скачать книгу бесплатно
Report for Murder
V. L. McDermid
The first novel in the Lindsay Gordon series – a gripping and thrilling page-turner, starring a self-proclaimed ‘cynical socialist lesbian feminist journalist’ – from the number one bestseller Val McDermid.Freelance journalist Lindsay Gordon is strapped for cash. Why else would she agree to cover a fund-raising gala at a girls’ public school? But when the star attraction is found garrotted with her own cello string minutes before she is due on stage, Lindsay finds herself investigating a vicious murder.Who would have wanted Lorna Smith Cooper dead? Who had the key to the locked room in which her body was found? And who could have slipped out of the hall at just the right time to commit this calculated and cold-blooded crime?Report for Murder is the first title in Val Mcdermid’s Lindsay Gordon series.
V.L. McDERMID
Report for Murder
Copyright (#ulink_b7da7d6b-1fa1-5d07-ac56-b0d31311473d)
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons living or dead, events or localities is entirely coincidental.
HarperCollinsPublishers Ltd. 1 London Bridge Street London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
First published in Great Britain by The Women’s Press Ltd 1987
Copyright © Val McDermid 1987
Val McDermid asserts the moral right to be identified as the author of this work
A catalogue copy of this book is available from the British Library
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this ebook on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins ebooks
HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication
Source ISBN: 9780007385089
Ebook Edition © OCTOBER 2010 ISBN: 9780007301775
Version: 2018-04-06
Dedication (#ulink_11b51f19-05e3-5905-9b9b-fac7b299ccc4)
For Gill
Contents
Cover (#uf2b154bf-8cc4-510b-9b2e-bce6b89959c0)
Title Page (#u9075d269-0e5a-5726-a2ed-ac0ca60e1812)
Copyright (#ulink_6584fe30-93b1-53de-a22a-d20dd0fe50d5)
Dedication (#ulink_c9adf4c7-3768-5f71-b4b4-153a168fcc9d)
Foreword (#ua69ac39e-22bd-5c69-ad55-86e4f0ad37c6)
PART ONE: OVERTURE
1 (#ulink_b3a58fca-01ba-54aa-b19f-eb743bdc40f6)
2 (#ulink_373d7b9d-70d1-5455-bc43-c7346dbaf13e)
3 (#ulink_2d5551b8-d392-5759-a854-26391ddb4e7a)
4 (#ulink_33c7866a-984b-5840-8069-14490bfefa88)
PART TWO: EXPOSITION
5 (#ulink_b4ef46c6-1b36-594e-aea6-905f96e0ed47)
6 (#ulink_4f8ebfa4-3eec-58a4-b776-95cc08d5ac6c)
7 (#litres_trial_promo)
8 (#litres_trial_promo)
9 (#litres_trial_promo)
10 (#litres_trial_promo)
11 (#litres_trial_promo)
12 (#litres_trial_promo)
PART THREE: FUGUE
13 (#litres_trial_promo)
14 (#litres_trial_promo)
15 (#litres_trial_promo)
16 (#litres_trial_promo)
PART FOUR: FINALE
17 (#litres_trial_promo)
18 (#litres_trial_promo)
19 (#litres_trial_promo)
20 (#litres_trial_promo)
21 (#litres_trial_promo)
PART FIVE: CODA
22 (#litres_trial_promo)
Keep Reading (#litres_trial_promo)
About the Author (#litres_trial_promo)
Also by the Author (#litres_trial_promo)
About the Publisher (#litres_trial_promo)
Foreword (#ulink_fe29600d-e0b4-5d98-a6cb-5247dff1cf36)
I grew up reading mysteries. From Agatha Christie to Ruth Rendell, from Rex Stout to Chandler and Hammett, I devoured them all. But what started me working on the first Lindsay Gordon novel, Report for Murder, in the mid-1980s was the chance to march to a different drum.
There was a new wave breaking on the shores of crime fiction, and it was led by women. Even though there had never been any shortage of female protagonists in the genre, you’d have been hard pressed to find many you could call feminists. But by the early 80s, a new breed of women had emerged.
They were mostly PIs, though there were a few amateurs among them. What marked them out was their politics. Whether they called themselves feminists or not, they were strong, independent women with a brain and a sense of humour, but most of all, they had agency. They didn’t shout for male help when the going got tough. They dealt with things on their own terms.
