Part 11 (2/2)

Dan Banbury had scanned in the photograph of Naomi Curtis, Jocelyn Roquesby and Joanne Kellerman drinking together, and section by section, expanded the background illuminated in the flash of the digital camera, a 3.5 megapixel by the look of it. There were plenty of cell phones offering that level of quality. The top left of the photograph showed the edge of a window. From its placement, he could tell that the pub was on a corner. The light suggested early evening. Through the window he could make out a swathe of green plastic, a canopy made of metal rods, rows of what appeared to be oranges and bananas: market stalls. Two small gold letters had been painted in reverse on the gla.s.s, E and X.

After that, it was simply a matter of running a search on all street markets in the central London area, and finding a corner pub with the letters E and X in its t.i.tle. Only one fit the bill: the Exmouth Arms, in Clerkenwell's Exmouth Market.

Banbury checked his watch and punched the air. The entire process had taken him less than fifteen minutes. He had a feeling they were finally getting somewhere.

All right, come on, you've had your hour. What is it you're looking for?' May shut the door behind him as he returned to the office.

'I'm no good at understanding psychology,' said Bryant. 'I've always left that to you. But it seems to me that the taking of human life involves shame and regret as well as arrogance and cruelty.'

'I wouldn't say that was always true. Serial killers usually fail to produce normal emotional responses. What are you thinking?'

'That part of him wants to be caught. My problem is Jazmina Sherwin, the odd girl out. She's younger, more overtly attractive, different in every way from the others. She doesn't fit the pattern, and yet she's linked to the others by a description of the man who followed her. It doesn't add up, John. Then there are the locations, all grouped together in a tight circle. He's anxious to be stopped, and is trying to expose himself.'

'Then why wouldn't he just turn himself in?'

'Something is driving him on to these acts of violence. No, violence is the wrong word, because I don't think he hates women. The attacks are almost gentle, as if he just wants them to fall asleep in his arms.'

'All right.' May seated himself on the corner of the desk, thinking. 'If he was very lonelya”if he felt that the birthmark on his face kept him from being attractive to the opposite s.e.xa”this might be his way of preserving a moment forever, of keeping women by his side in a place where he feels happy and comfortable.'

'Then why aren't all his victims like Jazmina? Look, do you remember when we were much younger, you tracked down a man who was attacking girls on Number Seventy-five busesa” 1968, I think it was. The first thing he said when you took him into custody was ”Why did you take so long to stop me?” I think this is something similar, and it makes me wonder if he's leaving me any more explicit clues.'

'You say leaving you clues. You don't think it's someone who knows you?'

'It has crossed what's left of my mind,' sighed Bryant.'If only my memory was sharper. I've another appointment with Mrs Mandeville first thing tomorrow morning. She hypnotised me the other day, you know.'

'Did it help to improve your memory?'

'I think so. When I woke up, I suddenly remembered who I'd lent my electric drill to in the summer of'86. It seems I accused the wrong person of stealing it. I should never have filled his garage with bees.' His mind changed track. 'You know there's one thing about all these pubs, don't you? We've been to them before, every single one of them.'

'Yes, but so have thousands of other Londoners. If you like public houses, you're bound to have tried a few on the list at some time in your life.'

'I daresay. But I've told you, I don't think this is just about the victims. It's about the locations. Give me a hand, would you?' Bryant wobbled onto the top of his chair and reached for a collection of tatty alb.u.ms on the uppermost shelf. He pa.s.sed them down to May, who caught some of the t.i.tles: Signs of the Times: A Guide to London Names, English Symbols, The Secret Language of Codes, Urban Semiotics.

'You don't honestly think these are going to help?' asked May.

'The others will be searching through employment records and contacting witnesses, tackling the prosaic tasks of criminal investigation,' Bryant reminded him, holding out a hand to descend. 'Leave me to potter in the past by myself; it's what I'm best at. I might surprise you yet.'

25.

RITE OF Pa.s.sAGE.

T.

he atmosphere at the PCU had changed from a state of indecision to one of purpose. Like it or not, Longbright knew that this was partly down to Jack Renfield. There was a general feeling that the newcomer's pragmatic approach to policing was just what the PCU might need to survive.

The detective sergeant was forced to consider the idea that her bosses' old-school methods were reaching the end of their natural life span. Renfield came from a world that dealt in quantifiable results. Under Bryant and May, the PCU was like an old-time publis.h.i.+ng house that nurtured talent and won out on aggregate, but its new accountability required it to operate on case-by-case wins. Longbright wondered if she was the only one to feel that something unique and precious was about to be lost.

She needed to be useful. There was no point in thinking about her pa.s.sing life, her unpaid bills, her empty fridge and even emptier bed. Whipping out a mother-of-pearl compact made for Alma Cogan in 1958, she applied a fresh layer of makeup, then repainted her eyes. Within seconds she began to feel calmer. Right, she thought, cracking her knuckles, witness statements, let's close the net on this son of a b.i.t.c.h.

'You missed the debrief.' Meera Mangeshkar was not good at hiding her feelings. Right now she had a face like a half-sucked lemon. 'Everybody else managed to get here.'

'I got a lift,' Bimsley explained. 'Someone kindly dropped me off.'

'From what I heard, you had trouble getting out of the car.'

'What do you care? I thought I didn't exist in your world. The only time you stop ignoring me is when you've got some-thing horrible to say. Stop the press, a woman found me appealing.' He glared at her.

'Are you going to see her again?'

'What am I, stupid? No, don't answer that, I think I know where you stand on that question.'

'You were supposed to be working, not picking up girls.' The room temperature dropped another eleven degrees.

If Bimsley was even dimly aware of the reason for Meera's annoyance, he might have displayed a glimmer of understanding about female nature, but he was not, and so could not. Instead he blinked and stared and frowned and fidgeted, be-fore his confusion was replaced with the warm memory of Izabella's perfumed embrace, at which point he smiled with a scrunch of his freckled nose, only to recoil in surprise when Meera stormed past him and slammed out of the room, making the same kind of noise that the Concorde managed when it pa.s.sed through the sound barrier.

On Friday morning it was decided to split-s.h.i.+ft the unit so that a team would be working around the clock, and Renfield seemed happy to be put in charge of the organisation.

After grabbing a nap on his couch, Bryant headed off for the second of his hypnosis sessions with Mrs Mandeville.

Everyone was searching for a lead on their common suspect. In the meantime, April and Janice Longbright ducked out for a working breakfast on the terrace of Camden Town's Roundhouse, the site of the giant railway turntable that had been renovated as a concert venue.

Longbright patted the pockets of her blazer. 'You haven't any gaspers on you, I suppose?'

'Why would anyone smoke these days?' asked April, studying the menu.

Actually, I don't. It's affectation. Gesturing has more of a point with a snout in your hand. You're right though, I shouldn't. I've been a little wound up lately.'

'You have your own style,' said April approvingly. 'Your shoes, your Ruth Ellis haircut, the weird colours of lipstick you find, the way you grind out a f.a.g-end in an ashtray when you're angry. You always manage to be so noticeable. I feel quite invisible beside you.'

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