Val McDermid: The Mermaids Singing

That night, I took advantage of a lull in work to call Ken. At first, he sounded surprised to hear from me, then muttered, ‘I suppose you’re using the phones at work.’

‘I’ve been meaning to ring for ages,’ I said. ‘I wanted to know how Auntie Doris was doing.’ It’s much easier to appear solicitous via satellite. I made the appropriate noises while Ken bored on about his mother’s health, his wife, their three kids and their sheep.

After ten minutes, I decided I’d had enough. ‘The other thing is, Ken, I was worried about the house,’ I lied. ‘It’s so isolated up there, someone should keep an eye on the place.’

‘You’re not wrong,’ he said. ‘Her solicitor’s supposed to be doing that, but I don’t reckon he’s been near it.’

‘Do you want me to pop out and check it over? Now I’m back living in Bradfield, it would be no bother.’

‘Would you? That’d be a hell of a load off, I don’t mind telling you. Between ourselves, I’m not sure Mum’s ever going to be well enough to go back home again, but I’d hate to think of anything happening to the family home,’ Ken said eagerly.

Hate to think of anything happening to his inheritance, more like. I knew Ken. Ten days later, I had the keys. On my next day off, I drove out there to check the accuracy of my recollection. The rutted track leading to Start Hill Farm was much more overgrown than the last time I’d been there, and my four-wheel-drive jeep struggled to climb the three miles from the nearest single-track lane. I cut the engine a dozen yards from the grim little cottage and sat listening for five minutes. The biting wind from the high moors rustled the overgrown hedges, occasional birds sang. But there were no human sounds. Not even the distant thrum of traffic.

I got out of the jeep and had a look round. One end of the sheep shed had collapsed into a random pile of millstone grit, but what pleased me was that there was no sign of casual human visitations; no picnic remains, no corroding beer cans, no crumpled newspapers, no cigarette butts, no used condoms. I walked back to the house and let myself in.

It was little more than a two-up, two-down. Inside, it was very different from the cosy farmhouse I remembered. All the personal touches – photographs, ornaments, horse brasses, antiques – were gone, packed up in crates in storage, a very Yorkshire precaution. In a way, I was relieved; there was nothing here that could trigger off memories that would interfere with what I had to do. It was a blank tablet, with all humiliations, embarrassments and pain erased. Nothing of my past lurked to surprise me. The person I had been was absent.

I walked through the kitchen towards the pantry. The shelves were empty. God knows what Doris had done with her serried ranks of jams, pickles and home-made wines. Maybe she’d shipped them to New Zealand as a hedge against being fed alien food. I stood in the doorway, and stared at the floor. I could feel a foolish grin of relief spread across my face. My memory hadn’t let me down. There was a trapdoor in the floor. I squatted down and pulled the rusty iron ring. After a few seconds, the door swung back on creaking hinges. As I sniffed the air from the cellar, I grew more convinced that the gods were with me. I had feared it would be damp, fetid and stale. But instead, it was cool and fresh, slightly sweet.

I lit my camping gas lamp and carefully descended the flight of stone stairs. The lamp revealed a sizeable room, about twenty feet by thirty. The floor was flagged with stone slabs, and a broad stone bench ran the length of one wall. I held the lamp high and saw the solid beams of the roof. The lath and plaster ceiling was the only part of the cellar that showed any signs of disrepair. I could easily fix that with plasterboard, which would serve the double purpose of preventing any light escaping through the bare floorboards above. At right angles to the stone bench was a slop sink. I remembered the farm was served by its own spring. The tap was stiff, but when I finally managed to turn it, the water ran out pure and clear.

Near the stairs stood a scarred wooden workbench, complete with vices and G-clamps, Henry’s tools hanging in neat rows above. I sat on the stone bench and hugged myself. A few hours’ work was all that was needed to turn this into a dungeon far superior to anything the games programmers had ever come up with. For a start, I didn’t have to think about creating an in-built weakness so my adventurers could escape.

By the end of the week, coming out to the farm in my time off, I had completed the job. Nothing sophisticated; I’d fixed padlock and internal bolts to the trapdoor, I’d repaired the ceiling, and covered the walls in a couple of coats of whitewash. I wanted the place as light as possible to improve the quality of the video. I’d even run a spur off the ring main to provide me with electricity.

I’d thought long and hard before I’d decided how to punish Adam. Finally, I’d fixed on what the French call the chevalet, the Spanish escalero, the Germans the ladder, the Italians veglia and the poetic English ‘The Duke of Exeter’s Daughter’. The rack got its euphemistic name from the resourceful John Holland, Duke of Exeter and Earl of Huntingdon. After a successful career as a soldier, the duke became Constable of the Tower of London and somewhere around 1420 he introduced that splendid instrument of persuasion to these shores.

The earliest version consisted of an open rectangular frame raised on legs. The prisoner was laid underneath it, fastened by ropes round his wrists and ankles. At each corner, the ropes were attached to a windlass operated by a warder pulling on levers. This inelegant and labour-intensive device became more sophisticated over the years, ending up more like a table or a horizontal ladder, often incorporating a spiked roller in the middle so that, as the prisoner’s body moved, his back was shredded on the spikes. Pulley systems had also been designed which linked all four ropes together, making it possible for the machine to be used by one person alone.

Fortunately, those who have applied punishment through the ages have been thorough in their descriptions and drawing. I also had the photographs in the museum handbook to refer to, and with the assistance of a CAD program, I’d designed my very own rack. For the mechanism, I’d cannibalized an old-fashioned clothes wringer that I picked up in an antique shop. I’d also bought an old mahogany dining table in an auction. I took it straight up to the farm and dismembered it in the kitchen, admiring the craftsmanship that had gone into the solid timber. It took a couple of days to build the rack. All that remained was to test it.

Let the reader then figure to himself the pure frenzy of horror when in this hush of expectation, looking, and indeed, waiting for the unknown arm to strike once more, but not believing that any audacity could be equal to such an attempt as yet, whilst all eyes were watching… a second case of the same mysterious nature, a murder on the same exterminating plan, was perpetrated in the very same neighbourhood.

As soon as Brandon started the engine, the mobile phone mounted on the dashboard trilled. He grabbed the handset and barked, ‘Brandon.’ Tony could hear the computerized voice say, ‘You have messages. Please call 121. You have messages…’

Brandon took the phone from his ear, hit the keys and jammed it back again. This time, Tony couldn’t hear what was said. After a moment, Brandon dialled another number. ‘My secretary,’ he explained briefly. ‘Sorry about this… Hello, Martina? John. You were looking for me?’

A few seconds into the answer, Brandon squeezed his eyes shut, as if in pain. ‘Where?’ he asked, his voice dull. ‘OK, got it. I’ll be there within the half-hour. Who’s dealing?… Fine, thanks, Martina.’ Brandon opened his eyes and ended the call. He carefully replaced the handset and twisted in his seat to face Tony. ‘You wanted to know when you could start? How about now?’