Val McDermid - Val McDermid 3-Book Thriller Collection - The Mermaids Singing, The Wire in the Blood, The Last Temptation

How can I begin to describe the experience? The physical reality was so much more overwhelming than photographs or videos or books had ever prepared me for. The first exhibit was a ladder rack, the accompanying card describing its function in loving detail in Italian and English. Shoulders would pop out of their sockets, hips and knees separate to the sound of rending cartilage and ligament, spines stretch out of alignment till vertebrae fell apart like beads from a broken string. ‘Victims,’ the card said laconically, ‘often measured between six and nine inches taller after the rack.’ Extraordinary minds the inquisitors had. Not satisfied with interrogating their heretics while they were alive and suffering, they had to seek further answers from their violated bodies.

The exhibition was a monument to the ingenuity of man. How could anyone not admire the minds that examined the human body so intimately that they could engineer such exquisite and finely calibrated suffering? With their relatively unsophisticated technology, those medieval brains devised systems of torture so refined that they are still in use today. It seems that the only improvement our modern post-industrial society has been able to come up with is the additional frisson provided by the application of electricity.

I moved through the rooms, savouring each and every toy, from the gross spikes of the Iron Maiden to the more subtle and elegant machinery of pears, those slender, segmented ovoids which were inserted into vagina or anus. Then, when the ratchet was turned, the segments separated and extended till the pear had metamorphosed into a strange flower, petals fringed with razor-sharp metal teeth. Then it was removed. Sometimes the victims survived, which was probably a crueller fate.

I noticed unease and horror on the faces and in the voices of some of my fellow visitors, but recognized it for the hypocrisy it was. Secretly, they were loving every minute of their pilgrimage, but respectability forbade any public display of their excitement. Only the children were honest in their ardent fascination. I would have happily bet that I was far from the only person in those cool, pastel rooms who felt the surge of sexual desire between their legs as we drank in the exhibits. I have often wondered how many holiday sexual encounters have been spiced and salted by the secret recollection of the torture museum.

Outside, in a sun-drenched courtyard, a skeleton crouched in a cage, bones clean as if stripped by vultures. Back in the days when the towers stood tall, these cages would have hung on the outer walls of San Gimignano, a message to inhabitants and strangers alike that this was a city where the law exacted a harsh penalty if it was not respected. I felt a strange kinship with those burghers. I too respect the need for punishment after betrayal.

Near the skeleton, an enormous metal-shod spoked wheel leaned against the wall. It would have looked perfectly at home in an agricultural museum. But the card fixed to the wall behind it explained a more imaginative function. Criminals were bound to the wheel. First, they were flayed w ith scourges that ripped the flesh from their bones, exposing their entrails to the eager crowd. Then, with iron bars, their bones were broken on the wheel. I found myself thinking of the tarot card, the wheel of fortune.

When I realized I was going to have to become a killer, the memory of the torture museum rose before me like a muse. I’ve always been good with my hands.

After that first time, part of me hoped I wouldn’t be forced to do it again. But I knew that if I had to, the next time it would be better. We learn from our mistakes the imperfections of our actions. And luckily, practice makes perfect.

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