The Crossing Places

  The Crossing Places

  Elly Griffiths

  When she's not digging up bones or other ancient objects, quirky, tart-tongued archaeologist Ruth Galloway lives happily alone in a remote area called Saltmarsh near Norfolk, land that was sacred to its Iron Age inhabitants – not quite earth, not quite sea.

  When a child's bones are found on a desolate beach nearby, Detective Chief Inspector Harry Nelson calls Galloway for help. Nelson thinks he has found the remains of Lucy Downey, a little girl who went missing ten years ago. Since her disappearance he has been receiving bizarre letters about her, letters with references to ritual and sacrifice.

  The bones actually turn out to be two thousand years old, but Ruth is soon drawn into the Lucy Downey case and into the mind of the letter writer, who seems to have both archaeological knowledge and eerie psychic powers. Then another child goes missing and the hunt is on to find her. As the letter writer moves closer and the windswept Norfolk landscape exerts its power, Ruth finds herself in completely new territory – and in serious danger.

  THE CROSSING PLACES marks the beginning of a captivating new crime series featuring an irresistible heroine.

  Elly Griffiths

  The Crossing Places

  The first book in the Ruth Galloway Mystery series, 2009

  This book is a work of fiction. Names, characters, businesses, organizations, places and events are either the product of the author's imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events or locales is entirely coincidental.

  For Marge Bertrams

  PROLOGUE

  They wait for the tide and set out at first light.

  It has rained all night and in the morning the ground is seething gently, the mist rising up to join the overhanging clouds. Nelson calls for Ruth in an unmarked police car.

  He sits beside the driver and Ruth is in the back, like a passenger in a minicab. They drive in silence to the car park near where the bones were first found. As they drive along the Saltmarsh road, the only sounds are the sudden, staccato crackle of the police radio and the driver's heavy, cold-clogged breathing. Nelson says nothing. There is nothing to say.

  They get out of the car and walk across the rain-sodden grass towards the marsh. The wind is whispering through the reeds, and here and there they see glimpses of still, sullen water reflecting the grey sky. At the edge of the marshland Ruth stops, looking for the first sunken post, the twisting shingle path that leads through the treacherous water and out to the mudflats. When she finds it, half-submerged by brackish water, she sets out without looking back.

  Silently, they cross the marshes. As they get nearer the sea, the mist disperses and the sun starts to filter through the clouds. At the henge circle, the tide is out and the sand glitters in the early morning light. Ruth kneels on the ground as she saw Erik doing all those years ago. Gently, she stirs the quivering mud with her trowel.

  Suddenly everything is quiet; even the seabirds stop their mad skirling and calling up above. Or maybe they are still there and she just doesn't hear them. In the background she can hear Nelson breathing hard but Ruth herself feels strangely calm. Even when she sees it, the tiny arm still wearing the christening bracelet, even then she feels nothing.

  She had known what she was going to find.

  CHAPTER 1

  Waking is like rising from the dead. The slow climb out of sleep, shapes appearing out of blackness, the alarm clock ringing like the last trump. Ruth flings out an arm and sends the alarm crashing to the floor, where it carries on ringing reproachfully. Groaning, she levers herself upright and pulls up the blind. Still dark. It's just not right, she tells herself, wincing as her feet touch the cold floorboards.

  Neolithic man would have gone to sleep when the sun set and woken when it rose. What makes us think this is the right way round? Falling asleep on the sofa during Newsnight, then dragging herself upstairs to lie sleepless over a Rebus book, listen to the World Service on the radio, count Iron Age burial sites to make herself sleep and now this; waking in the darkness feeling like death. It just wasn't right somehow.

  In the shower, the water unglues her eyes and sends her hair streaming down her back. This is baptism, if you like.

  Ruth's parents are Born Again Christians and are fans of Full Immersion For Adults (capitals obligatory). Ruth can quite see the attraction, apart from the slight problem of not believing in God. Still, her parents are Praying For Her (capitals again), which should be a comfort but somehow isn't.

