He had been walking for almost thirty minutes when he heard the flies.
Ahead of him, a huge slab of rock rose up from the bank, its end almost tapering to a point. He climbed it, using its ridges and alcoves for footholds and handholds, until he reached the plateau. To his right was the river, to his left a space in the trees through which the buzzing sounded louder. He walked through the gap, over which the trees hung in an arch like the entry into a cathedral, until he reached a small clearing. The sight that met him made him stop short and caused his food to erupt from his gut in a rush.
The girls hung from an oak, an old, mature tree with a thick, gnarled trunk and heavy extended branches like splayed fingers. They turned slowly, black against the sun, their bare feet pointing at the ground, their hands loose by their sides, their heads lolling. A fury of flies surrounded them, excited by the stench of decay. As he moved toward them, he could make out the color of their hair, the twigs and leaves caught in the strands, the yellowing of their teeth, the eruptions on their skin, their mutilated bellies. Some were naked, while tattered dresses still clung to the others. They pirouetted in midair, like the ghosts of five dancers no longer restricted by the pull of gravity. A heavy, rough rope around the neck of each anchored the girls to the branches above.
There were only five. When the bodies were taken down and identified, Judith Mundy's was not among them. And when she didn't appear, when no trace was ever found of her, it was decided that whoever was responsible for the deaths of the five others had probably had nothing to do with the disappearance of the Mundy girl. It would be more than thirty years before that piece of reasoning was proved wrong.
My grandfather told the police about the man in the bar and what he had said. The details were taken down and it was found that a man roughly fitting that description had been seen in Monson about the time of Judith Mundy's disappearance. There were similar descriptions of a fellow in Skowhegan, although folks differed about his height, or the color of his eyes, or the cut of his hair. This anonymous man was a suspect, for a time, until something broke in the case.
Ruth Dickinson's clothes, soiled with blood and grime, were found in a shed in Corinna owned by the family of Quintin Fletcher. Fletcher was twenty-eight and somewhat retarded. He made a little money by selling handicrafts he created from wood picked up in the forest, traveling around the state by Greyhound bus with his case of wooden dolls, toy trucks and candlesticks. Ruth Dickinson had complained to his family and, later, to the police, that Fletcher had followed her on occasion, leering and making lewd suggestions. After he tried to touch her breast at a county fair the police told his family that they would have him put away if he approached the Dickinson girl again. Fletcher's name came up in the course of the investigation into the girls' deaths. He was questioned, the house searched, and the discovery made. Fletcher started crying, claiming that he didn't know where the clothing came from, that he hadn't hurt anybody. He was remanded for trial and placed in a secure unit in Maine State Prison, for fear that someone might try to get to him if he was kept locally. He might still have been there now, making toys and nautical gifts for the store out on U.S.1 that sells prisoners' crafts, but for the fact that a trusty, who was related distantly to Judy Giffen, attacked Fletcher when he was undergoing a checkup in the prison infirmary and stabbed him three times in the neck and chest with a scalpel. Fletcher died twenty-four hours later, two days before his case was due to go to trial.
And there it lay, for most people at least: the killings ended with Fletcher's capture and subsequent death. But my grandfather couldn't forget the man in the bar, and the glimmer in his eyes, and the reference to the Elliotsville Road. For months afterward, he countered hostility and the desire to mourn and forget with quiet persistence and sensitivity. And what he got was a name, which folks had heard but couldn't quite remember how, and sightings of the man from the bar in each town where a girl had been lost. He mounted a campaign of sorts, speaking to any newspaper or radio show that would listen, putting across his view that the man who had killed the five girls and used them to decorate a tree was still at large. He even convinced some people, for a time, until the family of Quintin Fletcher weighed in behind him and folks took a turn against the whole affair, even his old friend Sam Raines.
In the end, the hostility and indifference became too much for him. Under some pressure, my grandfather left the force and took up construction and then woodworking to support his family, carving lamps and chairs and tables and selling them through the H.O.M.E. service for cottage industries run by the Franciscan nuns in Orland. He carved each piece of work with the same care and sensitivity he had used to question the families of the girls who died. He only spoke of the affair once thereafter, that night in front of the fire with the smell of the wood on him and the dog sleeping at his feet. The discovery he had made on that warm day had blighted his life. It haunted him in his sleep, the possibility that the man who had killed those girls had somehow escaped justice.
After he told me the tale, I knew that on those occasions when I found him sitting on the porch, his pipe cold between his lips, his eyes fixed somewhere beyond the sunset, he was thinking about what had taken place decades before. When he pushed away food almost untouched, after reading in the papers about some young girl who had strayed from home and not yet been found, he was back on the Elliotsville Road, his feet wet in his boots and the ghosts of dead girls whispering in his ear.
And the name that he found all those years before had, by then, become a kind of talisman in towns in the north, although no one could figure out how that might have happened. It was used to scare bad children who wouldn't do what they were told, who wouldn't go to sleep quietly or who headed off into the woods with their friends without telling anyone where they were going. It was a name spoken at night, before the light was switched off and the hair tousled by a familiar hand, the soft scent of a mother's perfume lingering after a final good night kiss: "Be good now and go to sleep. And no more trips into the forest, else Caleb will get you."
I can see my grandfather poking at the logs in the fire, letting them settle before he adds another, the sparks flying up the chimney like sprites, the melting snow sizzling in the flames.
"Caleb Kyle, Caleb Kyle," he intones, repeating the words of the children's rhyme, the fire casting shadows on his face. "If you see him, run a mile."
And the snow hisses, and the wood cracks, and the dog whimpers softly in his sleep.
CHAPTER FOURTEEN
St. Martha's stood on its own grounds, surrounded by a stone wall fifteen feet in height and guarded by wrought-iron gates from which black paint bubbled and flaked in preparation for a slow, fluttering fall to the earth and snow below. The ornamental pond was filled with leaves and trash, the lawn was overgrown and the trees had not been pruned for so long that the branches of some intertwined with those of their neighbors, creating a woven canopy beneath which the grass had probably died. The building itself was grimly institutionaclass="underline" four floors of gray stone with a gabled roof beneath which a carved cross betrayed its religious origins.
I drove to the main entrance and parked in a space reserved for staff, then walked up the granite steps and into the home itself. To one side stood the security guard's booth where the old woman had cold-cocked Judd before racing off to her death. Straight ahead was a reception desk where a female attendant in a white coat was busy rearranging some papers. Behind her, a door opened into an office lined with books and files. The attendant was a plain-faced woman with white, doughy cheeks and dark eye shadow that made her look like a Mardi Gras skeleton. She had no name tag on her lapel; close up, her coat was stained at the breast and white threads hung like cobwebs from the fraying collar. Willeford had been right: the place smelled of overboiled vegetables and human waste, unsuccessfully masked by disinfectant. All things considered, Emily Watts might have done the smart thing by making a break for the woods.