees overhead. Fogdrops, his daughter Linda would have called them with that passion for linguistic accuracy which always surprised him into thinking that his real daughter had somehow been left behind at the hospital sixteen years ago and a pixy-faced poet left in her place.

  He paused by a clearing where two canvases and an easel leaned against a poplar and a wooden case gaped open, collecting a skin of condensation on a neat row of pastels and eight hand-lettered tubes of paint. He frowned at this, looking from the river to the bridge to the great puffs of fog rising like a gas from the fen. As the subject for a painting, it reminded him of that French stuff he’d seen at the Courtauld Institute years ago, dots and swirls and dashes of colour that you could only figure out if you stood forty feet away and squinted like the devil and thought about how things might look if you needed specs.

  Further along, the planks veered to the left, and he came upon his police photographer and the forensic biologist. They were bundled against the cold in overcoats and knitted caps, and they pranced about like two Russian dancers, hopping from foot to foot to keep the circulation going. The photographer looked as pale as he usually did prior to having to document a killing. The forensic biologist looked peeved. She hugged her arms to her chest, shifted from one foot to the other in a bobbling fashion, and glanced repeatedly and restlessly in the direction of the causeway as if in the belief that the killer lingered beyond them in the fog and only by plunging through it immediately could they hope to apprehend him.

  As Sheehan reached them and began to ask his customary question—“What d’we have this time?”—he saw the reason for the forensic biologist’s impatience. A tall figure was emerging from the mist beneath the crack willows, walking carefully with his eyes on the ground. In spite of the cold, his cashmere greatcoat was slung indifferently round his shoulders like a cape, and he wore no scarf to detract from the crisp, clean lines of his Italian suit. Drake, the head of Sheehan’s forensic department, one-half of a bickering duo of scientists that had been aggravating him for the last five months. He was indulging in his flair for costume this morning, Sheehan noted.

  “Anything?” he asked the scientist.

  Drake paused to light a cigarette. He pinched the match with his gloved fingers, and deposited it in a small jar which he took from his pocket. Sheehan refrained from comment. The bloody man never went anywhere unprepared.

  “We appear to be missing a weapon,” he said. “I should think we’re going to have to drag the river for a look.”

  Wonderful, Sheehan thought, and counted up the men and the hours it would take to complete the operation. He went to have a look at the body.

  “Female,” the biologist said. “Just a kid.”

  As Sheehan gazed down at the girl, he reflected upon the fact that there was none of the hush which one would expect to attend a death. Horns bellowed from the causeway; idling engines bawled; brakes squealed; voices called. Birds chirruped in the trees, and a dog yelped sharply in pain or play. Life was continuing, despite the proximity and the evidence of violence.

  That the girl’s death had been violent was unquestionable. Although much of her had been deliberately cover
ed with fallen leaves, enough of her body was exposed to allow Sheehan to see the worst. Someone had beaten in her face. The tie of her track jacket’s hood was wound round her neck. Whether she had died from head wounds or from strangulation would ultimately have to be determined by the pathologist, but one thing was clear: No one would be able to identify her from a simple glance at her face. It was battered.

  Sheehan squatted for a careful, closer look. She lay on her right side, her face turned into the earth and her long hair falling forward and coiling on the ground. Her arms were in front of her, wrists together but unbound. Her knees were bent.

  He gnawed thoughtfully at his lower lip, glanced at the river five feet away, looked back at the body. She was wearing a stained brown tracksuit and white athletic shoes with dirty laces. She looked trim. She looked fit. She looked like the political nightmare he had hoped she wouldn’t be. He lifted her arm to see if there was any insignia on her jacket. His breath puffed out of him in a sigh of despair when he saw that a shield surmounted by the words St. Stephen’s College had been sewn onto the material that covered her left breast.

  “God damn,” he muttered. He replaced her arm and nodded at the photographer. “Shoot her,” he said and moved away.

  He looked across Coe Fen. The fog seemed to be lifting, but it might have been the effect of growing daylight, a momentary illusion, or wishful thinking. Still, it didn’t matter if the fog was there or not, for Sheehan was Cambridge born and bred, and he knew what lay beyond that opaque veil of shifting mist. Peterhouse. Across the street, Pembroke. To Pembroke’s left, Corpus Christi. From there, to the north, the west, and the east sprang college after college. Surrounding them, servicing them, owing its very existence to the presence of the University was the city itself. And all of it—colleges, faculties, libraries, businesses, homes, and inhabitants—represented more than six hundred years of uneasy symbiosis.