In the Woods (11 page)

“But recently these attacks had disappeared?” I asked. We would need Katy’s medical records, fast.

Simone smiled, remembering; it was a small, wrenching thing, and her eyes flicked away from us. “I was worried about whether she would be healthy enough for the training—dancers can’t afford to miss many classes through illness. When Katy was accepted again this year, I kept her after class one day and warned her that she would have to keep seeing a doctor, to find out what was wrong. Katy listened, and then she shook her head and said—very solemnly, like a vow—‘I’m not going to get sick any more.’ I tried to impress upon her that this wasn’t something she could ignore, that her career might depend on this, but that was all she would say. And, in fact, she hasn’t been ill since. I thought perhaps she had simply outgrown whatever it was; but the will can be a powerful thing, and Katy is—was—strong-willed.”

The other class was letting out; I heard parents’ voices on the landing, another rush of small feet and chatter. “You taught Jessica as well?” Cassie said. “Did she audition for the Royal Ballet School?”

In the early stages of an investigation, unless you have an obvious suspect, all you can do is find out as much about the victim’s life as possible 62

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and hope something sets off alarm bells; and I was pretty sure Cassie was right, we needed to know more about the Devlin family. And Simone Cameron wanted to talk. We see this a lot, people desperate to keep talking because when they stop we will leave and they will be left alone with what has happened. We listen and nod and sympathize, and file away everything they say.

“I taught all three of the sisters, at one time or another,” Simone said.

“Jessica seemed quite competent when she was younger, and she worked hard, but as she grew she became cripplingly self-conscious, to the point where any individual exercises seemed to be a painful ordeal for her. I told her parents I thought it would be better if she didn’t have to go through this any more.”

“And Rosalind?” Cassie asked.

“Rosalind had some talent, but she lacked application and wanted instant results. After a few months she switched to, I believe, violin lessons. She said it was by her parents’ choice, but I thought it was because she was bored. We see this quite often with young children: when they aren’t immediately proficient, and when they realize how much hard work is involved, they become frustrated and leave. Frankly, neither of them would ever have been Royal Ballet School material in any case.”

“But Katy . . .” Cassie said, leaning forward.

Simone looked at her for a long time. “Katy was . . . sérieuse.”

That was what gave her voice some of its distinctive quality: somewhere, far back, there was a touch of French shaping the intonations. “Serious,” I said.

“More than that,” said Cassie. Her mother was half French, and as a child she spent summers with her grandparents in Provence; she says she’s forgotten most of her spoken French at this point, but she still understands it. “A professional.”

Simone inclined her head. “Yes. She loved even the hard work—not only for the results it brought, but for its own sake. A real talent for dance is not common; the temperament to make a career of it is much rarer. To find both at once . . .” She looked away again. “Sometimes, on evenings when only one studio was being used, she would ask if she could come in and practice in the other.”

Outside, the light was beginning to dim towards evening; the skateboard kids’ calls floated up, faint and crystalline through the glass. I thought of In the Woods 63

Katy Devlin alone in the studio, watching the mirror with detached absorption as she moved in slow spins and dips; the lift of a pointed foot; streetlamps throwing saffron rectangles across the floor, Satie’s Gnossiennes on the crackly record player. Simone seemed pretty sérieuse herself, and I wondered how on earth she had ended up here: above a shop in Stillorgan, with the smell of grease wafting up from the chip shop next door, teaching ballet to little girls whose mothers thought it would give them good posture or wanted framed pictures of them in tutus. I realized, suddenly, what Katy Devlin must have meant to her.

“How did Mr. and Mrs. Devlin feel about Katy going to ballet school?”

Cassie asked.

“They were very supportive,” Simone said, without hesitation. “I was relieved, and also surprised; not every parent is willing to send a child that age away to school, and most, with good reason, are opposed to their children becoming professional dancers. Mr. Devlin, in particular, was very much in favor of Katy going. He was close to her, I think. I admired this, that he wanted what was best for her even if it meant letting her go away.”

“And her mother?” Cassie said. “Was she close to her?”

Simone gave a little one-shouldered shrug. “Less, I think. Mrs. Devlin is . . . rather vague. She always seemed bewildered by all of her daughters. I think perhaps she isn’t very intelligent.”

