C. Williams - Flowers for the Dead

Published by ONE MORE CHAPTER

A Division of HarperCollins Publishers Ltd

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London SE1 9GF

www.harpercollins.co.uk

First published in Great Britain by HarperCollins Publishers 2019

Copyright © C.K. Williams 2019

Cover Design © HarperCollins Publishers Ltd 2019

Cover Photographs © Shutterstock.com

C.K. Williams asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this ebook on screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Ebook Edition © November 2019; ISBN: 9780008354398

Version: 2019-09-23

for Thérèse

and for my parents

No coward soul is mine

Emily Brontë

CONTENTS

Cover

Title Page Flowers for the Dead C.K. Williams

Copyright

Dedication

Epigraph

The doorbell rings …

I. LIES

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

II. TRUTH

Chapter 9

III. JUSTICE

Chapter 10

Acknowledgements

About the Publisher

The doorbell rings.

It sounds shrill in the small attic flat. The walls are slanted, lights turned off, the floral wallpaper barely visible in the dark. A small kitchen merges into a sitting room, an old dining table stuffed into the corner. The TV is on, but there is no one in sight. A pot of begonias is sitting on the windowsill. The flowers are drooping their heads. Outside, streetlamps cut stark shadows into the dark London street.

The doorbell rings again. Urgently, it resounds through the empty flat.

The bedroom door opens. A woman comes stumbling out. She must be in her thirties. She is dressed in floral sweatpants and a dressing gown, a little threadbare, the wool as dark as her eyes. Pulling it around herself, she stares at the front door. A shiver runs through her body, from the tip of her black hair to the soles of her bare feet, peeking out from the dressing gown. For a moment, she looks inexplicably frightened.

Then she takes a deep breath. Her lips are moving, although no words are coming out. You can do this.

Glancing at the windowsill for a moment, she then focuses on the door, rubbing the palm of her hand. It seems to be cramping. Her lips are still moving as she walks up to the door. Hesitantly, she presses the buzzer.

Through the peephole, the woman stares out into the hallway, cast in darkness. Someone is coming up the stairs. She can hear their steps ringing through the stairwell. Their laboured breaths. Their heavy boots.

The woman freezes. A drop of sweat runs down her neck, caressing her bare skin.

A dark figure comes into view. Distorted by the peephole. A man. Tall. Broad-shouldered, his face in the shadows. Breathing heavily. Raising a hand.

She takes a panicked step back.

The man’s hand finds a light-switch. Suddenly, the hallway is flooded with light.

He is wearing a delivery uniform. Carrying a parcel.

The woman lets out a breath, relief softening all of her features. Just a delivery man. Her muscles relax as she opens the door and steps out onto the landing. ‘Thank you for coming all the way up here,’ she says. Her voice is melodious if soft. She gives him a shy smile, which he returns. She is closer to forty than thirty, but men still like it when she smiles.

‘All right,’ he says. He makes her sign for the parcel, then hands it over to her. They say goodbye as strangers do. She watches him retrace his steps, making sure he’s left, then retreats into her flat.

The parcel is small, no bigger than a shoebox. She sets it down on the dining table, making the wood creak, and leans against the windowsill. Absent-mindedly, she feels the soil of her begonias, making sure they want for nothing as she looks at the parcel, careful curiosity written all over her face.

Until she sees where the parcel is from.

The moment she notices the address, her pulse quickens. It’s come all the way from Yorkshire.

The woman takes a step back. Her eyes race to the kitchen area, to the rubbish, the recycling bin. She could simply bury it deep, under carrot peel and the remnants of dead flowers. Her hands are shaking as she reaches for the parcel. Touches it. Hesitates. Looks back at the kitchen.

Again, her lips are forming words. You can do this.

She picks up the parcel and moves into the kitchen. For a moment, she is overwhelmed by an absurd urge to shake it. Hold it up to her ear and listen.

Then she turns away, forcefully, and reaches for a pair of scissors. Carefully, she cuts it open.

Inside the parcel sit only a few harmless items. Trinkets, really. A copper thimble, an old drawing of a wildflower, a few souvenir magnets from mountain villages all over Europe. A picture frame of an older couple, smiling into the camera, bearing an obvious resemblance to the woman. A letter sits on top.

As soon as the woman lifts up the letter, she sees it.

Underneath the paper lies a flower. Pressed and dried. Shaped like a bell, dark petals, black berries.

The woman recoils. Her breath is coming in hard, short bursts. A memory sears through her, like a crack in the walls of a dusty room. Sweat on her skin. Saliva running down her neck. A shout ripped from her throat and the taste of leather on her tongue.

She takes another step back. Her mouth is forming the words you can do this, you can do this , but the memories keep driving her back. Back until her body hits the wall. She digs her nails in, tries not to slide down. To keep herself upright. You have to fight it. But there is no way she can fight this. The dark berries, the purple petals.

The woman knows what sort of flower this is.

Her hands begin cramping. The soles of her bare feet. Her chest, her lungs, her windpipe. She reaches for her throat, the clammy skin as she tries to push the memories away.

This is deadly nightshade.