‘What did you tell them?’
‘Not a lot, but listen, Edgar, it doesn’t matter what I told them. What matters is I think you’re in danger.’
‘What are you talking about? Do you mean from the police?’ He sounds shocked.
I take a deep breath. ‘Edgar, I followed you a few days ago, when you went to that house in Greystones. I broke into her house. I know you’ve been lying to me, but it doesn’t matter now. None of it matters. You have to listen to me. The woman you’re seeing, she isn’t normal – she’s been here in our home. I told you someone was moving things around. At first I thought she was playing mind games, and then I found a card with the Devil’s face on it. I thought she wanted to kill me. But it isn’t me. It’s you she’s after. I’m sorry I didn’t say more of this before, but I didn’t want you brushing me off, not until I had proof. You haven’t believed me in the past, but I don’t care about that.’ I’m rocking back and forth, trying to calm myself down. My heart is thumping, and for a few seconds, no words come out, as if I’m having a panic attack. What if he doesn’t believe me? What will I do then? I wait for him to say something, but all I hear is silence. Then somehow I get my voice back and yell at him, ‘Edgar, do you understand what I’m saying to you? I think she killed someone, this Rick Shevlin guy. Her name is Cassie4Casanova. That’s the name you know her by. She’ll kill you too.’ I start crying, but then I say, ‘I’m so frightened.’
‘I want you to listen to me.’ His words come out slowly, a long pause between each one.
‘I’m listening.’ I try to breathe deeply and evenly.
‘Don’t say anything more to the police.’
‘You do believe me, don’t you?’
‘I believe you.’
The relief feels enormous.
‘Sandra, I can explain everything.’
‘Look, I don’t care about your reasons. I just want to make sure you’re safe. We can work out all the other stuff later.’
‘Sandra?’
‘Yes.’
‘Do you remember the house you followed me to?’
‘The one in Greystones?’
‘That’s the one.’
Why does he sound so calm? ‘What about it?’
‘I want you to go there.’
‘What? Now? Edgar, I can’t go back there.’ My voice is high-pitched, almost hysterical. None of this is making sense.
‘Sandra, I need you to trust me.’
‘I’m … I’m …’ I want to say I’m not sure I do any more.
‘Listen to me, Sandra. I’ll meet you there. It will be all right. I promise you.’
I can’t speak.
‘Sandra, are you still there?’
I swallow hard, my hands shaking.
‘Sandra!’ He’s shouting now, like he’s the madman. Finally, I say, ‘Yes, I’m here.’
‘I need you to go to the house. I can’t explain over the phone. Just go there. I’ll meet you outside. You have to trust me.’
‘But it’s her house. How can you be sure she won’t be there?’ I bite my lips so hard that they bleed.
‘She won’t be. I promise you. You’re completely safe. I’ve taken care of everything.’
OCEAN HOUSE, THE QUAYS
SINCE THE CONVERSATION with Sandra Regan earlier that morning, the investigation was in the forefront of Kate’s thoughts. Mark Lynch would ensure that all four women would be interviewed, but there was something about Sandra that didn’t sit easy with her. How was she connected? She didn’t know Rick Shevlin, and if she didn’t know the victim, she couldn’t be the killer. That put those close to her in the frame – one of her girlfriends, her husband, or someone connected to them. Rick Shevlin and Michele Pinzini had had extra-marital relationships. What if Edgar Regan was having an affair? It might explain why Sandra had asked about the name of the hotel. She could have stumbled on the information by accident – information that could put the woman in danger.
It was all supposition, and she certainly hadn’t spent long enough with Sandra Regan for a comprehensive assessment of her state of mind. They would have more information once the others were interviewed, but if finding Sandra turned out to be a breakthrough in the investigation, Adam would have done well, and Lynch’s icy tones reflected his annoyance that he had. Opening her laptop, she looked again at her interim report, and specifically her earlier conclusions. It was as good a place as any to start.
Conclusions
? Killer: female
? Known to victims – possible previous relationships ? Psychopathic/sociopathic inferences ? Ability to detach: possible childhood or early trauma ? Interval between murders: indicative of emotional stressors prior to attack ? Killer: creative – will have link with visual-art world, photography, sculpture, painting and/or design ? Age thirty–forty
? Attractive
? Ability to deceive and gain trust ? Capable of social integration
? A planner and a dreamer; will fantasise about murders in advance ? Manipulative/charming