Another key difference was that these stories were organic. They weren’t random murders bolted on to a random setting. The crimes grew out of their environment – the particular jobs people did, the lives they led, the situations and recreations they were involved in.
devoured every one of those books I could get my hands on. Sara Paretsky, Barbara Wilson, viSue Grafton, Marcia Muller, Mary Wings, Katherine V Forrest and a dozen others showed me how to write about real lives within the frame-work of murder and suspense. Their protagonists took on the male establishment when they had to, and they didn’t back down. They didn’t shy away from confronting difficult issues either.
I loved them.
I wanted to write my own version of those women. A Scottish version, a woman as firmly rooted as her American sisters, but one who would have to accommodate different laws, different customs, different politics and different histories. I didn’t have the nerve to make her a PI because I didn’t know any at the time. And I suspected women PIs in the UK would have very different professional lives to their US counterparts.
What I did know was journalism. I became a journalist after I graduated from Oxford, just to bridge the gap until I could support myself writing fiction. (I always had the absolute conviction that day would come, a conviction not shared by anyone else back then . . .) I thought if I made my character a journalist, I’d be on safe ground. I knew what journalists were capable of and how we went about circumventing the doors that were closed to us. I knew the rhythm of our working lives and what made a good newspaper story.
In other respects, Lindsay Gordon has congruences with my own background. She’s Scottish, she shares my politics, and she’s a lesbian. It would, however, be a mistake to conflate us. Our personalities are quite different. (Except that we both have a fondness for fast cars and good whisky . . .) She’s far more headstrong and stubborn than I am, for example, and much more willing to take risks.
I’m proud to say that Lindsay was the first out lesbian protagonist in UK crime fiction. It never crossed my mind that she wouldn’t be a lesbian, because those American novels had given me permission to put whoever I wanted centre stage. But the books were never ‘about’ being a lesbian. Lindsay doesn’t wrestle with her sexuality or her gender, nor does she ever apologise for it. It’s only one part of her identity and it’s not one she has a problem with. The gay characters in the books are part of a wider landscape, one that accommodates all sorts and conditions of people.
That was a very deliberate choice on my part. When I was growing up on the East Coast of Scotland, there were no lesbian templates for my life. No books, no films, no TV series, and certainly no lesbians living open lives. I decided that if I was going to write fiction, I was going to give the next generation of gay women a character they could celebrate. I never describe her physically and that’s deliberate too. I wanted her to be a chameleon, to take the form of whatever her readers needed. They could identify with her if they wanted. They could fantasise her as lover or friend or colleague.
Report for Murder was published in 1987 and the Lindsay Gordon books have never been out of print in the UK. I think those early choices I made go some way to explaining why the books have remained so popular. This series is all about character and story, not special pleading or righteous argument.
Each of the books is set in a different world – a trick I learned from reading P D James! My own experiences were the springboard for my imagination in the creation of those environ-ments. Report for Murder is set in a girls’ boarding school; Common Murder, at a women’s peace camp; Final Edition, in the world of newspapers; Union Jack, in the milieu of union politics; Booked for Murder in publishing; and Hostage to Murder moves between Glasgow and St Petersburg in the course of a tense kidnap and murder thriller.
I never intended to write so many Lindsay Gordon novels. Originally I planned a trilogy. (Mostly because the book I really wanted to write was the third one but I couldn’t figure out how to get there without writing the first two.) I even packed her off to live in Half Moon Bay with a view of the ocean so I wouldn’t be tempted to write about her any more.
But she wouldn’t let me go. As soon as I’d despatched her, I had a great idea for another book that gave her the starring role. And then another, and another . . .
Lindsay Gordon took a hold of me and for almost twenty years, she wouldn’t let me go. I hope she has the same effect on you.
PART ONE: OVERTURE (#ulink_bdf90f62-d0f0-5c68-825b-c45b577c6b46)
1 (#ulink_78d57ee4-d26c-5589-8a2e-912b5dc2928e)
Lindsay Gordon put murder to the back of her mind and settled down in the train compartment to enjoy the broken greys and greens of the Derbyshire scenery. Rather like home, she decided. Except that in Scotland, the greens were darker, the greys more forbidding. Although in Glasgow, where she now lived, there was hardly enough green to judge. She congratulated herself on finishing the detective novel just at the point where Manchester suburbia yielded place to this attractive landscape foreign to her. Watching it unfold gave her the first answer to the question that had been nagging her all day: what the hell was she doing here? How could a cynical socialist lesbian feminist journalist (as she mockingly described herself) be on her way to spend a weekend in a girls’ public school?