  Ruth rubs herself vigorously with a towel and stares unseeingly into the steamy mirror. She knows what she will see and the knowledge is no more comforting than her parents' prayers. Shoulder-length brown hair, blue eyes, pale skin – and however she stands on the scales, which are at present banished to the broom cupboard she weighs twelve and a half stone. She sighs (I am not defined by my weight, fat is a state of mind) and squeezes toothpaste onto her brush. She has a very beautiful smile, but she isn't smiling now and so this too is low on the list of comforts.

  Clean, damp-footed, she pads back into the bedroom.

  She has lectures today so will have to dress slightly more formally than usual. Black trousers, black shapeless top.

  She hardly looks as she selects the clothes. She likes colour and fabric; in fact she has quite a weakness for sequins, bugle beads and diamante. You wouldn't know this from her wardrobe though. A dour row of dark trousers and loose, dark jackets. The drawers in her pine dressing table are full of black jumpers, long cardigans and opaque tights. She used to wear jeans until she hit size sixteen and now favours cords, black, of course.

  Jeans are too young for her anyhow. She will be forty next year.

  Dressed, she negotiates the stairs. The tiny cottage has very steep stairs, more like a ladder than anything else. 'I'll never be able to manage those' her mother had said on her one and only visit. Who's asking you to, Ruth had replied silently. Her parents had stayed at the local B and B as Ruth has only one bedroom; going upstairs was strictly unnecessary (there is a downstairs loo but it is by the kitchen, which her mother considers unsanitary). The stairs lead directly into the sitting room: sanded wooden floor, comfortable faded sofa, large flat-screen TV, books covering every available surface. Archaeology books mostly but also murder mysteries, cookery books, travel guides, doctor-nurse romances. Ruth is nothing if not eclectic in her tastes. She has a particular fondness for children's books about ballet or horse-riding, neither of which she has ever tried.

  The kitchen barely has room for a fridge and a cooker but Ruth, despite the books, rarely cooks. Now she switches on the kettle and puts bread into the toaster, clicking on Radio 4 with a practised hand. Then she collects her lecture notes and sits at the table by the front window. Her favourite place. Beyond her front garden with its windblown grass and broken blue fence there is nothingness. Just miles and miles of marshland, spotted with stunted gorse bushes and criss-crossed with small, treacherous streams. Sometimes, at this time of year, you see great flocks of wild geese wheeling across the sky, their feathers turning pink in the rays of the rising sun.

  But today, on this grey winter morning, there is not a living creature as far as the eye can see. Everything is pale and washed out, grey-green merging to grey-white as the marsh meets the sky. Far off is the sea, a line of darker grey, seagulls riding in on the waves. It is utterly desolate and Ruth has absolutely no idea why she loves it so much.

  She eats her toast and drinks her tea (she prefers coffee but is saving herself for a proper espresso at the university).

  As she does so, she leafs through her lecture notes, originally typewritten but now scribbled over with a palimpsest of additional notes in different coloured pens. 'Gender
and Prehistoric Technology', 'Excavating Artefacts', 'Life and Death in the Mesolithic', 'The Role of Animal Bone in Excavations'. Although it is only early November, the Christmas term will soon be over and this will be her last week of lectures. Briefly, she conjures up the faces of her students: earnest, hard-working, slightly dull. She only teaches postgraduates these days and rather misses the casual, hungover good humour of the undergraduates. Her students are so keen, waylaying her after lectures to talk about Lindow Man and Boxgrove Man and whether women really would have played a significant role in prehistoric society. Look around you, she wants to shout, we don't always play a significant role in this society. Why do you think a gang of grunting hunter-gatherers would have been any more enlightened than we?

  Thought for the Day seeps into her unconscious, reminding her that it is time to leave. 'In some ways, God is like an iPod…' She puts her plate and cup in the sink and leaves down food for her cats, Sparky and Flint. As she does so, she answers the ever-present sardonic interviewer in her head. 'OK, I'm a single, overweight woman on my own and I have cats. What's the big deal? And, OK, sometimes I do speak to them but I don't imagine that they answer back and I don't pretend that I'm any more to them than a convenient food dispenser.' Right on cue, Flint, a large ginger Tom, squeezes himself through the cat flap and fixes her with an unblinking, golden stare.

