A leathery hand seized my wrist like a band of hot iron.
"What you up to, then? What you doin' snoopin' round this place?"
It was Mad Meg.
She shoved her sooty face so close to mine I could see the sandy bristles on the end of her chin. The witch in the wood, I thought, for one panicky moment, before I regained my senses.
"Oh, hullo, Meg," I said, as calmly as I could, trying to tame my pounding heart. "I'm glad I found you. You gave me quite a fright."
My voice was shakier than I had hoped.
"Frights as lives in Gibbet Wood," Meg said darkly. "Frights as lives here an' not elsewhere."
"Exactly," I agreed, not having the faintest idea what she was on about. "I'm glad you're here with me. Now I shan't be afraid."
"No Devil now," Meg said, rubbing her hands together. "Devil's dead and jolly good."
I remembered how frightened she had been at Rupert's performance of Jack and the Beanstalk. To Meg, Rupert was the Devil, who had killed Robin Ingleby, shrunk him to a wooden doll, and put him on the stage. Better to approach this indirectly.
"Did you have a nice rest at the vicarage, Meg?" I asked.
She spat on the trunk of an oak as if she were spitting in a rival witch's eye.
"Her turned me out," she said. "Took old Meg's bracelet and turned her out, so she did. 'Dirty, dirty.'"
"Mrs. Richardson?" I asked. "The vicar's wife? She turned you out?"
Meg grinned a horrid grin and set off through the trees at a near-gallop. I followed at her heels, through underbrush and ferns, deadfall, and the snags of thorns. Five minutes later and breathless, we were back where we had begun, at the foot of the rotted gallows.
"See there," she said, pointing. "That's where 'e took 'im."
"Took who, Meg?"
Robin Ingleby, she meant. I was sure of it.
"The Devil took Robin right here?" I asked.
"Turned 'im into wood, 'e did," she confided, looking over her shoulder. "Wood to wood."
"Did you actually see him? The Devil, I mean."
This was something that hadn't occurred to me before.
Was there a chance that Meg had seen someone in the wood with Robin? She lived, after all, in a shack among the trees, and it seemed unlikely that much happened within the bounds of Gibbet Wood that escaped her scrutiny.
"Meg saw," she said knowingly.
"What did he look like?"
"Meg saw. Old Meg sees plenty."
"Can you draw?" I asked, with sudden inspiration. I pulled my notebook from my pocket and handed her a stubby pencil.
"Here," I said, flipping to a blank page, "draw me the Devil. Draw him in Gibbet Wood. Draw the Devil taking Robin."
Meg gave something that I can describe only as a wet snicker. And then she squatted down, flattened the open notebook against her knee, and began to draw.
I think I was expecting something childish — nothing more than scrawled stick figures — but in Meg's sooty fingers, the pencil sprang to life. On the page, the glade in Gibbet Wood slowly appeared: a tree here, a tree there; now the rotted wood of the gallows, instantly recognizable. She had started at the margins and was working in towards the center of the page.
From time to time she clucked over her work, turning the pencil over and erasing a line. She was quite good, I have to give her that. Her sketch was probably better than I might have done myself.
And then she drew Robin.
I scarcely dared breathe as I looked on over her shoulder. Little by little, the dead boy took shape before my eyes.
He was hanging quite peacefully in midair, his neck canted to one side, a look of slightly surprised contentment on his face, as if he had suddenly and unexpectedly walked into a room full of angels. In spite of the subdued light of the wood, his neatly parted hair gave off a healthy, and therefore rather unnerving, shine. He wore a striped sweater and dark britches, their legs tucked carelessly into a pair of rubber boots. He must have died quickly, I thought.
Only then did she draw the noose that cramped his neck: a dark braided thing that dangled from the gallows into the space beneath. She shaded the rope with angry slashes of the pencil.
I breathed in deeply. Meg looked up at me triumphantly, seeking approval.
"And now the Devil," I whispered. "Draw the Devil, Meg."
She looked me straight in the eye, relishing the attention. A canny smile appeared at the corner of her mouth.
"Please, Meg — draw the Devil."
Without taking her eyes from mine, she licked a finger and thumb and turned elaborately to a fresh page. She began again, and as she drew, Gibbet Wood appeared once more at her fingertips. This second sketch grew darker than the first as Meg scrubbed at the pencil marks, smearing them to suggest the half-light of the glade. Then came the gallows, viewed this time from a slightly different angle.
How odd, I thought, that she didn't begin with the Devil, as most people would be tempted to do. But only when she had set the stage to her own satisfaction with trees and bushes did she begin to rough in the figure that was to be the focus of her creation.
In an approximate oval that she had left blank upon the page until now, a sketchy figure began to emerge: arms and shoulders first, followed by knees, legs, arms, hands, and feet.
It wore a black jacket, and stood on one leg in the clearing, as if captured in the midst of a frenzied dance.
Its trousers were hung by their suspenders from a low-hanging branch.
Meg shielded the paper with her left hand as she penciled in the features. When she was finished, she thrust it at me roughly, as if the paper were contaminated.
It took me a moment to recognize the face: to recognize that the figure in the glade — the Devil — was the vicar, Denwyn Richardson.
The vicar? It was too ridiculous for words. Or was it?
Just minutes earlier Meg had told me the Devil was dead, and now she was sketching him as the vicar.
What was going on in her poor addled mind?
"Are you quite sure, Meg?" I asked, tapping the notebook. "Is that the Devil?"
"Hsssst!" she said, cocking her head and putting her fingers to my lips. "Someone's comin'!"
I looked round the glade, which, even to my heightened sense of hearing, seemed perfectly silent. When I looked back, my notebook and pencil lay at my feet, and Meg had vanished among the trees. I knew there was little point in calling her back.
I stood there motionless for a few moments, listening, waiting for something, although I'm not sure what it was.
The woodland, I remembered, is an ever-changing world. From minute to minute, the shadows shift, and from hour to hour the vegetation moves with the sun. Insects tunnel in the soil, heaving it up, at first in little hummocks, and then in larger ones. From month to month, leaves grow and fall, and from year to year, the trees. Daffy once said that you can't step into the same river twice, and it's the same with forests. Five winters had come and gone since Robin Ingleby died here, and now there was nothing left to see.
I walked slowly back past the crumbling gallows and plunged into the woods. Within minutes, I was out into the open at the top of Jubilee Field.
Not twenty yards away, almost invisible in the fog, a gray Ferguson tractor was stopped in the field, and someone in a green overall and rubber boots was bending over the engine. That must have been what Meg had heard.
"Hullo!" I shouted. It's always best to announce one's self heartily when trespassing. (Even though I had invented it on the spot, this seemed to be a good general rule.)
As the figure straightened up and turned round, I realized that it was Sally Straw, the Land Army girl.