That's the price, take it or leave it. Lot of money involved, it's got to be worth it,' Stick said calmly.
I shook my head. 'Forget it,' I replied. 'You told me yourself, you don't even know the woman. So anything you can tell me has got to be pretty chancy.'
He scowled. He'd forgotten the pit his caution had dug for him. 'Maybe I was just being careful,' he argued.
'Yeah, and maybe you're blagging me now,' I retorted. 'Look, I've had an expensive day. I can give you a hundred now, without consulting my client. Anything more and I have to take advice, and I don't think I'll get the go-ahead to pay five hundred pounds to someone who didn't even know Moira. You can take it or leave it, Stick. A definite oner now, or a probable zero later.'
He leaned back in his chair and gave a low chuckle. 'You got a business card, lady?' he asked.
Puzzled, I nodded and handed one over. He studied it, then tucked it in his pocket. 'You one tough lady, Kate Brannigan. A man never knows when he might need a private eye. OK, let me see the colour of your money.'
I counted out five twenties on the desk top, but kept my hand on the cash. 'Moira's address?' I demanded.
'She left the streets about six months ago. She checked in at the Seagull Project. It's a laundry.'
'A what?' I had a bizarre vision of Moira loading tablecloths into washing machines.
Stick grinned. 'A place where they clean you up. A drug project.'
That sounded more like it. 'Where is this Seagull Project?' I asked.
'It's on one of those side streets behind the photography museum. I can't remember the name of it, but it's the third or fourth on the left as you go up the hill. A couple of terraced houses knocked together.'
I got to my feet. 'Thanks, Stick.'
'No problem. You find Moira and she gets her bread, you tell her she owes Stick the other four hundred pounds for information received.'
9
I parked the car in a pay and display behind the National Film and Television Museum. I walked round to the museum foyer and found a telephone booth which miraculously contained a phone book. I looked up the Seagull Project, and copied its address and number into my notebook. I checked my watch and decided I deserved a coffee, so I walked upstairs to the coffee bar and settled myself down in a window seat looking out over the city centre.
The pale spring sun had broken through the grey clouds, and the old Victorian buildings looked positively romantic. Built on the sweatshops of the wool industry, the once prosperous city had fought its urban decay and depression by jumping on the tourism bandwagon that's turning England into one gigantic theme park. Now that the nearby Yorkshire countryside had been translated into The Bronte Country, Bradford had seized its opportunity with both hands. Even the biscuits in the tearooms and snack bars are called Bronte. But it was the Asian community who'd really revitalised the city's slum areas, producing oases of industrial and wholesaling prosperity. I'd been around a few of those in the past few weeks, hot on the trail of Billy Smart's personal mobile circus.
I tore my eyes away from the view and looked up the Seagull Project's address in my street directory. Stick's information was sound so far. The street was third on the left, off the hill that climbed up the side of the Alhambra Theatre. I finished my coffee and set out on foot.
Five minutes later, I was outside two three-storey stone-built terraced houses that had been knocked together with a board on the front proclaiming 'Seagull Project'. I stood around uncertainly for a few minutes, not at all sure what was the best way to play it. The one thing I was sure about was that introducing myself and explaining my mission was the certain route to failure. Bitter experience has taught me that voluntary organisations make the Trappists look like blabbermouths.
I eventually settled on my course of action. More lies. If my childhood Sunday School teacher ever finds out about me, she'll put me straight to the top of the list for the burning fire. I walked up the path and turned the door handle. I walked into a clean, airy hallway painted white with grey carpeting. A large sign pointing to the left read 'All visitors please report to reception.'
For once, I did as I was told and walked into a small, tidy office. Behind a wide desk, a mop of carrot red hair was bent over a pile of papers so high it almost hid its owner from view. I felt a pang of sympathy. I knew just how she felt. My own hatred of paperwork is so strong that I ignore it till Shelley practically locks me in my office with dire threats of what she'll do to me if I dare to emerge before it's finished. It's just the same at home; if I didn't force myself to sit down once a month and pay all the bills, the bailiffs would be a permanent fixture on the doorstep.
As the reception door closed behind me, a pale, freckled face looked up. 'Hi, can I help you?' she asked in a tired voice.
'I don't know, but I hope so,' I replied with my most ingratiating smile. 'I was wondering if you needed any volunteer workers here right now?'
The tiredness evaporated from her face and she grinned. 'Music to my ears!' she exclaimed. 'Those are the first good words I've heard today. Sit down, make yourself comfortable.' She gestured expansively at the two worn office chairs on my side of the desk. As I settled on the less dilapidated one, she introduced herself. 'I'm Jude. I'm one of the project's three full-time employees. We're always desperate for volunteers and fund-raisers.' She opened a drawer and took out a long form. 'Do you mind if I fill this out while we talk? I know I'm being quick off the mark, but it saves time in the long run if you do decide to help us.'
I shook my head. 'No problem. My name's Kate Barclay.' I knew Richard wouldn't mind me borrowing his name. After all, he knew I'd never be making the loan permanent.
'And where do you live, Kate?' Jude asked, scribbling furiously. I plucked a number out of the air and attached it to Leeds Road, which I knew was long enough to reduce the chances of her knowing a near neighbour.
We went through the formalities quickly. I told her I'd been working abroad as a teacher and that I'd just moved to Bradford with my boyfriend. I explained I'd heard about the project from the city council's voluntary services unit and had come along to offer my services. All the while, Jude nodded and wrote on her form. At the end of my recital, she looked up and said, 'Have you any experience with this kind of work?'
'Yes. That's why I came to you. We've been living in Antwerp for the last three years and I did some work with a drug rehabilitation charity there,' I lied fluently.
'Right,' said Jude. 'I'd no idea they ran something like that in Antwerp.'
I smiled sweetly and refrained from saying that that's why I'd chosen the Belgian city. No one in Britain has ever been to Antwerp, though I don't know why. It's more attractive, interesting and friendly than almost any other city I've ever been to. It's where Bill's parents came from originally and he still has a tribe of aunts, uncles and cousins there that he visits regularly. I've been over with him a couple of times, and fell in love with it at first sight. I always use Antwerp now for obscure cover stories. No one ever questions it. Jude was no exception. She swallowed my story, made a note on her form then got to her feet.
'What I'll do is show you round now, to let you see exactly what we've got going here. Then I suggest you come to our weekly collective meeting tomorrow evening and see if you feel you'll fit in with us, and we feel we'll fit in with you,' she added, moving towards the door.
My heart sank. The thought of enduring a meeting of the Seagull Project's collective filled me with gloom. I hate the endless circular debate of collectives. I like decisions to be made logically, with the pros and cons neatly laid out. I know all the theory about how consensus is supposed to make everyone feel they have a stake in the decision-making. But in my experience, it usually ends up with everyone feeling they've been hard done by. I couldn't imagine any reason why the Seagull Project would be any different.