  'Does God feature on our Recently Played list or do we sometimes have to press Shuffle?'

  Ruth strokes Flint and goes back into the sitting room to put her papers into her rucksack. She winds a red scarf (her only concession to colour: even fat people can buy scarves) round her neck and puts on her anorak. Then she turns out the lights and leaves the cottage.

  Ruth's cottage is one in a line of three on the edge of the Saltmarsh. One is occupied by the warden of the bird sanctuary, the other by weekenders who come down in summer, have lots of toxic barbecues and park their 4 x 4 in front of Ruth's view. The road is frequently flooded in spring and autumn and often impassable by midwinter.

  'Why don't you live somewhere more convenient?' her colleagues ask. 'There are some lovely properties in King's Lynn, or even Blakeney if you want to be near to nature.' Ruth can't explain, even to herself, how a girl born and brought up in South London can feel such a pull to these inhospitable marshlands, these desolate mudflats, this lonely, unrelenting view. It was research that first brought her to the Saltmarsh but she doesn't know herself what it is that makes her stay, in the face of so much opposition. 'I'm used to it,' is all she says.

  'Anyway the cats would hate to move.' And they laugh.

  Good old Ruth, devoted to her cats, child-substitutes of course, shame she never got married, she's really very pretty when she smiles.

  Today, though, the road is clear, with only the ever present wind blowing a thin line of salt onto her windscreen. She squirts water without noticing it, bumps slowly over the cattle grid and negotiates the twisting road that leads to the village. In summer the trees meet overhead, making this a mysterious green tunnel. But today the trees are mere skeletons, their bare arms stretching up to the sky. Ruth, driving slightly faster than is prudent, passes the four houses and boarded-up pub that constitute the village and takes the turning for King's Lynn. Her first lecture is at ten. She has plenty of time.

  Ruth teaches at the University of North Norfolk (UNN

  is the unprepossessing acronym), a new university just outside King's Lynn. She teaches archaeology, which is a new discipline there, specialising in forensic archaeology, which is newer still. Phil, her head of department, frequently jokes that there is nothing new about archaeology and Ruth always smiles dutifully. It is only a matter of time, she thinks, before Phil gets himself a bumper sticker. 'Archaeologists dig it.' 'You're never too old for an archaeologist.' Her special interest is bones. Why didn't the skeleton go to the ball? Because he had no body to dance with. She has heard them all but she still laughs every time.

  Last year her students bought her a life-size cut-out of Bones from Star Trek. He stands at the top of her stairs, terrifying the cats.

  On the radio someone is discussing life after death. Why do we feel the need to create a heaven? Is this a sign that there is one or just wishful thinking on a massive scale?

  Ruth's parents talk about heaven as if it is very familiar, a kind of cosmic shopping centre where they will know their way around and have free passes for the park-and-ride, and where Ruth will languish forever in the underground car park. Until she is Born Again, of course. Ruth prefers the Catholic heaven, remembered from student trips to Italy and Spain. Vast cloudy skies, incense and smoke, darkness and mystery. Ruth likes the Vast: paintings by John Martin, the Vatican, the Norfolk sky. Just as well, she thinks wryly as she negotiates the turn into the university grounds.

  The university consists of long, low buildings, linked by glass walkways. On grey mornings like this it looks inviting, the buttery light shining out across the myriad car parks, a row of dwarf lamps lighting the way to the Archaeology and Natural Sciences Building. Closer to, it looks less impressive. Though the building is only ten years old, cracks are appearing in the concrete facade, there is graffiti on the walls and a good third of the dwarf lamps don't work. Ruth hardly notices this, however, as she parks in her usual space and hauls out her heavy rucksack heavy because it is half-full of bones.

  Climbing the dank-smelling staircase to her office, she thinks about her first lecture: First Principles in Excavation. Although they are postgraduates, many of her students will have little or no first-hand experience of digs.

