Dialogues of the Dead

131 meaning it cynically. Well, Pascoe had come close to losing both his child and his missus in jthe past few years, and now he knew beyond any doubt what ransom he was willing to pay to keep them safe, which was everything he had or could expect to have. So nothing was going to happen without the imprimatur of their happiness. Young Rosie's move to secondary school a few years ahead was going to be the testing time, Wield guessed. The old days of bully-boy tactics from above - Take the job or you're off to Traffic! - were, if not passed, at least passing. Others would be aware of this window too and poised to haul the lad up through it as soon as it was fully open. Of course they'd need to get King Dalziel's approval. 'Wieldy, you've been standing here so long, I'm amazed someone hasn't bought you.' 'You know me, Pete. Always find people more interesting than pictures.' Behind them, they heard an upraising of voices which seemed to emanate from the alcove in which the engraver had been displaying her craft. Then it was drowned by the more distant but to their sensitized ears more disturbing sound of sirens. 'The meat wagon?' said Pascoe. 'Yes. And our boys too,' said Wield. 'You switched on?' 'No. I'm off-call,' said the sergeant firmly. The too.' 'Sounds close, but.' 'Probably some poor old girl in the precinct's shopped till she dropped,' said Pascoe, knowing that Ellie, alert to the dangers signalled by police alarums, was watching him keenly for sign of any inclination to get involved. 'Excuse me,' said a broad Yorkshire voice behind him. 'Somebody said you were a copper, is that right?' He turned to see a lanky woman in a red smock and black tights, with a razored haircut that gave her a look of Sigourney Weaver in Alien 3. He recognized her as Jude Illingworth, the engraver. 'Yes,' he admitted reluctantly. 'Is there something wrong?' 'Aye, is there. You expect it out of doors at a craft fair, mebbe, somewhere open to everybody. If it's not nailed down, it'll go. But at a posh do like this .. .'

/ am in no hurry, for where there is no time, haste has no meaning. I follow with my eyes only and wait. The door opens, a man comes out. I watch him out of sight and then go in. And there he is as I know he must be, alone, stooped over a washbasin, laving his face. As 1 approach from behind he looks up and sees me in the mirror. Oh, this is fine. This is my reward for faithfulness. I have no choice in these matters, but if I had a choice, this I might have chosen, for this allows me to be both player and audience. I can see his face in the mirror and mine too, my lips curved in a smile, his eyes rounded in surprise but not in fear. I am not night's dark agent but a bringer of light, and fear is no part of my message. This man with his lust to glut his own body as he starves the souls of others of their natural nourishment is driven not by evil but by a warped good which is worse. It is his own pain as much as that he causes others that I am sent to release him from. So I speak to him reassuringly, uttering a few soft words sweetly. Then I drive the weapon into the base of his skull and up through I know not what layers of matter, certain that another hand than mine is guiding the point to its appointed destination. He spasms, but I hold him there with ease. If a million angels can dance on the head of a pin, then a single man twisting and turning on my much broader point is a piece of cake. And now he goes slack. I withdraw my weapon and let him slide to the floor, face down, his bald head gleaming like metal under the striplight.

Before Pascoe could askjude Illingworth what the hell she was talking about, there was another interruption. Hat Bowler, who'd left some time earlier, came back into the gallery, pushing between Ellie and Bird with scant ceremony, and making straight for Pascoe. 'Sir,' he said breathlessly, 'can I have a word?'