Rubbernecker Read online

  About the Book

  ‘The dead can’t speak to us,’ Professor Madoc had said.

  That was a lie.

  Because the body Patrick Fort is examining in anatomy class is trying to tell him all kinds of things.

  Life is already strange enough for the obsessive Patrick without having to solve a possible murder. Especially when no one else believes that a crime has even taken place. Now he must stay out of danger long enough to unravel the mystery – while he dissects his own evidence.

  But as Patrick learns one truth from a dead man, he discovers there have been many other lies rather closer to home . . .

  Contents

  Cover

  About the Book

  Title Page

  Dedication

  Part One

  Chapter 1

  Chapter 2

  Chapter 3

  Chapter 4

  Chapter 5

  Chapter 6

  Chapter 7

  Part Two

  Chapter 8

  Chapter 9

  Chapter 10

  Chapter 11

  Chapter 12

  Chapter 13

  Chapter 14

  Chapter 15

  Chapter 16

  Chapter 17

  Chapter 18

  Chapter 19

  Chapter 20

  Chapter 21

  Chapter 22

  Chapter 23

  Chapter 24

  Chapter 25

  Chapter 26

  Chapter 27

  Chapter 28

  Chapter 29

  Part Three

  Chapter 30

  Chapter 31

  Chapter 32

  Chapter 33

  Chapter 34

  Chapter 35

  Chapter 36

  Chapter 37

  Chapter 38

  Chapter 39

  Chapter 40

  Chapter 41

  Chapter 42

  Chapter 43

  Chapter 44

  Chapter 45

  Chapter 46

  Chapter 47

  Chapter 48

  Chapter 49

  Chapter 50

  Chapter 51

  Chapter 52

  Chapter 53

  Chapter 54

  Part Four

  Chapter 55

  Chapter 56

  Chapter 57

  Chapter 58

  Acknowledgements

  About the Author

  Also by Belinda Bauer

  Copyright

  To Simon, for all the early days.

  PART ONE

  1

  DYING IS NOT as easy as it looks in the movies.

  In the movies, a car skids on ice. It slews across the road, teeters on the edge of the cliff.

  It drops; it tumbles; the doors come off; it crumples and arcs, crumples and arcs – and finally stops against a tree, wheels up, like a smoking turtle. Other drivers squeal to a stop and leave their doors open as they rush to the precipice and stare in horror, while the car—

  The car pauses for dramatic effect.

  And then bursts into flames.

  The people step back, they shield their faces, they turn away.

  In the movies, they don’t even have to say it.

  In the movies, the driver is dead.

  I don’t remember much, but I do remember that the Pina Colada song was on the radio. You know the one. Pina Colada and getting caught in the rain.

  I hate that song; I always have.

  I wonder whether I’ll tell the police the truth about what happened. When I can. Will I have the guts to tell them I was trying to change channels when I hit the ice? Because of that song. Will they think it’s funny? Or will they shake their heads and charge me with dangerous driving?

  Either would be a relief, to be honest.

  I was on my way to pick up Lexi from Cardiff. She’d been away somewhere; I can’t remember where – maybe a school trip? – but I do remember how much I was looking forward to seeing her again. She often got the train home with her friends, but now the weather had turned and the trains weren’t running. Ice on the line or something – you know how many excuses train companies have for their shoddy reliability. When I was Lexi’s age you could set your watch by the trains; now you can hardly set your calendar with any confidence.

  Where was I?

  Oh, I was coming down the A470 with the old tips looming over me and the ground sloping sharp away into the valley below. It’s all grass and trees now, of course, because of the old Coal Board planting, but tips is what a lot of them used to be, however much we all called them mountains. Mountains don’t turn to black porridge and bury little children at their desks the way this very one did, all those years ago. I remember that, you see, and I remember the little Williams boy with the wonky eye, who came to rugby practice one week and not the next, and never again. But other memories are jumpy or not there at all.

