In the Woods

by Tana French

  v

  In the Woods

  In the Woods

  Tana French

  Viking

  viking

  Published by the Penguin Group

  Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada M4P 2Y3 (a division of Pearson Penguin Canada Inc.) Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Ireland, 25 St. Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd) Penguin Books Australia Ltd, 250 Camberwell Road, Camberwell, Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd)

  Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi – 110 017, India

  Penguin Group (NZ), 67 Apollo Drive, Mairangi Bay, Auckland 1311, New Zealand (a division of Pearson New Zealand Ltd.)

  Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa

  Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England First American edition

  Published in 2007 by Viking Penguin, a member of Penguin Group (USA) Inc. Copyright © Tana French, 2007

  All rights reserved

  Grateful acknowledgment is made for permission to reprint an excerpt from “At the British War Cemetery, Bayeux” from Collected Poems, 1951–2000 by Charles Causley. Published by Picador, an imprint of Pan Macmillan Limited. By permission of David Higham Associates. PUBLISHER’S NOTE: This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. library of congress cataloging-in-publication data

  French, Tana.

  In the woods / Tana French.

  p. cm.

  ISBN: 1-4295-3431-1

  1. Detectives—Ireland—Dublin—Fiction. 2. Murder—Investigation—Fiction. 3. Children—Crimes against—Fiction. 4. Psychological fiction. I. Title. PR6106.R457I52 2007

  823'.92—dc22

  2006033498

  Designed by Nancy Resnick · Illustration by Jennifer Wang Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions and do not participate in or encourage electronic piracy of copyrightable materials. Your support of the author’s rights is appreciated. For my father, David French,

  and my mother, Elena Hvostoff-Lombardi

  “Probably just somebody’s nasty black poodle. But I’ve always wondered . . . What if it really was Him, and He decided I wasn’t worth it?”

  —Tony Kushner, A Bright Room Called Day

  In the Woods

  Prologue

  Picture a summer stolen whole from some coming-of-age film set in small-town 1950s. This is none of Ireland’s subtle seasons mixed for a connoisseur’s palate, watercolor nuances within a pinch-sized range of cloud and soft rain; this is summer full-throated and extravagant in a hot pure silkscreen blue. This summer explodes on your tongue tasting of chewed blades of long grass, your own clean sweat, Marie biscuits with butter squirting through the holes and shaken bottles of red lemonade picnicked in tree houses. It tingles on your skin with BMX wind in your face, ladybug feet up your arm; it packs every breath full of mown grass and billowing wash lines; it chimes and fountains with birdcalls, bees, leaves and footballbounces and skipping-chants, One! two! three! This summer will never end. It starts every day with a shower of Mr. Whippy notes and your best friend’s knock at the door, finishes it with long slow twilight and mothers silhouetted in doorways calling you to come in, through the bats shrilling among the black lace trees. This is Everysummer decked in all its best glory. Picture an orderly little maze of houses on a hill, only a few miles from Dublin. Someday, the government declared, this will be a buzzing marvel of suburban vitality, a plan-perfect solution to overcrowding and poverty and every urban ill; for now it is a few handfuls of cloned semi-detacheds, still new enough to look startled and gauche on their hillside. While the government rhapsodized about McDonald’s and multiscreens, a few young families—escaping from the tenements and outdoor toilets that went unmentioned in 1970s Ireland, or dreaming big back gardens and hopscotch roads for their children, or just buying as close to home as a teacher’s or bus driver’s salary would let them—packed rubbish bags and bumped along a two-track path, grass and daisies growing down the middle, to their mintnew start. That was ten years ago, and the vague strobe-light dazzle of chain stores and community centers conjured up under “infrastructure” has so far failed to materialize (minor politicians occasionally bellow in the Dáil, unreported, 2

  Tana French

  about shady land deals). Farmers still pasture cows across the road, and night flicks on only a sparse constellation of lights on the neighboring hillsides; behind the estate, where the someday plans show the shopping center and the neat little park, spreads a square mile and who knows how many centuries of wood.

  Move closer, follow the three children scrambling over the thin membrane of brick and mortar that holds the wood back from the semi-ds. Their bodies have the perfect economy of latency; they are streamlined and unselfconscious, pared to light flying machines. White tattoos—lightning bolt, star, A—flash where they cut Band-Aids into shapes and let the sun brown around them. A flag of white-blond hair flies out: toehold, knee on the wall, up and over and gone.

