Phil Rickman - Crybbe

'Unless they find the gun.' Powys switched on a green-shaded table-lamp. Rachel drew the curtains against the night and the rain and the river.

Fay said, if anybody had any suspicions, we'd have heard from the police by now. All the same, Jack Preece…'

'His father,' Powys said.

'Yes. Jack Preece knows. I could see it in his eyes when we were down by the river, with the body.'

'Knows what?'

'I think he knows Jonathon had gone out to shoot Arnold.'

Rachel sat down on the sofa. 'What makes you…?'

'Just a minute. Hang on.' Powys stood up. 'You say Jonathon had gone out to shoot Arnold. You're saying he'd deliberately targeted Arnold?'

Fay nodded.

'Do I get the feeling there's a history to this?'

Fay swallowed, 'If I tell you this, you're going to switch to small talk for a few minutes and then look for an excuse to get rid of me. It's so weird.'

'Fay.' Powys spread his arms. 'I'm the bloke who wrote The Old Golden Land. Nothing's too weird.'

There was a longish silence. Then the green-shaded table-lamp went out.

'Bugger,' Rachel said.

'OK,' Fay said slowly. 'You can't see my face now, and I won't be able to see the incredulity on yours.'

She took a long breath. She told them about dogs in Crybbe.

'How long have you known this?' Powys asked.

'Only a day or so. I should be doing a story on it, shouldn't I? A town with no dogs' Jesus, it's not common, is it? But life here is so much like a bad dream, I'm sure if I sold it to the papers, when all the reporters arrived to check it out, there'd be dogs everywhere, shelves full of Chum at the grocer's, poop-scoops at the ironmonger's, posters for the Crybbe and District Annual Dog Show…'

She was glad they couldn't see the helpless tears in her eyes.

'I can't trust myself here,' Fay said, fighting to keep the tears out of her voice, I can't trust myself to perceive anything correctly. Too much has happened.'

'Have you thought about why it could be?' Powys asked, a soft, accepting voice in the darkness. 'Why no dogs?'

'Sure I've thought about it – in between thinking about my dad going bonkers, about holding on to my job, about somebody breaking in and smashing up my tape-machine, about being arrested for manslaughter, about living with a gho… about tons of things. I'm sorry, I'm not very rational tonight.

'So what you're saying is' – Rachel's very rational voice, 'that, because you wouldn't get rid of Arnold, Jonathon Preece deliberately set out to shoot him?'

'I had a phone call. An anonymous call. Get rid of him this weekend, or…'

'Or he'd be shot?'

'There was no specified threat. Just a warning. I think Jack Preece was the caller. Therefore it seems likely he sent Jonathon out with the gun.'

She heard Powys fumbling with the stove and its iron door was flung wide, letting a stuttering red and yellow firelight into the room.

His face looked much younger in the firelight. 'If this is right about no dogs – I'm sorry, Fay, if you say there are no dogs, I believe you – we could be looking at the key to something here.'

'You're the expert,' Fay said.

'There aren't any experts. This is the one area in which nobody's an expert.'

'If all dogs howl at the curfew,' Rachel said logically, 'why don't they just get rid of the curfew? It's not as if it's a major tourist attraction. Not as if they even draw attention to it. It just happens, it's just continued, without much being said. OK there's this story about the legacy of land to the Preeces, but is anybody really going to take that away if the curfew stops?'

'I don't think for one minute,' said Powys, 'that that's the real reason for the curfew.'

Fay sat up, interested. 'So what is the real reason?'

'If we knew that we'd know the secret of Crybbe.'

'You think there's something to know? You think there's good reason why the place is as miserable as sin?"

'There's something. Fay. how did you come to get Henry's dog. I mean, did you know him well?'

'Hardly at all. I'd done an interview with him on the day he died.'

'That's interesting. What sort of an interview? What was it about?'

'Er… dowsing. I wanted to know what he was doing in Crybbe, but it was obvious he didn't want to talk about that, so… Anyway, it was never used.'

'Have you still got the tape?'

'I imagine so. If you want to hear it, come down to the studio sometime. Up the covered alley behind the Cock.'

'Tomorrow morning?'

'Nine o'clock?'

'Fine.'

'And about Arnold, I got him from the police because it was obvious nobody else was going to. He was howling away in full daylight, and I'm pretty sure now that if I hadn't taken him, he'd have been dead. They'd have killed him. Before nightfall. Before the curfew.'

The torchlight shone in Jocasta's eyes.

'It's me,' Guy said. 'Look…'

'Yes, I know. Come here, I'm cold.'

'I haven't been,' said Guy. 'I couldn't go.'

'I don't understand – you've got the torch.'

'Jocasta,' Guy hissed urgently, closing the drawing-room door quietly behind him. 'For Christ's sake, why didn't you tell me we weren't alone?'

Jocasta felt very cold. She began to tremble, crawled to the Aga and scrabbled for her dress.

'Who is he?' Guy demanded. She couldn't see him, only the torch. Is he your father?'

Jocasta tried to speak and couldn't. She tried to stand up, tried to step into her dress, got her legs tangled, fell back on the rug.

'I waited,' Guy said. 'But he didn't come out.'

Jocasta, squatting on the rug in the torch circle, struggled vainly to zip up her dress. No eager fingers to help her now.

'What the hell's going on, Jocasta?'

She found her voice, but didn't recognize it. 'My father,' she said slowly, 'is in Chiswick. My husband, Hereward, is somewhere in Somerset. There is nobody here. Nobody here but us, Guy.'

A log shifted in the grate, sending up a yellow spark-shower, like a cheap firework.

'Then who the fuck was that old man in the bathroom? Having a shave, for crying out loud, with a… with a…' His voice faltered. 'With a cut-throat razor.'

The improbability of the scenario seemed to occur to him at last.

'How could I see him? How could I see him when all the lights

…?'

Guy's voice went quiet. 'He was a strange kind of yellow,' he said unsteadily. 'A very feeble shade of yellow.'

The torchlight wavered as he advanced on the sofa. 'Where are my clothes? I'm getting out of here.'

'No!' Jocasta leapt at him, clutching the arm which held the torch. He dropped it. It lay on the floor, its beam directed into the fireplace. The logs looked dead and grey in the strong, white light.

'Don't go,' Jocasta implored. 'You can't go. You can't leave me. For God's sake, don't leave me here with… with…'

The following morning, Sunday, just before 9 a.m., there was a sudden burst of sunlight, a splash of dripping yellow in a washed-out, watercolour sky.

The light looked to be directly over the Tump, the trees on its sides and summit massing menacingly around the watery orb. It was, Rachel thought, as if a green-gloved hand had reached out from the foliage, snatched the emergent sun and crunched it like an egg.

'I think we should call the police,' she said.

'Why?' said Humble. 'Whoever done it saved us a job.'

The Tump squatted under the sun, fat and smug. You could almost think the Tump was the culprit – as if the great mound had taken a deep breath, pulled in its girth and then let go, bellying out and crumbling the wall before it.

Then Rachel had seen the bulldozer, still wedged in the rubble.

'And there's Gomer Parry,' she said. 'What's he going to say?'

'Proves him wrong, dunnit? He reckoned the machine wouldn't go through the wall.'