Читать книгу Perfect Prey: The twisty new crime thriller that will keep you up all night - Helen Fields - Страница 7

There were worse places to die. Few more terrifying ways of dying, though. It was an idyllic summer backdrop – the cityscape on one side, the ancient volcano Arthur’s Seat silhouetted in the distance. The music could be felt before it was heard, the bass throbbing through bones and jiggling flesh. Sundown came late in Edinburgh in early July and the sky was awash with shades of rose, gold and burnt orange. Perhaps that was why no one noticed when it happened. Either that, or the cocktail of drink, drugs and natural highs. The festival was well underway. Three days of revellers lounging, partying, loving, eating and drinking their way through band after band, bodies increasingly comfortable with fewer clothes and minimal hygiene. If you could take a snapshot to illustrate a sense of ecstasy, this would have been the definitive scene. Washing through the crowd, jumping as one, as if the multitudes had merged to create a single rapturous beast with a thousand grinning heads.

Through the centre of it all, the killer had drifted like smoke, sinuous and light-footed, bringing a blade to its receptacle like a ribbon through air. The slash was clean. Straight and deep. The extent of the blood loss was apparent on the ground, the wound too gaping for hands to stem the flow. Not that there had been time to get the victim in an ambulance. Not that anyone had even noticed his injury before he had almost completely bled out.

Detective Inspector Luc Callanach stood at the spot where the young man had taken his last breath. His identity had not yet been established. The police had pieced together remarkably little in the hour since the victim’s death. It was amazing, Callanach thought, how in a crowd of thousands they had found not a single useful witness.

The young man had simply ceased his rhythmic jumping, crumpling slowly, falling left and right, forwards and backwards, against his fellow festival-goers, finally collapsing, clutching his stomach. It had annoyed some of them, disrupted their viewing pleasure. He’d been assumed drunk at first, drug-addled second. Only when a barefooted teenage girl had slipped in the pool of blood did the alarm ring out, and amidst the decibels it had taken an age for the message to get through. Eventually the screams had drowned out the music when the poor boy had been rolled over, his spilled entrails slinking closely in his wake like some alien pet, sparkling with reflected sunshine in the gloss of so much brilliant blood.

The uniforms hadn’t been far away. It was a massive public event with every precaution taken, or so they’d thought. But making their way through the throng, police officers first, then paramedics, and clearing an area then managing the scene, had been a logistical disaster. Callanach looked skywards and sighed. The crime scene was more heavily trodden than nightclub toilets on New Year’s Eve. There was enough DNA floating around to populate a new planet. It was a forensic free-for-all.

The body itself was already on its way to the mortuary, having been photographed in situ for all the good it would do. The corpse had been moved so many times by do-gooders, panicked bystanders, the police, medics, before finally being left to rest on a bed of trampled grass and kicked-up dirt. The chief pathologist, Ailsa Lambert, had been unusually quiet, issuing instructions only to treat the body with care and respect, and to move him swiftly to a place where there would be no more prying cameras or hysterical caterwauling. Callanach was there to secure the scene – a concept beyond irony – before following Ailsa to her offices.

In the brief look Callanach had got, the victim’s face had said it all. Eyes screwed tight as if willing himself to wake from a nightmare, mouth caught open between gasp and scream. Had he been shouting a name? Callanach wondered. Did he know his assailant? He’d been carrying no identification, merely some loose change in his shorts, not even so much as a watch on his wrist. Only a key on a piece of string around his neck. However swiftly death had come, the terror of knowing you were fading, of sensing that hope was a missed bus, while all around you leapt and sang, must have seemed the cruellest joke. And at the very end, hearing only screams, seeing panic and horror in the sea of eyes above. What must it have been like, Callanach wondered, to have died alone on the hard ground in such bright sunlight? The last thing the victim had known of the world could only have been unalleviated dread.

Callanach studied the domed stage, rigged with sound and lighting gear, and prayed that one of the cameras mounted there might have caught a useful fragment. Someone rushing, leaving, moving differently to the rest of the crowd. The Meadows, an expanse of park and playing fields to the south of the city centre, were beautiful and peaceful on a normal day. Mothers brought their toddlers, dog walkers roamed and joggers timed the circuit. Strains of ‘Summer is A-Coming In’ sounded in the back of Callanach’s mind from a screening of the original version of The Wicker Man that DI Ava Turner had dragged him to a few months ago. He’d found Edward Woodward’s acting mesmerising, and the images of men and women in animal masks preparing to make their human sacrifice had stayed with him long after the projector had been switched off. It wasn’t a million miles away from the circus in the centre of which this young man had perished.

‘Sir, the people standing behind the victim have been identified. They’re available to speak now,’ a constable said. Callanach followed him to the edge of the field, leaving forensics constructing a temporary shelter to protect the scene overnight. Leaning against a tree was a couple, wrapped together in a single blanket, their faces tear-stained, the woman shaking visibly as the man comforted her.

‘Merel and Niek De Vries,’ the constable read from his notebook. ‘A Dutch couple holidaying here. Been in Scotland ten days.’

Callanach nodded and stepped forward for quiet privacy.

‘I’m Detective Inspector Callanach with Police Scotland,’ he said. ‘I know this is shocking and I’m sorry for what you witnessed. I’m sure you’ve explained what you saw a few times now, and you’ll be asked about it many more. Could you just run over it for me though, if you don’t mind?’

The man said something to his wife that Callanach couldn’t follow, but she looked up and took a deep breath.

‘My wife does not speak good English,’ Niek De Vries began, ‘but she saw more than me. I can translate.’

Merel rattled off a few sentences, punctuated with sobs, before Niek spoke again.

‘She only noticed him when the girl screamed. Then Merel bent down to shake him, to tell him to get up. He was on his knees, bent forward. We thought he was drunk, sick maybe. When Merel stood up again her hand was covered with blood. Even then, she says, she thought maybe he had vomited, ruptured something. Only when everyone stepped back and we laid him out, did we see the wound. It was as if he had been cut in two.’ Niek put one hand across his eyes.

‘Did you see anyone before he fell, near him, touch him, push past him? Did anyone seem to rush away from the area? Or can you describe any of the people standing near you in detail?’ Callanach asked.

‘Everyone was moving constantly,’ Niek answered, ‘and we were watching the stage, the band, you know? We don’t have any friends here so we were not really looking. People were jumping up and down, screaming, going this way and that to get to the bar or the toilets. We were just trying not to get separated. I hadn’t even noticed the man in front of us until he fell.’

‘Did he speak at all?’ Callanach asked.

Niek checked that question with Merel.

‘She thinks he was already unconscious or dead when she first spoke to him. And anyway, the noise was too much. She would not have heard.’

‘I understand,’ Callanach said. ‘Officers will take you to the police station to make full written statements and then transfer you to your accommodation.’

‘Not British?’ Merel stuttered, addressing Callanach directly for the first time.

‘I’m French,’ Callanach replied, ‘well, half French, half Scottish. I apologise if my accent’s hard to understand.’

‘Le garçon était trop jeune pour mourir.’ The boy was too young to die, she said, continuing in French although Callanach found he was hearing it in English, so fast had his translation become.

Merel De Vries recalled one other thing. Above the music, a woman laughing in the crowd, so loud she could hear it even as she’d bent down to help the victim. What struck Callanach as odd was Merel’s description of it. That it wasn’t a happy laugh. In her words, it had echoed of malicious.