  The wood is all flicker and murmur and illusion. Its silence is a pointillist conspiracy of a million tiny noises—rustles, flurries, nameless truncated shrieks; its emptiness teems with secret life, scurrying just beyond the corner of your eye. Careful: bees zip in and out of cracks in the leaning oak; stop to turn any stone and strange larvae will wriggle irritably, while an earnest thread of ants twines up your ankle. In the ruined tower, someone’s abandoned stronghold, nettles thick as your wrist seize between the stones, and at dawn rabbits bring their kittens out from the foundations to play on ancient graves. These three children own the summer. They know the wood as surely as they know the microlandscapes of their own grazed knees; put them down blindfolded in any dell or clearing and they could find their way out without putting a foot wrong. This is their territory, and they rule it wild and lordly as young animals; they scramble through its trees and hide-and-seek in its hollows all the endless day long, and all night in their dreams. They are running into legend, into sleepover stories and nightmares parents never hear. Down the faint lost paths you would never find alone, skidding round the tumbled stone walls, they stream calls and shoelaces behind them like comet-trails. And who is it waiting on the riverbank with his hands in the willow branches, whose laughter tumbles swaying from a branch high above, whose is the face in the undergrowth in the corner of your eye, built of light and leaf-shadow, there and gone in a blink?

  These children will not be coming of age, this or any other summer. This August will not ask them to find hidden reserves of strength and courage as they confront the complexity of the adult world and come away sadder and wiser and bonded for life. This summer has other requirements for them. 1

  W hat I warn you to remember is that I am a detective. Our relationship with truth is fundamental but cracked, refracting confusingly like fragmented glass. It is the core of our careers, the e
ndgame of every move we make, and we pursue it with strategies painstakingly constructed of lies and concealment and every variation on deception. The truth is the most desirable woman in the world and we are the most jealous lovers, reflexively denying anyone else the slightest glimpse of her. We betray her routinely, spending hours and days stupor-deep in lies, and then turn back to her holding out the lover’s ultimate Möbius strip: But I only did it because I love you so much.

  I have a pretty knack for imagery, especially the cheap, facile kind. Don’t let me fool you into seeing us as a bunch of parfit gentil knights galloping off in doublets after Lady Truth on her white palfrey. What we do is crude, crass and nasty. A girl gives her boyfriend an alibi for the evening when we suspect him of robbing a north-side Centra and stabbing the clerk. I flirt with her at first, telling her I can see why he would want to stay home when he’s got her; she is peroxided and greasy, with the flat, stunted features of generations of malnutrition, and privately I am thinking that if I were her boyfriend I would be relieved to trade her even for a hairy cellmate named Razor. Then I tell her we’ve found marked bills from the till in his classy white tracksuit bottoms, and he’s claiming that she went out that evening and gave them to him when she got back.

  I do it so convincingly, with such delicate crosshatching of discomfort and compassion at her man’s betrayal, that finally her faith in four shared years disintegrates like a sand castle and through tears and snot, while her man sits with my partner in the next interview room saying nothing except

  “Fuck off, I was home with Jackie,” she tells me everything from the time he left the house to the details of his sexual shortcomings. Then I pat her gently on the shoulder and give her a tissue and a cup of tea, and a statement sheet.

  4

  Tana French

  This is my job, and you don’t go into it—or, if you do, you don’t last—

  without some natural affinity for its priorities and demands. What I am telling you, before you begin my story, is this—two things: I crave truth. And I lie.

  This is what I read in the file, the day after I made detective. I will come back to this story again and again, in any number of different ways. A poor thing, possibly, but mine own: this is the only story in the world that nobody but me will ever be able to tell. On the afternoon of Tuesday, August 14, 1984, three children—

  Germaine (“Jamie”) Elinor Rowan, Adam Robert Ryan and Peter Joseph Savage, all aged twelve—were playing in the road where their houses stood, in the small County Dublin town of Knocknaree. As it was a hot, clear day, many residents were in their gardens, and numerous witnesses saw the children at various times during the afternoon, balancing along the wall at the end of the road, riding their bicycles and swinging on a tire swing. Knocknaree was at that time very sparsely developed, and a sizable wood adjoined the estate, separated from it by a five-foot wall. Around 3:00 p.m., the three children left their bicycles in the Savages’ front garden, telling Mrs. Angela Savage—who was in the garden hanging washing on the line—that they were going to play in the wood. They did this often and knew that part of the wood well, so Mrs. Savage was not worried that they would become lost. Peter had a wristwatch, and she told him to be home by 6:30 for his tea. This conversation was confirmed by her next-door neighbor, Mrs. Mary Therese Corry, and several witnesses saw the children climbing over the wall at the end of the road and going into the wood.

  When Peter Savage had not returned by 6:45 his mother called around to the mothers of the other two children, assuming he had gone to one of their houses. None of the children had returned. Peter Savage was normally reliable, but the parents did not at that point become worried; they assumed that the children had become absorbed in a game and forgotten to check the time. At approximately five minutes to seven, Mrs. Savage went around to the wood by the road, walked a little way in and called the children. She heard no answer and neither saw nor heard anything to indicate any person was present in the wood.