Of course, there were the answers she’d been able to use to friends: she had never visited this part of England and wanted to see what it was like; she was a great believer in ‘knowing thine enemy', so it came under the heading of opportunities not to be missed; she wanted to see Paddy Callaghan, who had been responsible for the invitation. But she remained unconvinced that she was doing the right thing. What had made her mind up was the realisation that, given Lindsay’s current relationship with the Inland Revenue, anything that had a cheque as an end product couldn’t be ignored.
The fact that she cheerfully despised the job she was about to do was not a novel sensation. In the unreal world of popular journalism which she inhabited, she was continually faced with tasks that made her blood boil. But like other tabloid journalists who laid claim to a set of principles, she argued that, since popular newspapers were mass culture, if people with brains and compassion opted out the press would only sink further into the gutter. But in spite of having this missionary zeal to keep her warm, Lindsay often felt the chill wind of her friends’ disapproval. And she had to admit to herself that saying all this always made her feel a pompous hypocrite. However, since this assignment involved writing for a magazine with some credibility, she was doubly pleased that it would avoid censure in the pub as well as provide cash, and that was enough to stifle the stirrings of contempt for Derbyshire House Girls’ School.
Paddy, with the contacts of a life membership of the old girls’ network, had managed to persuade the features editor of Perspective to commission a piece from Lindsay about a fund-raising programme about to be launched by the school with a Gala Day. At that point, Lindsay was hungry for the cash and the prestige, so she couldn’t afford the luxury of stopping to consider if it was the sort of project she’d actually choose to take on. Three months ago she’d reluctantly accepted redundancy when the Daily Nation discovered it needed fewer journalists so that it could pay its print workers their ‘pound of flesh'. Since then, she had been applying for unlikely jobs and frenetically trying to make a living as a freelance. That made the call from Paddy all the more welcome because it meant a relatively quiet weekend away from the demands of the telephone— which would soon stop disrupting her life altogether if she didn’t earn enough to pay the last quarter’s bill.
At that unwelcome thought, Lindsay reflected with relief on the money she would receive from the Derbyshire House job. It seemed poetic justice that such a bastion of privilege should stake her. Good old Paddy, she mused. Ever since they’d met in Oxford six years before, Paddy had not only been a tower of strength in emotional crises but the first to offer help when life got Lindsay into one of its awkward corners. When Lindsay’s car staged a break-down on a remote Greek mountainside it was Paddy who organised the flying out of a spare part. When Lindsay was made redundant it was Paddy who found the cousin who told Lindsay the best thing to do with her less-than-golden handshake. And when Lindsay’s lover died, it was Paddy who drove through the night to be with her. The daughter of two doctors, with an education begun at the ‘best’ schools and polished off at Oxford, Paddy Callaghan had shaken her family by deciding to become an actress. After four years of only moderate success and limited employment, however, she had realised she would never make the first rank. Always a realist, and fundamentally unaffected by four years of living like a displaced person, she reverted to type and decided to make sure that the rising generation of public schoolgirls would have a better grounding on the stage than she’d had. When the two women first met, Paddy was half-way through the teacher training that would take her back to her old school in Derbyshire to teach English and Drama. It had taken Lindsay quite a long time to realise that at least part of her appeal for Paddy was her streak of unconventionality. She was an antidote to the staid world Paddy had grown up in and was about to return to. Lindsay had argued bitterly with Paddy that to go back to her old environment was copping out of reality. Though the argument never found a solution, the friendship survived.
Lindsay felt sure that part of the reason for the continuation of that friendship was that they had never let their separate worlds collide. Just as Lindsay would never drag Paddy off to a gay club, so Paddy would never invite Lindsay to one of her parents’ weekend house parties. Their relationship existed in a vacuum because they understood and accepted the gulf that separated so much of their lives. So Lindsay was apprehensive about encountering Paddy on what was firmly her territory. Suddenly all her fears about the weekend crystallised into a panic over the trivial issue of what she was wearing. What the hell was the appropriate gear for this establishment, anyway? It wasn’t something that normally exercised her thoughts, but she had gone through her wardrobe with nervous care that morning, rejecting most items on the grounds that they were too casual, and others on the grounds that they were too formal. She finally settled on charcoal-grey trousers, matching jacket and burgundy shirt. Very understated, not too butch, she’d thought. Now she thought again and considered the vision of the archetypal dyke swaggering into this nest of young maidens. God help her if St George hove into sight.