  Many are from overseas (the university needs the fees) and the frozen East Anglian earth will be quite a culture shock for them. This is why they won't do their first official dig until April.

  As she scrabbles for her key card in the corridor, she is aware of two people approaching her. One is Phil, the Head of Department, the other she doesn't recognise. He is tall and dark, with greying hair cut very short and there is something hard about him, something contained and slightly dangerous that makes her think that he can't be a student and certainly not a lecturer. She stands aside to let them pass but, to her surprise, Phil stops in front of her and speaks in a serious voice which nevertheless contains an ill-concealed edge of excitement.

  'Ruth. There's someone who wants to meet you.'

  A student after all, then. Ruth starts to paste a welcoming smile on her face but it is frozen by Phil's next words.

  'This is Detective Chief Inspector Harry Nelson. He wants to talk to you about a murder.'

  CHAPTER 2

  'Suspected murder,' Detective Chief Inspector Harry Nelson says quickly.

  'Yes, yes,' says Phil, just as quickly, shooting a look at Ruth as if to say, 'Look at me talking to a real detective.'

  Ruth keeps her face impassive.

  'This is Doctor Ruth Galloway,' says Phil. 'She's our forensics expert.'

  'Pleased to meet you,' says Nelson without smiling. He gestures towards the locked door of Ruth's office. 'Can we?'

  Ruth slides in her key card and pushes open the door.

  Her office is tiny, barely six feet across. One wall is entirely taken up by bookshelves, another by the door and a third by a grubby window with a view of an even grubbier ornamental lake. Ruth's desk squats against the fourth wall, with a framed poster of Indiana Jones – ironical, she always explains hastily – hanging over it. When she has tutorials the students frequently spill out into the corridor and she props the door open with her cat doorstop, a present from Peter. But now she slams the door shut and Phil and the detective stand there awkwardly, looking too big for the space. Nelson, in particular, seems to block out all the light as he stands, scowling, in front of the window. He looks too broad, too tall, too grown up for the room.

  'Please…' Ruth gestures to the chairs stacked by the door. Phil makes a great performance of giving Nelson his chair first, practically wiping away the dust with his jumper sleeve.

  Ruth squeezes behind her desk, w
hich gives her an illusion of security, of being in charge. This illusion is instantly shattered when Nelson leans back, crosses his legs and addresses her in a brisk monotone. He has a slight Northern accent, which only serves to make him sound more efficient, as if he hasn't time for the slow vowels of Norfolk.

  'We've found some bones,' he says. 'They seem to be a child's but they look old. I need to know how old.'

  Ruth is silent but Phil chips in eagerly. 'Where did you find them, Inspector?'

  'Near the bird sanctuary. Saltmarsh.'

  Phil looks at Ruth. 'But that's right where you…'

  'I know it,' Ruth cuts in. 'What makes you think the bones look old?'

  'They're brown, discoloured, but they look in good condition. I thought that was your area,' he says, suddenly aggressive.

  'It is,' says Ruth calmly. 'I assume that's why you're here?'

  'Well, would you be able to tell if they are modern or not?' asks Nelson, again sounding rather belligerent.

  'A recent discovery is usually obvious,' says Ruth, 'you can tell by appearance and surface. Older bones are more tricky. Sometimes it's almost impossible to tell fifty-year old bones from two-thousand-year-old. You need radiocarbon dating for that.'

  'Professor Galloway is an expert on bone preservation.'

  This is Phil again, anxious not to be left out. 'She's worked in Bosnia, on the war graves…'

  'Will you come and look?' Nelson interrupts.

  Ruth pretends to consider but, of course, she is utterly fascinated. Bones! On the Saltmarsh! Where she did that first unforgettable dig with Erik. It could be anything. It could be a find. It could be…

  'You suspect it's a murder?' she asks.

  Nelson looks uncomfortable for the first time. 'I'd rather not say,' he says heavily, 'not at the present time. Will you come and look?'