Letters To My Daughter's Killer - [61]
I am frightened.
There is a knock at the door.
They are bringing him in.
Part Four
You sit on the chair opposite me. Your face is pale, drawn, your eyes ringed with shadow.
For a long time I cannot meet your gaze. I study my hands while Dr Meredith repeats the agreed protocol for the meeting. She will be with us throughout, guiding us.
As she finishes, I raise my eyes to look at you, and you glance away and back, away again. Rub your palms together.
Your discomfort is a balm.
‘Is there anything you wish to say now?’ Meredith asks me. ‘Before Jack begins?’
‘No.’
‘Jack?’ She invites you to start.
‘I’m sorry,’ you say. ‘I am so, so sorry.’
For what? I think. Say it, say it. What you’ve done. I need it spelled out. I need it in letters ten feet tall, lit in neon. I need it carved in granite. I need it broadcast from the rooftops. I need to hear it.
‘Please go on,’ Meredith says.
‘I killed Lizzie, I took her life, and I am so sorry. I’m sorry I did it, and I’m sorry I lied about it. I loved her so much.’ Your voice is small, shaky.
I hold myself rigid, desperate not to collapse, to stay strong enough to hear all I’ve come to hear, to learn answers to all my questions.
‘Ruth, is there anything you want to say?’ Meredith asks me.
‘Why did you lie?’
You blow out a breath, knuckle your fists together. ‘I didn’t want to end up here,’ you say. ‘I didn’t want to lose Florence.’
I think of her astride your shoulders, curled in your arms that awful night, clinging to your legs and screaming at the police, leaping at the sight of you at the funeral.
‘I was scared,’ you add after a pause.
In the silence I can hear Meredith breathing, hear the click as you swallow.
‘Why have you confessed now?’ I say. And as I speak, I am aware that I’m putting off the moment when I hear the full unvarnished truth, because I am frightened.
You begin to speak. ‘It was eating away at me. I got very depressed, it was destroying me. I tried not to think about it but I couldn’t stop. It got worse. And, erm… I started thinking about… suicide. A breakdown of sorts. So… erm…’ You take a deep breath, readying yourself to talk.
Fear rises in me like a tornado, swirling black, devouring me, and I start to my feet. Close to fainting, my head prickling, eyes awash with dancing dots. ‘I can’t do this, I can’t-’
‘We’ll take a break,’ Meredith says. ‘You don’t have to do anything you don’t wish to. We can leave at any time. Let’s go next door for a moment.’
We leave you and go through to an adjacent space. My teeth are chattering in my head. I can smell Lizzie’s blood; the shock feels fresh, my heart bruised and aching.
‘Breathe,’ Meredith says. ‘Slow, steady. Take your time.’
She does not pressure me, nor rush me.
Should I go? Should I leave and try again another time? Would that be any easier? If I go now, will I ever come back? Ever know?
Oh Lizzie.
‘I want to carry on,’ I say.
Meredith nods.
We go back in.
Your face is wet. Your nose red. You have been weeping.
I am poised, on the tightrope, on the cliff edge, at the high point of the zip wire. ‘Tell me,’ I say. Plunging, tumbling, vertigo in my head.
‘That day,’ you clear your throat, ‘it had been difficult. We were struggling money-wise, we were having to take a break from the mortgage. We’d been shopping and then there was Lizzie’s haircut.’ You bite your cheek. I wait. ‘We had tea and put Florence to bed. Lizzie put Florence to bed,’ you amend. ‘I was angry, angry about everything, not having any work, the fact that Lizzie had spent over seventy pounds on her hair, but I hadn’t said anything to her yet.’
‘Why not?’ I interrupt.
You consider for a moment, then say, ‘Because I wanted to take it out on her. I wanted to hit her. I was winding up to it. I never saw it like that back then, but the course I’ve been doing, the anger management, that’s what I’ve learnt. I wanted to hit her.’
It is hard to hear.
‘She said she had something to tell me, she hoped I’d be happy.’ You shake your head several times. I can see the rise and fall of your chest, as if the words are pulsing to escape. ‘She was pregnant.’
You knew. Something flies loose inside me.
‘I said she’d have to get rid of it. We could barely feed and clothe Florence, let alone another child. We started arguing. She was saying that I could find some other work, office work, temping or a call centre, that we’d manage. She wouldn’t listen to me.’
I know what’s coming, can feel the vibrations underfoot, sense it in the way every hair on my body rises.
‘Did she shout at you?’ I say. The need for the tiniest specific, accurate detail is acute. I want it all pinned down, to the nth degree.
‘No, she knew not to shout.’
A pang in my heart.
‘You’d hit her before?’
‘Yes,’ you say simply, your mouth working.
‘How many times?’
‘I don’t know, I’m sorry.’
‘How often, then?’ I say.
‘Three or four times a year.’
I hate you. Why could she never tell me? ‘You hit her when she was expecting Florence, and the summer before she died, like Rebecca said?’
‘Yes.’
‘Did you use a weapon before?’
‘Sometimes. Not the poker.’ Your voice tight.
1960, Manchester. Three young Catholic women find themselves pregnant and unmarried. In these pre-Pill days, there is only one acceptable course of action: adoption. So Megan, Caroline and Joan meet up in St Ann's Home for Unmarried Mothers to await the births of their babies. Three little girls are born, and placed with their adoptive families. Trio follows the lives of these mothers and daughters over the ensuing years.