If only she’d brought the car, she could have brought a wide enough selection of clothes to run no risk of getting it wrong. But her crazy decision to opt for the uncertain hands of British Rail so she could get some work done had boomeranged—you could only carry so much for a couple of days, unless you wanted to look like the wally of the weekend tipping out at the school gates with two cabin trunks and a holdall. As her paranoia gently reached a climax, she shook herself. ‘Oh sod it,’ she thought. ‘If I’m so bloody right-on, why should I give a toss what they think of me? After all, I’m the one doing them a favour, giving their fund-raising a puff in the right places.’
With this bracing thought, the train shuddered into the station at Buxton. She picked up her bags and emerged on to the platform just as the sun came out from the autumn clouds, making the trees glow. Then through the glass doors she caught sight of Paddy, waiting and waving. Lindsay thrust her ticket at the collector and the two women hugged each other, laughing, each measuring the other for changes.
‘If my pupils could see me now, they’d have a fit,’ laughed Paddy. ‘Teachers aren’t supposed to leap around like lunatics in public, you know! My, you look good. Frightfully smart!’ She held Lindsay at arms’ length, taking in the outfit, the brown hair and the dark blue eyes. ‘First time I’ve ever seen you fail to resemble a jumble sale in search of a venue.’
‘Lost weight. It’s living off the wits that does it. Food’s a very easy economy.’
‘No, darling, it’s definitely the clothes. Who’s the new woman, then?’
‘Cheeky sod! There’s no new woman, more’s the pity. I went out and bought this all by myself. At least six months ago, too. So there, Miss Callaghan.’
Paddy grinned. ‘All right, all right. I’ll take your word for it. Now, come along. I’m parked outside. I’ve got to pick up a couple of things from the town library then we can shoot back to the school itself and have a quick coffee to wipe away the strain of the train.’
In the station car park, they climbed into Paddy’s battered Land Rover. ‘Not exactly in its prime, but it’s practical up here,’ she apologised. ‘Highest market town in England, this is. When the snow gets bad, I’m the only member of staff who can make a bid for freedom to the local pub. You still got that flashy passion wagon of yours?’
Lindsay scowled. ‘If you mean my MG, yes I have.’
‘Dear, oh dear. Still trying to impress with that retarded status symbol?’
‘I don’t drive it to impress anyone. I know it’s the sort of car that provokes really negative reactions from the 2CV brigade, but I happen to enjoy it.’
Paddy laughed, ‘Sorry. I didn’t know it was such a sore spot.’
‘Let’s just say that I’ve been getting a bit of stick about it lately from one or two people who should know better. I’m seriously thinking about selling it just for a bit of peace and quiet from the purists who think you can only be right-on in certain cars. But I think I’d miss it too much. I can’t afford to buy a new sports car. I spend a lot of time in transit and I think I’ve got a right to be in a car that performs well, is comfortable and doesn’t get like an oven in the summer. Plus it provokes interesting reactions from people. It’s a good shorthand way of finding out about attitudes.’
‘Okay, okay. I’m on your side,’ Paddy protested.
‘I know it’s flash and pretentious,’ Lindsay persisted. ‘But then there’s a bit of that in me anyway. So you could argue that I’m doing women a favour by forewarning them.’
Paddy pulled up in a Georgian crescent of imposing buildings. ‘You are sensitive about it, aren’t you? Well, if it’s any consolation, I’ve never thought you were flash. A little over the top sometimes, perhaps …’
Lindsay changed the subject abruptly. ‘What’s this, then,’ she demanded, waving an arm at the buildings.
‘Not bad, eh? The North’s answer to Bath. Not quite on the same scale. Rather splendid but slightly seedy. And you can still drink the spa water here. Comes out of the ground warm; tastes rather like an emetic in its natural state, but terribly good for one, so they say. Come and see the library ceiling.’
‘Do what?’ demanded Lindsay as Paddy jumped down. She had to break into a trot to catch Paddy, who was walking briskly along a colonnade turned golden by the late afternoon sun. They entered the library. Paddy gestured to Lindsay to go upstairs while she collected her books. A few minutes later she joined her there.