  I do remember thinking, Whoops, you didn’t see THAT coming, Sam! And then hitting the barrier and wondering about the lie I’d have to tell to Alice to explain away the dent in the Focus. Only had it six months, and she’s always telling me I drive too fast. But before I could even think of a good lie, the car sort of jumped in the air and then all of a sudden I was the wrong side of the barrier, with not much between me and the River Taff but a two-hundred-foot drop.

  That drop came in four parts.

  The car hit the ground nose-first and the windscreen shattered into lace with a sound like squashing a giant beetle.

  Then came the silence while I flew like a happy lark.

  Then it hit again – all crashing metal, and the grass an inch from my nose. I tried to jerk my head away but I had no control, and I saw the damp tufts and the crystals of leftover ice, as big and sparkly as dinner plates.

  Then came more lovely silence, as I watched the dull snow-sky pass by in slow motion and wondered who would pick Lexi up now. We’ve only got the one car. Maybe she could stay the night with Debbie – she’s a nice girl.

  This time, when the car hit, I bit my cheek and tasted the iron of blood down my throat. The door came off and I watched my right arm flail close to the opening as we took off again – me and the car we bought together at Evans Halshaw in Merthyr. It was an ex-demonstrator so we got two grand off, but it still smelled new, and that’s the main thing, Alice said.

  She’s going to be so cross with me.

  I don’t remember coming down the fourth time, but I’m assuming we must have, or I wouldn’t be here – I’d be the first Ford Focus driver in space.

  With my luck, I probably wouldn’t even remember that.

  The traffic had slowed to a crawl and eighteen-year-old Patrick Fort could see the blue flashing lights up ahead.

  ‘Accident,’ said his mother.

  Patrick didn’t answer pointless statements. They both had eyes, didn’t they?

  He sighed and wished he were on his bicycle. No bother with jams then. But his mother had insisted on driving – even though Patrick didn’t like riding in cars – because he was in his good clothes for the interview. He was wearing the only shirt with a collar he owned, the grey flannel trousers that made his thighs itch, and the shoes that weren’t trainers.

  ‘I hope nobody’s hurt,’ she said. ‘Probably hit ice on the bend.’

  Patrick said nothing again. His mother often spoke like this – making redundant noise for her own edification, as if to prove to herself that she wasn’t deaf.

  They edged towards an impatient-looking policeman in DayGlo who was flapping an arm, ushering cars past in the open lane.

  Now they could see where a car had gone over the side. The dull silver crash barrier was stretched into a deep loop, as though it had tried to h
old on to the car for as long as possible, but had finally had to let it go with a bent sigh. A knot of firemen stood and looked over the edge of the precipice; Patrick supposed their training qualified them for that, at least.

  ‘Oh dear,’ murmured Sarah Fort. ‘Poor people.’

  The car ahead of them had stopped and Patrick could see all its occupants craning to the left.

  Rubberneckers. Desperate for a glimpse of death.

  The policeman shouted something at them and flapped his arm furiously to get them to drive on.

  Before his mother’s car could move again, Patrick opened his door and stepped out on to the tarmac.

  ‘Patrick!’

  He ignored her. The air outside the car was bracing, and the slope above him suddenly seemed more real – a looming hump of solid matter, covered with a yellow-red carpet of dead winter grass. He walked over to join the firemen.

  ‘Patrick!’

  Patrick leaned against what was left of the barrier and peered into the valley. A car lay, wheels turned up in death, wedged against a small stand of trees close to the riverbank. A trail of debris marked its path from the road – a door, a magazine, a length of twisted trim. The radio was still on in the stricken car, and Patrick could hear a song floating tinnily up the side of the valley. ‘In Dreams’ by Roy Orbison – 1963. Patrick didn’t care for music, but he never forgot a release date.

  ‘What happened?’ he said.

  The nearest fireman turned to him with a roll-up clamped in his lips. ‘Who are you?’