  She returned home to serve tea to her husband, Mr. Joseph Savage, and In the Woods 5

  their four younger children. After tea, Mr. Savage and Mr. John Ryan, Adam Ryan’s father, went a little further into the wood, called the children and again received no response. At 8:25, when it was beginning to grow dark, the parents became seriously worried that the children might have become lost, and Miss Alicia Rowan (Germaine’s mother, a single parent), who had a telephone, rang the police. A search of the wood began. There was at this point some fear that the children might have run away. Miss Rowan had decided that Germaine was to go to boarding school in Dublin, remaining there during the week and returning to Knocknaree at weekends; she had been scheduled to leave two weeks later, and all three children had been very upset at the thought of being separated. However, a preliminary search of the children’s rooms revealed that no clothing, money or personal items appeared to be missing. Germaine’s piggy bank, in the form of a Russian doll, contained £5.85 and was intact. At 10:20 p.m. a policeman with a torch found Adam Ryan in a densely wooded area near the center of the wood, standing with his back and palms pressed against a large oak tree. His fingernails were digging into the trunk so deeply that they had broken off in the bark. He appeared to have been there for some time but had not responded to the searchers’ calling. He was taken to hospital. The Dog Unit was called in and tracked the two missing children to a point not far from where Adam Ryan had been found; there the dogs became confused and lost the scent.

  When I was found I was wearing blue denim shorts, a white cotton T-shirt, white cotton socks and white lace-up running shoes. The shoes were heavily bloodstained, the socks less heavily. Later analysis of the staining patterns showed that the blood had soaked through the shoes from the inside outwards; it had soaked through the socks, in lesser concentrations, from the outside in. The implication was that the shoes had been removed and blood had spilled into them; some time later, when it had begun to coagulate, the shoes had been replaced on my feet, thus transferring blood to the socks. The T-shirt showed four parallel tears, between three and five inches in length, running diagonally across the back from the mid-left shoulder blade to the right back ribs.

  I was uninjured except for some minor scratches on my calves, splinters (later found to be consistent with the wood of the oak tree) under my fingernails, and a deep abrasion on each kneecap, both beginning to form scabs. There was some uncertainty as to whether the grazes had been made 6

  Tana French

  in the wood or not, as a younger child (Aideen Watkins, aged five) who had been playing in the road stated that she had seen me fall from a wall earlier that day, landing on my knees. However, her statement varied with retelling and was not considered reliable. I was also near-catatonic: I made no voluntary movement for almost thirty-six hours and did not speak for a further two weeks. When I did, I had no memory of anything between leaving home that afternoon and being examined in the hospital. The blood on my shoes and socks was tested for ABO type—DNA analysis was not a possibility in Ireland in 1984—and found to be type A positive. My blood was also found to be type A positive; however, it was judged to be unlikely that the abrasions on my knees, although deep, could have drawn enough blood to cause the heavy soaking in the running shoes. Germaine Rowan’s blood had been tested prior to an appendectomy two years earlier, and her records showed that she was also A positive. Peter Savage, though no blood type was on record for him, was eliminated as the source of the stains: both his parents were found to be type O, making it impossible that he could be anything else. In the absence of conclusive identification, investigators could not eliminate the possibility that the blood had come from a fourth individual, nor the possibility that it originated from multiple sources.

  The search continued throughout the night of August 14 and for weeks thereafter—teams of volunteers combed the nearby fields and hills, every known bog hole and bog drain in the area was explored, divers searched the river that ran through the wood—with no result. Fourte
en months later, Mr. Andrew Raftery, a local resident walking his dog in the wood, spotted a wristwatch in the undergrowth about two hundred feet from the tree where I had been found. The watch was distinctive—the face showed a cartoon of a footballer in action, and the second-hand was tipped with a football—and Mr. and Mrs. Savage identified it as having belonged to their son Peter. Mrs. Savage confirmed that he had been wearing it on the afternoon of his disappearance. The watch’s plastic strap appeared to have been torn from the metal face with some force, possibly by catching on a low branch when Peter was running. The Technical Bureau identified a number of partial fingerprints on the strap and face; all were consistent with prints found on Peter Savage’s belongings.

  Despite numerous police appeals and a high-profile media campaign, no other trace of Peter Savage and Germaine Rowan was ever found. In the Woods 7

  . . .

  I became a policeman because I wanted to be a Murder detective. My time in training and in uniform—Templemore College, endless complicated physical exercises, wandering around small towns in a cartoonish Day-Glo jacket, investigating which of the three unintelligible local delinquents had broken Mrs. McSweeney’s garden-shed window—all felt like an embarrassing daze scripted by Ionesco, a trial by tedium I had to endure, for some dislocated bureaucratic reason, in order to earn my actual job. I never think about those years and cannot remember them with any clarity. I made no friends; to me my detachment from the whole process felt involuntary and inevitable, like the side effect of a sedative drug, but the other cops read it as deliberate superciliousness, a studied sneer at their solid rural backgrounds and solid rural ambitions. Possibly it was. I recently found a diary entry from college in which I described my classmates as “a herd of mouthbreathing fucktard yokels who wade around in a miasma of cliché so thick you can practically smell the bacon and cabbage and cow shite and altar candles.” Even assuming I was having a bad day, I think this shows a certain lack of respect for cultural differences.