"Dave?"
"Ed. You're going to want to see this yourself."
"Where are you?"
Dave gave me an address in Ringsend, and I said I'd see him there.
"There's one other thing, Martha," I said. "Tyrrellscourt. I assume that's some Anglo family from the eighteenth century or before. Is it just a coincidence that F.X. has the same surname?"
"And this would rank in priority where?" Martha asked.
"Low, I guess. But it would be nice to know."
"I'll see what I can dig up, Ed."
I thanked Martha O'Connor for the dinner, and she thanked me for the company. Part of me regretted leaving her alone for the evening, but it was overwhelmed by the part that was relieved I didn't have to stay; I suspect she felt the same way: when I left, she was clutching a box set of Barbara Stanwyck movies. Loneliness is sometimes easier solved alone than in company, and especially on Christmas Day.
TWENTY
I told Martha O'Connor I needed to see Dave Donnelly urgently, but I didn't want to see him yet; I was haunted by the spectral memory of Vincent Tyrrell on the altar that morning, afraid he would die before the light I was searching for would come. It would have been quicker to stop off in Ringsend before heading out to Bayview, but at this stage in the case, in any case, I needed the time that driving brought, the sense that as I watched the dark road, the case was smoldering at the back of my mind: when I reached my destination, with luck, another spark would be lit.
On the coast road into Seafield, I reached for the radio, and came in on a Bothy Band tune as it was starting, "Martin Wynne's/The Longford Tinker," from the first album. I'd never been much for trad growing up in Dublin, seeing it as the preserve of beardy blokes in jumpers and the women who looked like them, but a Donegal barman at Mother McGillicuddy's gave me an education that showed me the error of my ways. (He'd got the job because he used to come in every Monday night, one of the terminal cases, and demand we play "Coinleach Ghlas An Fhomhair," a beautiful, melancholic song from Clannad's second album, before they turned into a kind of musical backdrop to aromatherapy; he'd sit and drink and pretend he wasn't crying until the owner took pity on him and offered him a job on condition he didn't cry behind the bar. He was still desperately homesick, and left at the first opportunity, but not before he had he taught us all a thing or two about Irish music.)
The Bothy Band played like a runaway horse you'd just about clung on to; the delirium of pipes and fiddle on "The Longford Tinker" was euphoric and tortured, swaggering and mournful all at once; it felt like the sound track to the case, where the exhilaration of progress told an increasingly tragic tale; like any case, it was absorbing and relentless; by the end of the tune, I was thirty kilometers over the limit and had to brake hard just to get my bearings.
The church car park was locked, so I parked up near the new houses on the other side and hopped over the hedge into the church grounds. I don't know what I expected Father Vincent Tyrrell to be doing on Christmas night. At best I thought he'd be drunk on Manzanilla and full of bile. But there he was, alive and possessed with energy, darting around his table, blue eyes flashing. The table was covered with a chart made out in different colored inks. At the top was the legend:
Leopardstown Festival-
St. Stephen's Day, December 26th
Below, there were seven columns, one for each race, each with a title and a time:
FIRST RACE: 12:25-Maiden Hurdle for Five years old and upward
SECOND RACE: 12:55-Maiden Hurdle for Four years old only
THIRD RACE: 1:30-Juvenile Hurdle for Three years old only
FOURTH RACE: 2:00-Handicap Hurdle for Four years old and upward
FIFTH RACE: 2:35-Novice Steeplechase for Four years old
SIXTH RACE: 3:10-Handicap Steeplechase for Four years old and upward
SEVENTH RACE: 3:40-Flat Race for Four-year-old colts and geldings only
Each column had a list of the runners and riders drawn up like a race card, with owner, trainer and form recorded; even the jockeys' silks had been drawn in a variety of inks. Tyrrell had a series of colored pencils with which he was making what I assumed were preliminary selections; he'd compare this with a form book he had compiled himself, a black hardback journal filled with figures and swollen with clippings from newspapers and racing journals. It was the first time I'd really understood what an exile he felt himself to be: this was more than a hobby or a passion, this was the liturgy of a lifetime calling, a vocation, as Regina had seen it in F. X. Tyrrell. F.X. had been chosen, but Vincent, the younger, had felt the call too.
"Any tips for tomorrow?" I said.
"The big trainers have good selections running," Tyrrell said coldly, like a cartoon Englishman talking to a foreigner. "Noel Meade, Dessie Hughes, Eoin Griffin."
"F. X. Tyrrell."
"Indeed. And I think the worst we'll get is sleet, so the form book will be a reliable guide," he said, caressing the black-bound volume like it was holy writ.
"Did you ever…I wonder, when you were back in Tyrrellscourt in the nineties, did you ever get the urge to train yourself? Did you get out among the horses? Watch the morning work? Or did F.X. not want you interfering?"
Vincent Tyrrell stared hard at me through icy blue eyes and I had to stand firm not to be reduced to a shivering ten-year-old in line for a thrashing.
"It seems to me, Edward Loy, that since I hired you, I should be able to fire you. You've been paid more than generously, and I don't want any of the money back. I think it would be best for all concerned if you'd kindly just fuck off."
I had often wondered if the word fuck would ever acquire force again; Father Vincent Tyrrell had just imbued it with some. Not that I was going to let him know that.
"But I've come to report," I said. "You're my client, yet you don't seem remotely interested in how the case is going. You had affairs to set in order, and the main one was Patrick Hutton. Well, the good news is, I think I've found him."
Vincent Tyrrell almost smiled. That was usual with him, the almost: his smile always looked as much like it was congratulating himself on his superior intelligence or his steely detachment from the little people or his conviction that whatever you were going to say, it couldn't possibly surprise him, as it did like a smile. Once again, I wanted to wipe that smile off his face.
"He was on a dump near Roundwood, and I had identified him to my satisfaction, and it was only a matter of time before the Guards ID'd him too. At least, that was what I thought. But of course, I turned out to be completely wrong: that wasn't Patrick Hutton at all. It was someone called Terence Folan, who was a jockey at Tyrrellscourt, too; indeed he took over when Hutton was sacked by your brother. He was at St. Jude's as welclass="underline" who knows, perhaps you picked him out for F.X. I'm not really sure how that side of it was handled, but it must have been very difficult to turn a blind eye. Patrick Hutton, alive. Have you known all along?"
"She said-" he started to say, and then stopped. His eyes flickered across the table, and my mind went back to the first time I saw it, with the remnants of three breakfast plates. One of them had had two cigarette butts stubbed out in bacon rind. I flashed on Miranda Hart in my kitchen this morning, stubbing her cigarette out in her half-eaten breakfast, and in that instant, I knew she had been the other breakfast guest, along with Leo Halligan. Her elaborate fear of Vincent Tyrrell must have been, in part at least, a charade.
"She said what? That Hutton was dead? Or gone? That it would be safe? You knew people were being slain. Two men. Your brother's ex-wife? Did it not matter to you? What did Miranda Hart tell you?"