  ‘Is anyone in there?’ said Patrick.

  ‘Maybe. Get back in your car.’

  ‘Are they dead?’

  ‘What do you think?’

  ‘I can’t tell from here,’ shrugged Patrick. ‘Can you?’

  ‘Look, smart-arse, get going. We’re working.’

  Patrick frowned at his hand. ‘You’re smoking and staring at a car.’

  ‘Just bugger off home, will you!’

  ‘No need to swear.’

  ‘Piss off.’

  ‘Patrick!’ His mother appeared and took his elbow and said sorry to the fireman, even though she couldn’t have known why.

  Patrick took a last look. Nothing was moving down there. He wondered what things were like inside that car – still and twisted and bloody, and awash with Roy Orbison getting higher and higher like the torture of angels.

  He shook his mother’s hand off his arm, and she said sorry to him then. She was sorry about everything, always.

  They got back in the car and his mother continued driving – but much more slowly.

  2

  TRACY EVANS HAD imagined that the Cardiff neurological unit would give her plenty of time to catch up on her reading. All that quiet; all that stillness; all those comatose patients not vomiting into paper dishes, not peeing into cardboard bottles, not ringing those buzzers that made her feel like an effing air hostess – without the perks, or the prospect of marrying a pilot.

  She’d been looking forward to the lack of hassle, and to Rose in Bloom, the third in the Rose Mackenzie series. In the first, Rose Mackenzie had graduated from the orphanage, shy and beautiful and still a virgin, despite several titillating attempts on her virtue. In the second, she’d had her money and her heart stolen by the cad Dander Cole – only to be rescued from imminent ruin by Raft Ankers, her tall, dark and monosyllabically handsome guardian. Raft’s secret (and therefore, no doubt, tragic) past kept him from paying any but the most formal attention to her, of course, but Tracy knew what Rose could not yet see – that embers glowed in the depths of his unfathomable eyes, waiting to burst into flames of passion.

  The title alone of Rose in Bloom promised much in the way of conflagration, and twenty-four-year-old Tracy had filled the opening on Cardiff’s neurological unit with that very vow in mind. She’d imagined rows of sleeping patients, serene among the machines, and herself moving silently between them – more a nightwatchman than a nurse – or turning slow pages by the light of a single yellow lamp …

  The reality, however, had turned out to be quite annoyingly different, in ways Tracy had barely imagined, let alone encountered. A few patients were deep in comas – ostensibly asleep, motionless – but others were in a range of vegetative states. Tracy undertook all the usual nursing tasks – changing drips and catheters, sponge baths, administering medication and nutrition, and noting alterations in respiration or motion. But here there was also cream to be massaged into skin to keep it supple, guards to be raised on the beds of those patients who thrashed and flailed, and bedsores to be prevented on those who did not. There were grunts and moans and blinks and incoherent shouts to be translated into sane requests for water or a switch of TV channel. There were nappies to be changed and arses to be wiped clean of soupy orange excrement. Physios wrestled noisily with stiffening limbs and clawed hands. There were splints to be strapped around legs, and dead-weight bodies to be hoisted into wheelchairs, or on to tilt tables, where patients hung as if crucified – all in an attempt to keep them from contracting into crooked foetal balls from which there might be no return.

  Basically it was bedlam. Combined – for Tracy, at least – with a prickling fear that the dead-eyed patients were watching her, and biding their time …

  To cap it all, there was the ward initiation – a painful C-diff infection that had Tracy doubled over in the toilet half a dozen times a day, and left her literally and figuratively drained. The other nurses called it ‘the diff-shits’ and told her it wouldn’t be so bad the next time. Tracy vowed to learn by her mistake and to start applying now for other jobs, before the next time could ever become this time.

  In the meantime she learned that there were good coma patients and there were bad coma patients. A more experienced colleague, Jean, told her this in a way that let her know that such things were understood, and that it was OK to understand them, but not to talk openly about them.

