`Take it easy, son,' Rebus said. He produced his ID. `I'm on your side.' The less cagey officer, the passenger, took the ID from Rebus, examined it, then handed it back.
`You're a long way off your, patch, sir.'
`You don't have to tell me that,' said Rebus. `What's your name, son?'
The constable was wary now. `Bennett, sir. Joey Bennett. I mean, Joseph Bennett'
'All right, Joey. Would you like to do me a favour?' The constable nodded. `Do you know the Prince Royal Hotel?'
`Yes, sir.' Bennett began to point with his left hand 'It's about fifty yards—'
`All right,' Rebus interrupted, `Just show me, will you?'
The young man said nothing. `Will you do that, Constable Bennett?'
`Yes, sir.'
Rebus nodded. Yes, he could handle London. He could take it on and win. `Right,' he said, moving off towards the Prince Royal. `Oh,' he said, turning back and taking in both men with his glance, `and bring my bags, will you?' Rebus had his back to them again, but he could almost hear the sound of two jaws dropping open. `Or,' he called back, `shall I just inform . Chief Inspector Laine that two of his officers harassed me on my first night as his guest in this fine city?'
Rebus kept on walking, hearing the two officers pick up his luggage and hurry after him. They were arguing as to whether or not they should leave the patrol car unlocked. He was smiling, despite everything. A small victory, a bit of a cheat, but what the hell. This was London, after all. This was Shaftesbury Avenue. And that was showbiz.
Home at last, she had a good wash, and after that she felt a little better. She had brought in a black bin-liner from the boot of her car. It contained the clothes she had been wearing, cheap flimsy things. Tomorrow evening she would tidy the back garden and light a bonfire.
She wasn't crying any more. She had calmed down. She always calmed down afterwards. From a polythene shopping bag she removed another polythene bag, from which she removed the bloodied knife. The kitchen sink was full of boiling, soapy water. The polythene bags went into the bin-liner with the clothes, the knife went into the sink. She washed it carefully, emptying and refilling the washing bowl, all the time humming to herself. It wasn't a recognisable song, nor even really a tune. But it calmed her, it soothed her, the way her mother's hummed lullabies always had.
There, all done. It was hard work, and she was pleased to be finished with it. Concentration was the key. A lapse in concentration, and you could make a slip, then fail to spot that slip. She rinsed the sink three times, sluicing away every last speckle of blood, and left the knife to dry on the draining-board. Then she walked out into the hallway and paused at one of the doors while she found the key.
This was her secret room, her picture gallery. Inside, one wall was all but covered by oil and watercolour paintings. Three of these paintings were damaged beyond repair. A pity, since all three had been favourites. Her favourite now was a small countryside stream. Simple, pale colours and a naive style. The stream was in the foreground and beside it sat, a man and a boy, or it could have been a man and a girl. It was hard to tell, that was the problem with the naive style. It was not as though she could even ask the artist, for the artist had been dead for years.
She tried not to look at the other wall, the wall directly opposite. It was a horrid wall. She didn't like what she could see there from the corner of one eye. She decided that what she liked about her favourite painting was its size. It was about ten inches by eight, excluding the rather Baroque gilt frame (which did not suit it at all her mother had never had much taste in frames). These petite dimensions, added to the washed colours, gave the whole a subtlety and a lack of vision, a humility, a gentleness, which pleased her. Of course, it depicted no great truth, this painting. In fact, it was a monstrous lie, the absolute opposite of the facts. There had been no stream, no touching scene of father and child. There had been, only horror. That was why Velazquez was her favourite painter: shadowplay, rich shades of black, skulls and suspicion . . . the dark, heart exposed.
`The dark heart.' She nodded to herself. She had seen things, felt things, which few were ever privileged to witness. This was her life. This was her existence. And the painting began to mock her, the stream turning into a cruel turquoise grin.
Calmly, humming to herself again she picked up a pair of scissors from a nearby chair and began to slash at the painting with regular vertical strokes, then horizontal strokes, then vertical again, tearing and tearing its heart out until the scene disappeared forever.
Underground
`And this,' said George Flight, `is where the Wolfman was born.'
Rebus looked. It was a depressing location for a birth. A cobblestoned alley, a cul-de-sac, the buildings three storeys high, every window either boarded up or barred and grilled. The black bags of rubbish looked to have been languishing by the side of the road for weeks. A few had been impaled on the steel spiked fencing in front of the shut-up windows, and these bags leaked their rank contents the way a cracked sewage pipe would.
`Nice,' he said.
`The buildings are mainly disused. Local bands use the basement of one of them as a practice room, and make quite a racket while they're about it.' Flight pointed to a barred and grilled window. `And I think that's a clothing manufacturer or distributor. Anyway, he hasn't been back since we started taking an interest in the street.'
`Oh?' Rebus sounded interested, but Flight shook his head.
`Nothing suspicious in that, believe me. These guys use slave labour, Bangladeshis, mostly illegal immigrants. The last thing they want is policemen sniffing around. They'll move the machines and set up again somewhere else.'
Rebus nodded. He was looking around the cul-de-sac, trying to remember, from the photographs he had been sent, just where the body had been found.
`It was there.' Flight was pointing to a gate in the iron railings. Ah yes, Rebus remembered now. Not at street level, but down some stone steps leading to a basement. The victim had been found at the bottom of the steps, same modus operandi as last night, down to the bite marks on the stomach. Rebus opened his briefcase and brought out the manila folder, opening it at the sheet he needed.
`Maria Watkiss, age thirty-eight. Occupation: prostitute. Body found on Tuesday 16th January by council workmen. Estimated that victim had been murdered two to three days prior to being discovered. Rudimentary attempt had been made to conceal body.'
Flight nodded towards one of the impaled bin-liners. `He emptied a bag of rubbish out over her. It pretty well covered the body. The rats alerted the workmen.'
`Rats?'
`Dozens of them, from all accounts. They'd had a bloody good feed, had those rats.'
Rebus was standing at the top of the steps. `We reckon,' said Flight, `the Wolfman must have paid her for a knee trembler and, brought her down here. Or maybe she brought him. She worked out of a pub on Old Street. It's a five minute walk. We interviewed the regulars, but nobody saw her leave with anyone.'
`Maybe he was in a car?'
`It's more than possible. Judging by the physical distance between the murder sites, he must' be pretty mobile.'