The Cuckoo's Calling - Страница 21

“Yeah, I’ll be there,” he said; there was little he wanted to do less.

The call terminated, he returned to his computer and continued work. His notes from the Wilson and Kolovas-Jones interviews were soon completed, but a sense of frustration persisted. This was the first case that he had taken since leaving the army that required more than surveillance work, and it might have been designed to remind him daily that he had been stripped of all power and authority. Film producer Freddie Bestigui, the man who had been in closest proximity to Lula Landry at the time of her death, remained unreachable behind his faceless minions, and, in spite of John Bristow’s confident assertion that he would be able to persuade her to talk to Strike, there was not yet a secured interview with Tansy Bestigui.

With a faint sense of impotence, and with almost as much contempt for the occupation as Robin’s fiancé felt for it, Strike fought off his lowering sense of gloom by resorting to more internet searches connected with the case. He found Kieran Kolovas-Jones online: the driver had been telling the truth about the episode of The Bill in which he had had two lines (Gang Member Two…Kieran Kolovas-Jones). He had a theatrical agent, too, whose website featured a small photograph of Kieran, and a short list of credits including walk-on parts in East Enders and Casualty. Kieran’s photograph on the Execars home page was much larger. Here, he stood alone in a peaked hat and uniform, looking like a film star, evidently the handsomest driver on their books.

Evening shaded into night beyond the windows; while Tom Waits growled and moaned from the portable CD player in the corner, Strike chased the shadow of Lula Landry across cyberspace, occasionally adding to the notes he had already taken while speaking to Bristow, Wilson and Kolovas-Jones.

He could find no Facebook page for Landry, nor did she ever seem to have joined Twitter. Her refusal to feed her fans’ ravenous appetite for personal information seemed to have inspired others to fill the void. There were countless websites dedicated to the reproduction of her pictures, and to obsessive commentary on her life. If half of the information here was factual, Bristow had given Strike but a partial and sanitized version of his sister’s drive towards self-destruction, a tendency which seemed to have revealed itself first in early adolescence, when her adoptive father, Sir Alec Bristow, a genial-looking bearded man who had founded his own electronics company, Albris, had dropped dead of a heart attack. Lula had subsequently run away from two schools, and been expelled from a third, all of them expensive private establishments. She had slit her own wrist and been found in a pool of blood by a dormitory friend; she had lived rough, and been tracked to a squat by the police. A fan site called LulaMyInspirationForeva.com, run by a person of unknown sex, asserted that the model had briefly supported herself, during this time, as a prostitute.

Then had come sectioning under the Mental Health Act, the secure ward for young people with severe illnesses, and a diagnosis of bipolar disorder. Barely a year later, while shopping in a clothing store on Oxford Street with her mother, there had come the fairy-tale approach from a scout for a modeling agency.

Landry’s early photographs showed a sixteen-year-old with the face of Nefertiti, who managed to project to the lens an extraordinary combination of worldliness and vulnerability, with long thin legs like a giraffe’s and a jagged scar running down the inside of her left arm that fashion editors seemed to have found an interesting adjunct to her spectacular face, for it was sometimes given prominence in photographs. Lula’s extreme beauty was on the very edge of absurdity, and the charm for which she was celebrated (in both newspaper obituaries and hysterical blogs) sat alongside a reputation for sudden outbursts of temper and a dangerously short fuse. Press and public seemed to have both loved her, and loved loathing her. One female journalist found her “strangely sweet, possessed of an unexpected naiveté”; another, “at bottom, a calculating little diva, shrewd and tough.”

At nine o’clock Strike walked to Chinatown and bought himself a meal; then he returned to the office, swapped Tom Waits for Elbow, and searched out online accounts of Evan Duffield, the man who, by common consent, even that of Bristow, had not killed his girlfriend.

Until Kieran Kolovas-Jones had displayed professional jealousy, Strike could not have said why Duffield was famous. He now discovered that Duffield had been elevated from obscurity by his participation in a critically acclaimed independent film, in which he had played a character indistinguishable from himself: a heroin-addicted musician stealing to support his habit.