"A painfully honest exploration of an ordinary family under stress… A stunning piece of work." – Ann CleevesFour bystanders in the wrong place at the wrong time. Witnesses to the shocking shooting of a teenage boy. A moment that changes their lives forever. Fiona, a midwife, is plagued by panic attacks and unable to work. Has she the strength to testify? Mike, a delivery driver and family man, faces an impossible decision when his frightened wife forces him to choose – us or the court case. Cheryl, a single-mother, doesn't want her child to grow up in the same climate of fear.
Single mother and private eye, Sal Kilkenny, has two very frightened clients on her hands. One, young mother Debbie Gosforth, is a victim; the other, Luke Wallace, is afraid he is a murderer. While Sal tries to protect Debbie from a stalker, she has to investigate the murder of Luke's best friend.
The fourth Blue Murder novel written by the creator of the hit ITV police drama starring Caroline Quentin as DCI Janine Lewis.A well-respected family GP is found shot dead outside his surgery; who could possibly want to kill him? As DCI Janine Lewis and her team investigate they uncover stories of loyalty, love, deception, betrayal and revenge.Praise for the Blue Murder books'Complex and satisfying in its handling of Lewis's agonised attempts to be both a good cop and a good mother.' The Sunday Times'Uncluttered and finely detailed prose.' Birmingham Post'Beautifully realised little snapshots of the different characters' lives… Compelling stuff.' Sherlock Magazine'A swift, satisfying read.' City Life'Precise and detailed delineation of contemporary family relationships.' Tangled Web'Lewis seems set to become another very popular string to Staincliffe's bow as one of the leading English murder writers.' Manchester Metro'Pace and plenty of human interest.' Publishing News'Blending the warmth of family life with the demands of a police investigation.'Manchester Evening News'Juggling work and family is a challenge of modern life and encountering realistically portrayed women with family responsibilities is a pleasure.
Your husband, your family, your freedom. What would you sacrifice for love? A love story, a modern nightmare and an honest and incisive portrayal of a woman who honours her husband's wish to die and finds herself in the dock for murder.When Deborah reluctantly helps her beloved husband Neil end his life and conceals the truth, she is charged with murder. As the trial unfolds and her daughter Sophie testifies against her, Deborah, still reeling with grief, fights to defend her actions. Twelve jurors hold her fate in their hands, if found guilty she will serve a life sentence.
From the author of LOOKING FOR TROUBLE, a further crime novel featuring private investigator Sal Kilkenny. When a man is distraught at his wife's apparent infidelity, he enlists the help of Sal to confirm his suspicions, only to find himself a widower soon afterwards. From there Sal's other case also begins to take a disturbing and violent turn.
В порыве гнева гражданин Щегодубцев мог нанести смертельную рану собственной жене, но он вряд ли бы поднял руку на трёхлетнего сына и тем самым подверг его мучительной смерти. Никто не мог и предположить, что расследование данного преступления приведёт к весьма неожиданному результату.
Предать жену и детей ради любовницы, конечно, несложно. Проблема заключается в том, как жить дальше? Да и можно ли дальнейшее существование назвать полноценной, нормальной жизнью?…
Будущее Джимми Кьюсака, талантливого молодого финансиста и основателя преуспевающего хедж-фонда «Кьюсак Кэпитал», рисовалось безоблачным. Однако грянул финансовый кризис 2008 года, и его дело потерпело крах. Дошло до того, что Джимми нечем стало выплачивать ипотеку за свою нью-йоркскую квартиру. Чтобы вылезти из долговой ямы и обеспечить более-менее приличную жизнь своей семье, Кьюсак пошел на работу в хедж-фонд «ЛиУэлл Кэпитал». Поговаривали, что благодаря финансовому гению его управляющего клиенты фонда «никогда не теряют свои деньги».
Очнувшись на полу в луже крови, Роузи Руссо из Бронкса никак не могла вспомнить — как она оказалась на полу номера мотеля в Нью-Джерси в обнимку с мертвецом?
Действие романа происходит в нулевых или конце девяностых годов. В книге рассказывается о расследовании убийства известного московского ювелира и его жены. В связи с вступлением наследника в права наследства активизируются люди, считающие себя обделенными. Совершено еще два убийства. В центре всех событий каким-то образом оказывается соседка покойных – молодой врач Наталья Голицына. Расследование всех убийств – дело чести майора Пронина, который считает Наталью не причастной к преступлению. Параллельно в романе прослеживается несколько линий – быт отделения реанимации, ювелирное дело, воспоминания о прошедших годах и, конечно, любовь.
Егор Кремнев — специальный агент российской разведки. Во время секретного боевого задания в Аргентине, которое обещало быть простым и безопасным, он потерял всех своих товарищей.Но в его руках оказался секретарь беглого олигарха Соркина — Михаил Шеринг. У Шеринга есть секретные бумаги, за которыми охотится не только российская разведка, но и могущественный преступный синдикат Запада. Теперь Кремневу предстоит сложная задача — доставить Шеринга в Россию. Он намерен сделать это в одиночку, не прибегая к помощи коллег.