“Have you noticed anyone strange hanging around in the past few months?” I asked. “Anyone who worried you?” Ballet schools and swimming clubs and scout troops are pedophile magnets. If someone had been looking for a victim, this was the obvious place where he might have spotted Katy.

“I understand what you mean, but no. We look for this. About ten years ago a man used to sit on a wall up the hill and look into the studio through binoculars. We complained to the police, but they did nothing until he tried to convince one little girl to get into his car. Since then we’re very watchful.”

“Did anyone take an interest in Katy to a level that you felt was unusual?”

She thought, shook her head. “No one. Everyone admired her dancing, many people supported the fund-raiser we held to help with her fees, but no one person more than others.”

“Was there any jealousy of her talent?”

Simone laughed, a quick hard breath through her nose. “These are not stage parents we have here. They want their daughters to learn a little ballet, 64

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enough to be pretty; they don’t want them to make a career of it. I’m sure a few of the other little girls were envious, yes. But enough to kill her? No.”

She looked, suddenly, exhausted; her elegant pose hadn’t changed, but her eyes were glazed with fatigue. “Thank you for your time,” I said. “We’ll contact you if we need to ask you any more questions.”

“Did she suffer?” Simone asked abruptly. She wasn’t looking at us. She was the first person to ask. I started to give the standard non-answer involving the post-mortem results, but Cassie said, “There’s no evidence of that. We can’t be sure of anything yet, but it seems to have been quick.”

Simone turned her head with an effort and met Cassie’s eyes. “Thank you,” she said.

She didn’t get up to see us out, and I realized it was because she wasn’t sure she could do it. As I closed the door I caught a last glimpse of her through the round window, still sitting straight-backed and motionless with her hands folded in her lap: a queen in a fairy tale, left alone in her tower to mourn her lost, witch-stolen princess.

“ ‘I’m not going to get sick any more,’ ” Cassie said, in the car. “And she stopped getting sick.”

“Willpower, like Simone said?”

“Maybe.” She didn’t sound convinced.

“Or she could have been making herself sick,” I said. “Vomiting and diarrhea are both pretty easy to induce. Maybe she was looking for attention, and once she got into ballet school she didn’t need to any more. She was getting plenty of attention without being sick—newspaper articles, fund-raisers, the lot. . . . I need a cigarette.”

“Junior Munchausen syndrome?” Cassie reached into the back, dug around in my jacket pockets and found my smokes. I smoke Marlboro Reds; Cassie has no particular brand loyalty but generally buys Lucky Strike Lights, which I consider to be girl cigarettes. She lit two and passed one to me. “Can we pull medical records on the two sisters as well?”

“Dodgy,” I said. “They’re alive, so there’s confidentiality. If we got the parents’ consent . . .” She shook her head. “Why, what are you thinking?”

She opened her window a few inches, and the wind blew her hair sideways. “I don’t know. . . . The twin, Jessica—the bunny-in-headlights thing In the Woods 65

could just be stress from Katy being missing, but she’s way too thin. Even through that big huge woolly thing you could tell she’s half the size of Katy, and Katy was no heifer. And then the other sister . . . There’s something off about her, too.”

“Rosalind?” I said.

There must have been something funny in my tone. Cassie shot me an oblique glance. “You liked her.”

“Yes, I suppose I did,” I said, defensive and not sure why. “She seemed like a nice girl. She’s very protective of Jessica. What, you didn’t?”

“What’s that got to do with it?” Cassie said coolly and, I felt, a little unfairly. “Regardless of who likes her, she dresses funny, she wears too much makeup—”

“She’s well groomed, so there’s something wrong with her?”

“Please, Ryan, do us both a favor and grow up; you know exactly what I mean. She smiles at inappropriate times, and, as you spotted, she wasn’t wearing a bra.” I had noticed that, but I hadn’t realized that Cassie had as well, and the dig irritated me. “She may well be a very nice girl, but there’s something off there.”

I didn’t say anything. Cassie threw the rest of her cigarette out the window and dug her hands into her pockets, slumped in her seat like a sulky teenager. I turned on dipped headlights and sped up. I was annoyed with her and I knew she was annoyed with me, too, and I wasn’t sure quite how this had happened.

