Nothing, he thought as he walked back to his office, was ever as straightforward as it seemed.
It was a sentiment Fiona would probably have agreed with. She had ploughed through the murder file on Drew Shand, which had proved to be a singularly unproductive activity from the point of view of developing strong points of linkage. Among the few things she could say so far was that in spite of careful staging, there was no indication of the sexual motivation of the fictional killings being replicated in the real murders, which was significant in itself. It meant that there was clearly some other motive behind the deaths of Georgia and Drew. They had both been stalked; they had both been abducted; neither had been killed in their own homes, but at some unspecified site; and they were both award-winning writers of serial killer thrillers which had successfully been adapted by other media. All of this was in the realm of the psychology of the act, however. There was little of a concrete nature from which further evidence could be developed.
What had struck Fiona was that the killer was prepared to deviate from his template. In each case, there was a significant alteration between the events outlined in the book and the path the murderer had taken. With Drew Shand, the body dump was different. Although there were sites nearby that would have better matched the precise description in the book, his body had been displayed somewhere else, presumably because it was less exposed and the killer could drive right up to the location. With Jane Elias, the torture that had been carried out on a live victim had been translated into the mutilation of a body already dead. Either the killer had misjudged his initial attack or he hadn’t had the stomach for that degree of sadistic experiment. Fiona inclined to the latter view because it conformed to the element of expediency in the earlier variation.
In Georgia’s case, the crucial difference was the discovery of the head accompanying the victim. Furthermore, according to Duvall, there was no sign that the killer had slavishly stuck to the book; there was no indication that he had had sex with the severed head. Again, a mixture of squeamishness and expediency had come into play. For the killer to be certain that his actions would be identified, he had to make sure that the meat in the freezer was clearly the remains of Georgia Lester. So he had made changes.
It wasn’t exactly a signature, but it was a pattern. With this new realization in the front of her mind, Fiona approached Drew’s flat with more optimism than she had felt earlier. Perhaps there really was new material to be had there.
Late in the afternoon, Murray had been despatched to navigate her through the rush-hour traffic to Drew Shand’s New Town flat. He had let her in, then left her to it, with instructions to her to lock up after her and bring the keys back to St. Leonard’s in the morning.
It was a beautiful flat, she thought. The rooms were elegantly proportioned, with elaborate plaster friezes in the living room and main bedroom, which looked west across a large communal garden, grass and mature trees enclosed behind iron railings and separated from the surrounding houses by the road. The flat had been expensively fitted out, with heavy curtains and comfortable furniture. Framed film noir posters adorned the walls, an interest mirrored in the collection of videos that filled an entire bookcase in the living room. In spite of that, and the books that lined the freakishly tidy office, it felt more like a display for a magazine feature than a home. Even the bathroom was preternaturally tidy, with all the normal clutter hidden behind handsome mirror-and-chrome cupboards. Not even a half-squeezed tube of toothpaste disrupted the order.
This much she learned from her first pass through the flat. But Fiona was no behavioural psychologist. It wasn’t her business to try to read the crime by reading the victim. In this instance, her primary goal was to find something in Drew Shand’s life to connect him to Charles Cavendish Redford. She knew the police had searched the flat thoroughly, but at that point they’d been looking for a connection with the gay S&M world, not a communication from a frustrated writer.
She pulled the desk chair over to the filing cabinet and started going through the files. The bottom drawer was devoted to personal papers mortgage, accounts, household receipts, car insurance, the general detritus of modern life. The next drawer contained a series of suspension files that seemed to relate to Drew’s published work and work in progress. She searched the files quickly, on the off-chance that he really had stolen an idea from Redford. But there was nothing to indicate any source for his material other than his own imagination.
The top drawer was devoted to correspondence. There were files for his agent, his publisher, his publishing contracts and, finally, one marked ‘Fan Mail’. It was a surprisingly thick file, Fiona thought as she pulled it out of the drawer. She’d lived with Kit for long enough to have an appreciation of the sort of volume of mail a successful writer would ordinarily receive, but Drew’s file exceeded her expectations. The first dozen letters were much as she expected; letters of appreciation for his first novel, inquiries about when the second would be out, requests for signed bookplates, the occasional, slightly embarrassed pointing out of a minor error in the text. There were a couple of letters expressing disgust at the violence of Copycat, but nothing that would stir any great feeling of concern in the recipient.
The bulk of the file, however, consisted of letters and printed-out e — mail from men who expressed an interest in meeting the author of Copycatbecause they found him attractive and were intrigued to know if his personal sexual tastes were reflected in his novel. These were held together with a paper clip. Stuck to the top sheet was a Post-it note that read, ‘Saddo file’.
As she flicked through, a single letter dislodged itself from near the back of the sheaf. It was a folded sheet of A4. Fiona unfolded it, and let out a long sigh of satisfaction. Drew Shand, she read,
Your career has barely begun, but already it is based on the dangerous ground of theft. You have stolen from me. You know that you have taken my work and passed it off as what you have yourself made. And your lies deprive me of what is rightfully mine. Your work is a feeble reflection of other people’s light. You take, you destroy, you are a parasite who lives off the life force of those whose gifts you envy. You know this to be true. Search your pathetic grimy soul and you will not be able to deny what you have deprived me of. The time has come for you to pay. You deserve nothing from me but my contempt and my hatred. If killing you is what it takes to grant what is rightfully mine, then so be it. It is a fair price for stealing my soul. The hour and the day will be of my choosing. I trust you will not sleep easy; you do not deserve so to do. I will enjoy your funeral. From your ashes, I will rise like a phoenix.
There were differences between this letter and the ones she had already seen. But the similarities were overwhelming. There was no doubt in her mind that Drew Shand had received a letter from the same person who had written to Georgia and Kit, and who had also composed the flyer distributed to the press conference where he had admitted his guilt.
It was hard to find an argument to contradict what Fiona was now beginning to accept was the case. The coincidences were piling too high. Whoever had killed Georgia had also killed Drew. And it looked as if that person really was Charles Cavendish Redford.
FOURTY-SEVEN
Her flat was like her, Steve thought. Light, bright and smart. Stylish and bold. Terry lived on the top floor of an old brick building off City Road. The three floors below her were occupied by a graphic design business, a leather goods workshop and a company providing post-production facilities to independent film makers. The label by the third-floor button in the goods lift read simply, Fowler Storage. Steve suspected there was no planning permission for residential use for the top storey. He also suspected that Terry didn’t give a toss.