  Good coma patients were quiet. They didn’t make noise; they didn’t lash out when you tried to help them. They didn’t get pneumonia and require a lot of extra attention, or pull out their feeding tubes and drips. Good coma patients had families who were polite and didn’t clutter the place up with bits from home, and who brought little gifts – bribes, really – for the nurses, in the hope that they would take good care of their loved ones in the long hours filled with their absence. There were always at least two boxes of chocolates open behind the nurses’ station; Tracy liked the nuts, and would lift up the top layers before they were finished to get at the hard centres below, before anyone else had a chance.

  It was also understood – by the nurses, at least – that good coma patients had been good people in their previous lives, too. They were here because of strokes brought on by overwork, car accidents that were not their fault, and falls from ladders while helping neighbours clear their guttering, or rescuing cats from trees. Good coma patients got their brows stroked and kind words in their ears, encouraging them to return to the world in one mental piece.

  Bad coma patients cried all night long, or choked on even the thinnest porridge, or gripped their bed guards and rattled them like the bars of an old cage. They shouted out and flailed, and sometimes connected with a fist or a foot. They soiled themselves into freshly changed nappies – apparently just for the hell of it – and got constant infections that required extra nursing all night long. Bad patients were here because of drug overdoses and speeding and drunken brawls outside pubs. Their families were demanding and mistrustful. Bad patients got pursed lips and brisk handling, and their restraints tightened ‘for their own good’.

  Nothing of this distinction was written down or discussed with doctors or families, but all the nurses knew the difference. When Jean first showed Tracy around the ward, she walked from bed to bed, filling Tracy’s head with biographies that were never to be rewritten or erased – or even verified as truthful.

  ‘This poor lad was going to buy his girlfriend an engagement ring when he was hit by a taxi
. Driver was on his phone, I’ll bet,’ said Jean. ‘The girl comes in after work and just cries. Every day for seven months. Sweet little thing says she still wants to marry him. Breaks your heart.’ She sighed and sounded sincere, so Tracy nodded in a way she hoped denoted that she, too, was a little bit heartbroken – even though she thought that if her (hypothetical) boyfriend were in a coma for more than a few weeks, she’d probably just cut her losses and move on, not stick around to watch him shit in his pants for the next fifty years.

  Jean was on to the next bed. ‘This one,’ she said with a brusque tug of the sheets over the chest of a middle-aged man, ‘fell off that bridge at the end of Queen Street. Drunk, most likely. Or running from the police. Shouldn’t have been on it in the first place; it’s a rail bridge, you know, not pedestrian.’

  Tracy did know. She herself had staggered under it many a Friday and Saturday night as she wove the mile from Evolution back to the house she shared with three other girls. People were always hanging over the parapet of the bridge with spray cans, or playing chicken with the trains as they left Queen Street station.

  ‘A right pain, this one,’ whispered Jean over another man. ‘Bawling and shouting. Sometimes in a foreign language, makes me think he has something to hide.’

  Tracy nodded, enthralled.

  ‘He has us all running about like headless chickens. Gets violent too.’

  ‘Really?’

  ‘Well,’ shrugged Jean, ‘he doesn’t mean to, I suppose, but he can knock things about. He’s very strong. He broke Angie’s finger.’ She nodded at a pretty, dark-haired nurse with white tape on her left hand, then looked back at Tracy seriously.

  ‘So you take care.’

  ‘I will.’

  ‘And the families,’ said Jean, with a look that said that Tracy would soon find out for herself. ‘You mustn’t let them bully you. You’re the professional, not them. Remember that.’

  ‘I will,’ said Tracy firmly, and looked around the unit. Two wards, twelve beds – ten of them containing people who were neither dead nor alive; who had bought tickets to the afterlife and then had somehow had their journeys interrupted, and who were even now debating whether or not to go on, or to turn around and make their way back home.