‘I don’t smoke.’
‘Just do it.’
The mechanic lights up. Meanwhile, Ruiz picks squashed cigarette butts from the tin ashtray and begins crushing the grey ash into a powder.
‘You got a candle?’
The mechanic searches the drawers until he finds one. Lighting it, Ruiz drips wax into the centre of a saucer and pushes the base of the candle into the melted wax until it stands upright. Then he takes a coffee cup and rolls it sideways over the flame, turning the surface black with soot.
‘It’s an old trick,’ he explains, ‘taught to me by a guy called George Noonan, who talks to dead people. He’s a pathologist.’
Ruiz begins scraping soot from the mug into the growing pile of ash and gently mixing them together with the point of a pencil.
‘Now we need a brush. Something soft. Fine.’
Christine Wheeler had a small bag of make-up in the glove compartment of the car. Retrieving it, I tip the contents onto the desk- a lipstick, mascara, eyeliner and a polished steel compact holding blusher and a brush.
Ruiz picks up the brush gently as though it might crumble between his thumb and forefinger. ‘This should do. Bring the lantern.’
Returning to the Renault, he sits in the driver’s seat with the door propped open and the lantern on the opposite side of the window. Careful not to breathe too heavily, he gently begins ‘painting’ the mixture of soot and ash onto the inside of the glass.
Most of it falls from the brush and dusts his shoes, but just enough of it clings to the faint markings on the interior window. As if by magic, symbols begin to form and then turn into words.
HELP ME
Thunder crumples the air above us, rolling together continuously. Something rattles deep inside me. Christine Wheeler wrote a sign in lipstick and pressed it against the inside of her car window, hoping somebody would notice. Nobody did.
Arc lights balance on tripods at the centre of the garage, the square heads facing inwards creating a blaze of white that renders the eyes useless for the shadows beyond. Crime scene investigators are moving inside the brightness. Their white overalls seem to glow from within.
The car is being disassembled. Seats, carpets, windows, panels and lining are being removed, vacuumed, dusted, sifted, scraped and picked over like the carcass of a metal beast. Every sweet wrapper, fibre, piece of lint and smudged print will be photographed, sampled and logged.
Fingerprint brushes dance across the hard surfaces, leaving behind a layer of black or silver powder that is finer than Ruiz’s homemade version. Magnetic wands skim through the air, picking out details invisible to the human eye.
The head of the CSI team is a thickset Brummie who looks like a white jellybean in his overalls. He seems to be holding a master class for a group of trainees: talking about the ‘transient physical evidence’ and ‘maintaining the integrity of the crime scene’.
‘What exactly are we looking for, sir?’ a trainee asks.
‘Evidence, son, we’re looking for evidence.’
‘Evidence of what?’
‘The past.’ He smooths his latex gloves across his palms. ‘It might only be five days old but it’s still history.’
Outside the light is fading and the temperature is dropping. DI Veronica Cray is standing in the main doorway to the garage, an archway of blackened bricks beneath the railway viaduct. A train rumbles above her head.
She lights a cigarette and inserts the dead match in the book behind the others. It creates a thoughtful pause as she issues instructions to her second in command.
‘I want to know how many people have touched this car since it was found. I want every one of them fingerprinted and discounted.’
The sergeant has steel-rimmed glasses and a flat-top haircut. ‘What exactly are we investigating, boss?’
‘A suspicious death. The Wheeler house is also a crime scene. I want it sealed off and guarded. You might also want to find a decent curry house.’
‘Are you hungry, boss?’
‘Not me, sergeant, but you’re going to be here all night.’
Ruiz is sitting in his Merc with the door open and his eyes closed. I wonder if he finds it hard stepping back from a case like this, now that he’s retired. Surely old instincts must come into play, the desire to solve the crime and restore order. He once told me that the trick with investigating violent crimes was to focus on a suspect, not the victim. I’m the opposite. By knowing the victim I know the suspect.
A murderer isn’t always uniform in his actions. Circumstances and events will alter what he says and does. So will the victim. How did she react under pressure? What did she say?
Christine Wheeler doesn’t strike me as the sort of woman who was sexually provocative or likely to draw attention to herself through her appearance and mannerisms. She wore conservative clothes, rarely went out and tended to be self-effacing. Different women present different levels of vulnerability and risk. I need to know these things. By knowing Christine, I am a step closer to knowing whoever killed her.
DI Cray is beside me now, staring into the grease pit.
‘Tell me, Professor, do you always talk your way into police lockups and contaminate important evidence?’
‘No, DI.’
She blows smoke and sniffs twice, glancing across the forecourt to where Ruiz is dozing.
‘Who’s your dance partner?’
‘Vincent Ruiz.’
She blinks at me. ‘You’re shitting me.’
‘I shit you not.’
‘How in glory’s name do you know Vincent Ruiz?’
‘He once arrested me.’
‘I can see how that might be tempting.’
She hasn’t taken her eyes off Ruiz.
‘You couldn’t leave this alone.’
‘It wasn’t suicide.’
‘We both saw her jump.’
‘She didn’t do it willingly.’
‘I didn’t see anyone holding a gun to her head. I didn’t see a hand reach out and push her.’
‘A woman like Christine Wheeler doesn’t suddenly decide to take off her clothes and walk out the door holding a sign that says, “HELP ME”.’
The DI stifles a belch as though something I’ve said has disagreed with her. ‘OK. Let’s assume for a moment that you’re right. If Mrs Wheeler was being threatened, why didn’t she phone somebody or drive to the nearest police station?’
‘Perhaps she couldn’t.’
‘You think he was in the car with her?’
‘Not if she held up a sign.’
‘So he must have been listening.’
‘Yes.’
‘And I suppose he talked her to her death?’
I don’t answer. Ruiz has climbed out of the Merc and is stretching, rolling his shoulders in lazy circles. He wanders over. The two of them size each other up like roosters in a henhouse.
‘DI Cray, this is Vincent Ruiz.’
‘I’ve heard a lot about you,’ she says, shaking his hand.
‘Don’t believe half of it.’
‘I don’t.’
He glances at her feet. ‘Are they men’s shoes?’
‘Yep. You got a problem with that?’
‘Not at all. What size you take?’
‘Why?’
‘I might be your size.’
‘You’re not big enough.’
‘Are we talking shoes or something else?’
She smiles. ‘Aren’t you just as cute as French knickers.’
Then she turns to me. ‘I want you in my office first thing in the morning.’
‘I’ve already given a statement.’
‘That’s just the beginning. You’re going to help me understand this because right now it’s beyond my fucking comprehension.’
16
‘What happened to you?’
‘I knelt down in the mud.’
‘Oh.’
Darcy is in the doorway, regarding me with a brief, disarming concern. I take off my shoes and leave them on the back step. Sugar and cinnamon scent the air. Emma is standing on a chair in the kitchen with a wooden spoon in her hand and a chocolate goatee.
‘Don’t play in the mud, Daddy. You’ll get dirty,’ she says seriously, before announcing, ‘I’m making biscuits.’