Devil in the Detail by A.J. Cross (love letters to the dead .TXT) 📗

of the company and Engar the manipulator would have things exactly how he wanted them.’ He looked at Traynor. ‘When you talked to Molly, did either of their names come up?’

‘Never.’

Watts shook his head. ‘You don’t shoot two people so you can run a design company. Engar wasn’t offering either of them anything that was worth that.’

The room darkened on a distant rumble of thunder as Judd left the room. They sat in silence, Traynor looking lost in thought, Watts staring ahead at nothing. Judd was back.

‘Nothing on Engar or Alphon. This investigation is well and truly stuffed, if you want my opinion—’

‘I don’t,’ said Watts. ‘Let me have a copy of that list of Molly Lawrence’s friends and co-workers. We’ll start seeing them tomorrow—’

‘I have a way to move this investigation forward,’ said Traynor.

TWENTY-FIVE

Thursday 20 December. 5.30 p.m.

Traynor was laying out his idea. ‘We’ve got a lot of information already but it’s not getting us anywhere. We need what only Molly Lawrence knows but it’s not going to happen in the way we hoped.’

Judd looked at Watts, then back to Traynor. ‘If we’re talking reconstruction, that could have legs. Get it on to primetime news, say, and we’ll get loads of leads.’ To Watts, she added, ‘Why didn’t we think of that?’

‘Because of the geography of Forge Street and the surrounding area. Scarcely any through-traffic, next to no footfall, so where exactly would these “loads of leads” come from? Brophy would demand justification for the cost, given this force, like most others, is close to a tipping point through cuts and more cuts. Before I even ask, I can tell you what his response would be.’

‘A reconstruction is not what I’m suggesting,’ said Traynor. ‘What’s needed is a re-enactment. A video-recorded account of the shootings with Molly Lawrence directing it.’

‘She’s having enough trouble talking one-on-one with you about what happened. What makes you think a re-enactment would be any better?’

‘It requires an entirely different kind of engagement from her to what has been attempted, which so far has been Molly inside the house she shared with her husband, listening to her own voice recreate mayhem, knowing that her mother is just feet away and worried sick.’

‘And you think a re-enactment might be different?’

‘Yes. A change of surroundings, an opportunity for her to be in control of the situation. Plus, her focus would be on the factual aspects of what happened, which is likely to reduce her emotional engagement with the process.’ He paused. ‘We need to offer her a situation in which her practical brain function has free reign.’

Watts checked his watch, reached for the phone. ‘How many officers are in right now, Reynolds?’ He nodded. ‘Tell them to stay put. We’re on our way up.’ He replaced the phone. ‘Most of them are here. I take it you’re as confident about this re-enactment as you sound?’

‘Sufficient to outline it as the way ahead.’

‘In that case, they need to hear about it. I’ll give Brophy a quick heads-up. He needs to know about it as well.’

Investigative officers were waiting as they walked inside the incident room. Judd headed for Julian, took the chair next to him. The door opened and Brophy appeared.

Traynor faced them, looking pensive. He had to provide an explanation which was sufficient for what he considered the only way forward, but no more.

‘As a team we’re aware that Molly Lawrence has provided some useful information about the attack on her and her husband. However, the trauma of that experience is blocking her efforts to tell us more.’

‘Trauma, my—’

Seeing Brophy’s lips thin, Watts said, ‘Watch what you’re saying, Judd.’

‘Sarge, we’re here every day, working long hours, chasing all possible leads, avoiding the press. She has to get a grip and start working with us.’

Watts pointed at her, keeping his voice low. ‘You were full of sympathy for her a day or so ago. Keep your gripes to yourself so Will can tell us how his idea can move this investigation forward.’

She flushed, ran her fingers through her hair, leaving it spikier than before. ‘Sorry, