The Cuckoo's Calling (5 page)

STRIKE HAD SPENT THE EARLY
afternoon at the University of London Union building, where, by dint of walking determinedly past reception with a slight scowl on his face, he had gained the showers without being challenged or asked for his student card. He had then eaten a stale ham roll and a bar of chocolate in the café. After that he had wandered, blank-eyed in his tiredness, smoking between the cheap shops he visited to buy, with Bristow’s cash, the few necessities he needed now that bed and board were gone. Early evening found him holed up in an Italian restaurant, several large boxes propped up at the back, beside the bar, and spinning out his beer until he had half forgotten why he was killing time.

It was nearly eight before he returned to the office. This was the hour when he found London most lovable; the working day over, her pub windows were warm and jewel-like, her streets thrummed with life, and the indefatigable permanence of her aged buildings, softened by the street lights, became strangely reassuring. We have seen plenty like you, they seemed to murmur soothingly, as he limped along Oxford Street carrying a boxed-up camp bed. Seven and a half million hearts were beating in close proximity in this heaving old city, and many, after all, would be aching far worse than his. Walking wearily past closing shops, while the heavens turned indigo above him, Strike found solace in vastness and anonymity.

It was some feat to force the camp bed up the metal stairwell to the second floor, and by the time he reached the entrance bearing his name the pain in the end of his right leg was excruciating. He leaned for a moment, bearing all his weight on his left foot, panting against the glass door, watching it mist.

“You fat cunt,” he said aloud. “You knackered old dinosaur.”

Wiping the sweat off his forehead, he unlocked the door, and heaved his various purchases over the threshold. In the inner office he pushed his desk aside and set up the bed, unrolled the sleeping bag, and filled his cheap kettle at the sink outside the glass door.

His dinner was still in a Pot Noodle, which he had chosen because it reminded him of the fare he used to carry in his ration pack: some deep-rooted association between quickly heated and rehydrated food and makeshift dwelling places had made him reach automatically for the thing. When the kettle had boiled, he added the water to the tub, and ate the rehydrated pasta with a plastic fork he had taken from the ULU café, sitting in his office chair, looking down into the almost deserted street, the traffic rumbling past in the twilight at the end of the road, and listening to the determined thud of a bass from two floors below, in the 12 Bar Café.

He had slept in worse places. There had been the stone floor of a multistory car park in Angola, and the bombed-out metal factory where they had erected tents, and woken coughing up black soot in the mornings; and, worst of all, the dank dormitory of the commune in Norfolk to which his mother had dragged him and one of his half-sisters when they were eight and six respectively. He remembered the comfortless ease of hospital beds in which he had lain for months, and various squats (also with his mother), and the freezing woods in which he had camped on army exercises. However basic and uninviting the camp bed looked lying under the one naked light bulb, it was luxurious compared with all of them.

The act of shopping for what he needed, and of setting up the bare necessities for himself, had lulled Strike back into the familiar soldierly state of doing what needed to be done, without question or complaint. He disposed of the Pot Noodle tub, turned on the lamp and sat himself down at the desk where Robin had spent most of the day.

As he assembled the raw components of a new file—the hardback folder, the blank paper and an acro clip; the notebook in which he had recorded Bristow’s interview; the pamphlet from the Tottenham; Bristow’s card—he noticed the new tidiness of the drawers, the lack of dust on the computer monitor, the absence of empty cups and debris, and a faint smell of Pledge. Mildly intrigued, he opened the petty cash tin, and saw there, in Robin’s neat, rounded writing, the note that he owed her forty-two pence for chocolate biscuits. Strike pulled forty of the pounds Bristow had given him from his wallet and deposited them in the tin; then, as an afterthought, counted out forty-two pence in coins and laid it on top.

Next, with one of the pens Robin had assembled neatly in the top drawer, Strike began to write, fluently and rapidly, beginning with the date. The notes of Bristow’s interview he tore out and attached separately to the file; the actions he had taken thus far, including calls to Anstis and to Wardle, were noted, their numbers preserved (but the details of his other friend, the provider of useful names and addresses, were not put on file).

Finally Strike gave his new case a serial number, which he wrote, along with the legend
Sudden Death, Lula Landry,
on the spine, before stowing the file in its place at the far right of the shelf.

Now, at last, he opened the envelope which, according to Bristow, contained those vital clues that police had missed. The lawyer’s handwriting, neat and fluid, sloped backwards in densely written lines. As Bristow had promised, the contents dealt mostly with the actions of a man whom he called “the Runner.”

The Runner was a tall black man, whose face was concealed by a scarf and who appeared on the footage of a camera on a late-night bus which ran from Islington towards the West End. He had boarded this bus around fifty minutes before Lula Landry died. He was next seen on CCTV footage taken in Mayfair, walking in the direction of Landry’s house, at 1:39 a.m. He had paused on camera and appeared to consult a piece of paper (
poss an address or directions?
Bristow had added helpfully in his notes) before walking out of sight.

Footage taken from the same CCTV camera shortly after showed the Runner sprinting back past the camera at 2:12 and out of sight.
Second black man also running—poss lookout? Disturbed in car theft? Car alarm went off around the corner at this time,
Bristow had written.

Finally there was CCTV footage of
a black man closely resembling the Runner
walking along a road close to Gray’s Inn Square, several miles away, later in the morning of Landry’s death.
Face still concealed,
Bristow had written.

Strike paused to rub his eyes, wincing because he had forgotten that one of them was bruised. He was now in that light-headed, twitchy state that signified true exhaustion. With a long, grunting sigh he considered Bristow’s notes, with one hairy fist holding a pen ready to make his own annotations.

Bristow might interpret the law with dispassion and objectivity in the office that had provided him with his smart engraved business card, but the contents of this envelope merely confirmed Strike’s view that his client’s personal life was dominated by an unjustifiable obsession. Whatever the origin of Bristow’s preoccupation with the Runner—whether because he nursed a secret fear of that urban bogeyman, the criminal black male, or for some other, deeper, more personal reason—it was unthinkable that the police had not investigated the Runner, and his (possibly lookout, possibly car thief) companion, and certain that they had had good reason for excluding him from suspicion.

Yawning widely, Strike turned to the second page of Bristow’s notes.

“And how,” murmured Strike, massaging his forehead, “did he see through the front door, to know the guard was in the bog?”

I have spoken to Derrick Wilson, who is happy to be interviewed.

And I bet you’ve paid him to do it, Strike thought, noting the security guard’s telephone number beneath these concluding words.

He laid down the pen with which he had been intending to add his own notes, and clipped Bristow’s jottings into the file. Then he turned off the desk lamp and limped out to pee in the toilet on the landing. After brushing his teeth over the cracked basin, he locked the glass door, set his alarm clock and undressed.

By the neon glow of the street lamp outside, Strike undid the straps of his prosthetic, easing it from the aching stump, removing the gel liner that had become an inadequate cushion against pain. He laid the false leg beside his recharging mobile phone, maneuvered himself into his sleeping bag and lay with his hands behind his head, staring up at the ceiling. Now, as he had feared, the leaden fatigue of the body was not enough to still the misfiring mind. The old infection was active again; tormenting him, dragging at him.

What would she be doing now?

Yesterday evening, in a parallel universe, he had lived in a beautiful apartment in a most desirable part of London, with a woman who made every man who laid eyes on her treat Strike with a kind of incredulous envy.

“Why don’t you just move in with me? Oh, for God’s sake, Bluey, doesn’t it make sense? Why not?”

He had known, from the very first, that it was a mistake. They had tried it before, and each time it had been more calamitous than the last.

“We’re engaged, for God’s sake, why won’t you live with me?”

She had said things that were supposed to be proofs that, in the process of almost losing him forever, she had been as irrevocably changed as he had, with his one and a half legs.

“I don’t need a ring. Don’t be ridiculous, Bluey. You need all your money for the new business.”

He closed his eyes. There could be no going back from this morning. She had lied once too often, about something too serious. But he went over it all again, like a sum he had long since solved, afraid he had made some elementary mistake. Painstakingly he added together the constantly shifting dates, the refusal to check with chemist or doctor, the fury with which she had countered any request for clarification, and then the sudden announcement that it was over, with never a shred of proof that it had been real. Along with every other suspicious circumstance, there was his hard-won knowledge of her mythomania, her need to provoke, to taunt, to test.

“Don’t you dare fucking
investigate
me. Don’t you dare treat me like some drugged-up
squaddie.
I am not a fucking case to be solved; you’re supposed to love me and you won’t take my word even on
this
…”

But the lies she told were woven into the fabric of her being, her life; so that to live with her and love her was to become slowly enmeshed by them, to wrestle her for the truth, to struggle to maintain a foothold on reality. How could it have happened, that he, who from his most extreme youth had needed to investigate, to know for sure, to winkle the truth out of the smallest conundrums, could have fallen in love so hard, and for so long, with a girl who spun lies as easily as other women breathed?

“It’s over,” he told himself. “It had to happen.”

But he had not wanted to tell Anstis, and he could not face telling anyone else, not yet. There were friends all over London who would welcome his eagerly to their homes, who would throw open their guest rooms and their fridges, eager to condole and to help. The price of all of those comfortable beds and home-cooked meals, however, would be to sit at kitchen tables, once the clean-pajamaed children were in bed, and relive the filthy final battle with Charlotte, submitting to the outraged sympathy and pity of his friends’ girlfriends and wives. To this he preferred grim solitude, a Pot Noodle and a sleeping bag.

He could still feel the missing foot, ripped from his leg two and a half years before. It was there, under the sleeping bag; he could flex the vanished toes if he wanted to. Exhausted as Strike was, it took a while for him to fall asleep, and when he did, Charlotte wove in and out of every dream, gorgeous, vituperative and haunted.

“ ‘WITH ALL THE GALLONS OF NEWSPRINT
and hours of televised talk that have been poured forth on the subject of Lula Landry’s death, rarely has the question been asked:
why do we care?

“ ‘She was beautiful, of course, and beautiful girls have been helping to shift newspapers ever since Dana Gibson cross-hatched lazy-lidded sirens for the
New Yorker.

“ ‘She was black, too, or rather, a delicious shade of
café au lait,
and this, we were constantly told, represented progression within an industry concerned merely with surfaces. (I am dubious: could it not be that, this season,
café au lait
was the “in” shade? Have we seen a sudden influx of black women into the industry in Landry’s wake? Have our notions of female beauty been revolutionized by her success? Are black Barbies now outselling white?)

“ ‘The family and friends of the flesh-and-blood Landry will be distraught, of course, and have my profound sympathy. We, however, the reading, watching public, have no personal grief to justify our excesses. Young women die, every day, in “tragic” (which is to say, unnatural) circumstances: in car crashes, from overdoses, and, occasionally, because they attempted to starve themselves into conformity with the body shape sported by Landry and her ilk. Do we spare any of these dead girls more than a passing thought, as we turn the page, and obscure their ordinary faces?’ ”

Robin paused to take a sip of coffee and clear her throat.

“So far, so sanctimonious,” muttered Strike.

He was sitting at the end of Robin’s desk, pasting photographs into an open folder, numbering each one, and writing a description of the subject of each in an index at the back. Robin continued where she had left off, reading from her computer monitor.

“ ‘Our disproportionate interest, even grief, bears examination. Right up until the moment that Landry took her fatal dive, it is a fair bet that tens of thousands of women would have changed places with her. Sobbing young girls laid flowers beneath the balcony of Landry’s £4.5 million penthouse flat after her crushed body was cleared away. Has even one aspiring model been deterred in her pursuit of tabloid fame by the rise and brutal fall of Lula Landry?’ ”

“Get on with it,” said Strike. “Her, not you,” he added hastily. “It’s a woman writing, right?”

“Yes, a Melanie Telford,” said Robin, scrolling back to the top of the screen to reveal the head shot of a jowly middle-aged blonde. “Do you want me to skip the rest?”

“No, no, keep going.”

Robin cleared her throat once more and continued.

“ ‘The answer, surely, is no.’ That’s the bit about aspiring models being deterred.”

“Yeah, got that.”

“Right, well…‘A hundred years after Emmeline Pankhurst, a generation of pubescent females seeks nothing better than to be reduced to the status of a cut-out paper doll, a flat avatar whose fictionalized adventures mask such disturbance and distress that she threw herself from a third-story window. Appearance is all: the designer Guy Somé was quick to inform the press that she jumped wearing one of his dresses, which sold out in the twenty-four hours after her death. What better advert could there be than that Lula Landry chose to meet her maker in Somé?

“ ‘No, it is not the young woman whose loss we bemoan, for she was no more real to most of us than the Gibson girls who dripped from Dana’s pen. What we mourn is the physical image flickering across a multitude of red-tops and celeb mags; an image that sold us clothes and handbags and a notion of celebrity that, in her demise, proved to be empty and transient as a soap bubble. What we actually miss, were we honest enough to admit it, are the entertaining antics of that paper-thin good-time girl, whose strip-cartoon existence of drug abuse, riotous living, fancy clothes and dangerous on-off boyfriend we can no longer enjoy.

“ ‘Landry’s funeral was covered as lavishly as any celebrity wedding in the tawdry magazines who feed on the famous, and whose publishers will surely mourn her demise longer than most. We were permitted glimpses of various celebrities in tears, but her family were given the tiniest picture of all; they were a surprisingly unphotogenic lot, you see.

“ ‘Yet the account of one mourner genuinely touched me. In response to the inquiry of a man who she may not have realized was a reporter, she revealed that she had met Landry at a treatment facility, and that they had become friends. She had taken her place in a rear pew to say farewell, and slipped as quietly away again. She has not sold her story, unlike so many others who consorted with Landry in life. It may tell us something touching about the real Lula Landry, that she inspired genuine affection in an ordinary girl. As for the rest of us—’ ”

“Doesn’t she give this ordinary girl from the treatment facility a name?” interrupted Strike.

Robin scanned the story silently.

“No.”

Strike scratched his imperfectly shaven chin.

“Bristow didn’t mention any friend from a treatment facility.”

“D’you think she could be important?” asked Robin eagerly, turning in her swivel chair to look at him.

“It could be interesting to talk to someone who knew Landry from therapy, instead of nightclubs.”

Strike had only asked Robin to look up Landry’s connections on the internet because he had nothing else for her to do. She had already telephoned Derrick Wilson, the security guard, and arranged a meeting with Strike on Friday morning at the Phoenix Café in Brixton. The day’s post had comprised two circulars and a final demand; there had been no calls, and she had already organized everything in the office that could be alphabetized, stacked or arranged according to type and color.

Inspired by her Google proficiency of the previous day, therefore, he had set her this fairly pointless task. For the past hour or so she had been reading out odd snippets and articles about Landry and her associates, while Strike put into order a stack of receipts, telephone bills and photographs relating to his only other current case.

“Shall I see whether I can find out more about that girl, then?” asked Robin.

“Yeah,” said Strike absently, examining a photograph of a stocky, balding man in a suit and a very ripe-looking redhead in tight jeans. The besuited man was Mr. Geoffrey Hook; the redhead, however, bore no resemblance to Mrs. Hook, who, prior to Bristow’s arrival in his office, had been Strike’s only client. Strike stuck the photograph into Mrs. Hook’s file and labeled it No. 12, while Robin turned back to the computer.

For a few moments there was silence, except for the flick of photographs and the tapping of Robin’s short nails against the keys. The door into the inner office behind Strike was closed to conceal the camp bed and other signs of habitation, and the air was heavy with the scent of artificial limes, due to Strike’s liberal use of cheap air-freshener before Robin had arrived. Lest she perceive any tinge of sexual interest in his decision to sit at the other end of her desk, he had pretended to notice her engagement ring for the first time before sitting down, then made polite, studiously impersonal conversation about her fiancé for five minutes. He learned that he was a newly qualified accountant called Matthew; that it was to live with Matthew that Robin had moved to London from Yorkshire the previous month, and that the temping was a stopgap measure before finding a permanent job.

“D’you think she could be in one of these pictures?” Robin asked, after a while. “The girl from the treatment center?”

She had brought up a screen full of identically sized photographs, each showing one or more people dressed in dark clothes, all heading from left to right, making for the funeral. Crash barriers and the blurred faces of a crowd formed the backdrop to each picture.

Most striking of all was the picture of a very tall, pale girl with golden hair drawn back into a ponytail, on whose head was perched a confection of black net and feathers. Strike recognized her, because everyone knew who she was: Ciara Porter, the model with whom Lula had spent much of her last day on earth; the friend with whom Landry had been photographed for one of the most famous shots of her career. Porter looked beautiful and somber as she walked towards Lula’s funeral service. She seemed to have attended alone, because there was no disembodied hand supporting her thin arm or resting on her long back.

Next to Porter’s picture was that of a couple captioned
Film producer Freddie Bestigui and wife Tansy.
Bestigui was built like a bull, with short legs, a broad barrel chest and a thick neck. His hair was gray and brush-cut; his face a crumpled mass of folds, bags and moles, out of which his fleshy nose protruded like a tumor. Nevertheless, he cut an imposing figure in his expensive black overcoat, with his skeletal young wife on his arm. Almost nothing could be discerned of Tansy’s true appearance, behind the upturned fur of her coat collar and the enormous round sunglasses.

Last in this top row of photographs was
Guy Somé, fashion designer.
He was a thin black man who was wearing a midnight-blue frock coat of exaggerated cut. His face was bowed and his expression indiscernible, due to the way the light fell on his dark head, though three large diamond earrings in the lobe facing the camera had caught the flashes and glittered like stars. Like Porter, he appeared to have arrived unaccompanied, although a small group of mourners, unworthy of their own legends, had been captured within the frame of his picture.