Duffield’s band had released a well-reviewed album on the back of their lead singer’s newfound fame, and split up in considerable acrimony around the time that he had met Lula. Like his girlfriend, Duffield was extraordinarily photogenic, even in the unretouched long-lens photographs of him sloping along a street in filthy clothes, even in those shots (and there were several) where he was lunging in fury at photographers. The conjunction of these two damaged and beautiful people seemed to have supercharged the fascination with both; each reflecting more interest on to the other, which rebounded on themselves; it was a kind of perpetual motion.

The death of his girlfriend had fixed Duffield more securely than ever in that firmament of the idolized, the vilified, the deified. A certain darkness, a fatalism, hung around him; both his most fervent admirers and his detractors seemed to take pleasure in the idea that he had one booted foot in the afterworld already; that there was an inevitability about his descent into despair and oblivion. He seemed to make a veritable parade of his frailties, and Strike lingered for some minutes over another of those tiny, jerky YouTube videos, in which Duffield, patently stoned, talked on and on, in the voice Kolovas-Jones had so accurately parodied, about dying being no more than checking out of the party, and making a confused case for there being little need to cry if you had to leave early.

On the night that Lula had died, according to a multitude of sources, Duffield had left the nightclub shortly after his girlfriend, wearing—and Strike found it hard to see this as anything other than deliberate showmanship—a wolf’s mask. His account of what he had got up to for the rest of the night might not have satisfied online conspiracy theorists, but the police seemed to have been convinced that he had had nothing to do with subsequent events at Kentigern Gardens.

Strike followed the speculative train of his own thoughts over the rough terrain of news sites and blogs. Here and there he stumbled upon pockets of feverish speculation, of theories about Landry’s death that mentioned clues the police had failed to follow up, and which seemed to have fed Bristow’s own conviction that there had been a murderer. LulaMyInspirationForeva had a long list of Unanswered Questions, which included, at number five, “Who called off the paps before she fell?”; at number nine, “Why did the men with the covered faces runnin away from her flat at 2 a.m. never come forward? Where are they and who wer they?”; and at number thirteen, “Why was luLa wearing a different outfit to the one she came home in when she fell off the balcony?”

Midnight found Strike drinking a can of lager and reading about the posthumous controversy that Bristow had mentioned, of which he had been vaguely aware while it unfolded, without being very interested. A furor had sprung up, a week after the inquest had returned a verdict of suicide, around the advertising shot for the wares of designer Guy Somé. It featured two models posing in a dirty alleyway, naked except for strategically placed handbags, scarves and jewels. Landry was perched on a dustbin, Ciara Porter sprawled on the ground. Both wore huge curving angel’s wings: Porter’s a swan-like white; Landry’s a greenish black fading to glossy bronze.

Strike stared at the picture for minutes, trying to analyze precisely why the dead girl’s face drew the eye so irresistibly, how she managed to dominate the picture. Somehow she made the incongruity, the staginess of it, believable; she really did look as though she had been slung from heaven because she was too venal, because she so coveted the accessories she was clutching to herself. Ciara Porter, in all her alabaster beauty, became nothing but a counterpoint; in her pallor and her passivity, she looked like a statue.

The designer, Guy Somé, had drawn much criticism upon himself, some of it vicious, for choosing to use the picture. Many people felt that he was capitalizing on Landry’s recent death, and sneered at the professions of deep affection for Landry that Somé’s spokesman made on his behalf. LulaMyInspirationForeva, however, asserted that Lula would have wanted the picture to be used; that she and Guy Somé had been bosom friends: Lula loved guy like a brother and would want him to pay this final tribute to her work and her beauty. This is an iconic shot that will live forever and will continue to keep Lula alive in the memories of we who loved her.

Strike drank the last of his lager and contemplated the final four words of this sentence. He had never been able to understand the assumption of intimacy fans felt with those they had never met. People had sometimes referred to his father as “Old Jonny” in his presence, beaming, as if they were talking about a mutual friend, repeating well-worn press stories and anecdotes as though they had been personally involved. A man in a pub in Trescothick had once said to Strike: “Fuck, I know your old man better than you do!” because he was able to name the session musician who had played on the Deadbeats’ biggest album, and whose tooth Rokeby had famously broken when he slapped the end of his saxophone in anger.