Cassie’s mobile rang. “Oh, for God’s sake,” she said, looking at the screen. “Hello, sir. . . . Hello? . . . Sir? . . . Bloody phones.” She hung up.

“Reception?” I said coldly.

“The fucking reception is fine,” she said. “He just wanted to know when we’d be back and what was taking us so long, and I didn’t feel like talking to him.”

I can usually hold a sulk for much longer than Cassie, but I couldn’t help it, I laughed. After a moment Cassie did, too.

“Listen,” she said, “I wasn’t being bitchy about Rosalind. More like worried.”

“Are you thinking sexual abuse?” I realized that, somewhere in the back of my mind, I had been wondering about the same thing, but I disliked the thought so much that I had been avoiding it. One sister oversexual, one 66

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badly underweight, and one, after various unexplained illnesses, murdered. I thought of Rosalind’s head bent over Jessica’s and felt a sudden, unaccustomed surge of protectiveness. “The father’s abusing them. Katy’s coping strategy is making herself sick, either out of self-hatred or to lessen the chances of abuse. When she gets into ballet school, she decides she needs to be healthy and the cycle has to stop; maybe she confronts the father, threatens to tell. So he kills her.”

“It plays,” said Cassie. She was watching the trees flash past on the roadside; I could only see the back of her head. “But so does, for example, the mother—if it turns out Cooper was wrong about the rape, obviously. Munchausen by proxy. She seemed way at home in the victim role, did you notice?”

I had. In some ways grief anonymizes as powerfully as a Greek tragedy mask, but in others it pares people to the essentials (and this is, of course, the real and icy reason why we try to tell families about their losses ourselves, rather than leaving it to the uniforms: not to show how much we care, but to see how they react), and we had borne bad news often enough to know the usual variations. Most people are shocked senseless, struggling for their footing, with no idea how to do this; tragedy is new territory that comes with no guide, and they have to work out, step by dazed step, how to negotiate it. Margaret Devlin had been unsurprised, almost resigned, as though grief was her familiar default state.

“So basically the same pattern,” I said. “She’s making one or all of the girls sick, when Katy gets into ballet school she tries to put her foot down, and the mother kills her.”

“It could explain why Rosalind dresses like a forty-year-old, too,” Cassie said. “Trying to be a grown-up to get away from her mother.”

My mobile rang. “Ah, fuck, man,” we both said, in unison. I did the bad-reception routine, and we spent the rest of the drive making a list of possible lines of inquiry. O’Kelly likes lists; a good one might distract him from the fact that we hadn’t rung him back.

We work out of the grounds of Dublin Castle, and in spite of all the colonial connotations this is one of my favorite perks of the job. Inside, the rooms have been lovingly refurbished to be exactly like every corporate office in the country—cubicles, fluorescent lighting, staticky carpet and In the Woods 67

institution-colored walls—but the outsides of the buildings are protected and still intact: old, ornate red brick and marble, with battlements and turrets and worn carvings of saints in unexpected places. In winter, on foggy evenings, crossing the cobblestones is like walking through Dickens—hazy gold streetlamps throwing odd-angled shadows, bells pealing in the cathedrals nearby, every footstep ricocheting into darkness; Cassie says you can pretend you’re Inspector Abberline working on the Ripper murders. Once, on a ringingly clear full-moon night in December, she turned cartwheels straight across the main courtyard.

There was a light in O’Kelly’s window, but the rest of the building was dark: it was past seven, everyone else had gone home. We sneaked in as quietly as we could. Cassie tiptoed up to the squad room to run Mark and the Devlins through the computer, and I went down to the basement, where we keep the old case files. It used to be a wine cellar, and the crack Corporate Design Squad hasn’t got around to it yet, so it’s still all flagstones and columns and low-arched bays. Cassie and I have a pact to take a couple of candles down there someday, in spite of the electric lighting and in defiance of safety regulations, and spend an evening looking for secret passageways. The cardboard box (Rowan G., Savage P., 33791/84) was exactly as I had left it more than two years before; I doubt anyone had touched it since. I pulled out the file and flipped to the statement Missing Persons had taken from Jamie’s mother and, thank God, there it was: blond hair, hazel eyes, red T-shirt, cut-off denim shorts, white runners, red hair clips decorated with strawberries.