Strike drew his chair nearer to the screen, though still keeping more than an arm’s length between himself and Robin. One of the unidentified faces, half severed by the edge of the picture, was John Bristow, recognizable by the short upper lip and the hamsterish teeth. He had his arm around a stricken-looking older woman with white hair; her face was gaunt and ghastly, the nakedness of her grief touching. Behind this pair was a tall, haughty-looking man who gave the impression of deploring the surroundings in which he found himself.

“I can’t see anyone who might be this ordinary girl,” said Robin, moving the screen down to scrutinize more pictures of famous and beautiful people looking sad and serious. “Oh, look…Evan Duffield.”

He was dressed in a black T-shirt, black jeans and a military-style black overcoat. His hair, too, was black; his face all sharp planes and hollows; icy blue eyes stared directly into the camera lens. Though taller than both of them, he looked fragile compared to the companions flanking him: a large man in a suit and an anxious-looking older woman, whose mouth was open and who was making a gesture as though to clear a path ahead of them. The threesome reminded Strike of parents steering a sick child away from a party. Strike noticed that, in spite of Duffield’s air of disorientation and distress, he had made a good job of applying his eyeliner.

“Look at those flowers!”

Duffield slid up into the top of the screen and vanished: Robin had paused on the photograph of an enormous wreath in the shape of what Strike took, initially, to be a heart, before realizing it represented two curved angel wings, composed of white roses. An inset photograph showed a close-up of the attached card.

“ ‘Rest in peace, Angel Lula. Deeby Macc,’ ” Robin read aloud.

“Deeby Macc? The rapper? So they knew each other, did they?”

“No, I don’t think so; but there was that whole thing about him renting a flat in her building; she’d been mentioned in a couple of his songs, hadn’t she? The press were all excited about him staying there…”

“You’re well informed on the subject.”

“Oh, you know, just magazines,” said Robin vaguely, scrolling back through the funeral photographs.

“What kind of name is ‘Deeby’?” Strike wondered aloud.

“It comes from his initials. It’s ‘D. B.’ really,” she enunciated clearly. “His real name’s Daryl Brandon Macdonald.”

“A rap fan, are you?”

“No,” said Robin, still intent on the screen. “I just remember things like that.”

She clicked off the images she was perusing and began tapping away on the keyboard again. Strike returned to his photographs. The next showed Mr. Geoffrey Hook kissing his ginger-haired companion, hand palpating one large, canvas-covered buttock, outside Ealing Broadway Tube station.

“Here’s a bit of film on YouTube, look,” said Robin. “Deeby Macc talking about Lula after she died.”

“Let’s see it,” said Strike, rolling his chair forwards a couple of feet and then, on second thought, back one.

The grainy little video, three inches by four, jerked into life. A large black man wearing some kind of hooded top with a fist picked out in studs on the chest sat in a black leather chair, facing an unseen interviewer. His hair was closely shaven and he wore sunglasses.

“…Lula Landry’s suicide?” said the interviewer, who was English.

“That was fucked-up, man, that was fucked-up,” replied Deeby, running his hand over his smooth head. His voice was soft, deep and hoarse, with the very faintest trace of a lisp. “That’s what they do to success: they hunt you down, they tear you down. That’s what envy does, my friend. The motherfuckin’ press chased her out that window. Let her rest in peace, I say. She’s getting peace right now.”

“Pretty shocking welcome to London for you,” said the interviewer, “with her, y’know, like, falling past your window?”

Deeby Macc did not answer at once. He sat very still, staring at the interviewer through his opaque lenses. Then he said:

“I wasn’t there, or you got someone who says I was?”

The interviewer’s yelp of nervous, hastily stifled laughter jarred.

“God, no, not at all—not…”

Deeby turned his head and addressed someone standing off-camera.

“Think I oughta’ve brought my lawyers?”

The interviewer brayed with sycophantic laughter. Deeby looked back at him, still unsmiling.

“Deeby Macc,” said the breathless interviewer, “thank you very much for your time.”

An outstretched white hand slid forwards on to the screen; Deeby raised his own in a fist. The white hand reconstituted itself, and they bumped knuckles. Somebody off-screen laughed derisively. The video ended.

“ ‘The motherfuckin’ press chased her out that window,’ ” Strike repeated, rolling his chair back to its original position. “Interesting point of view.”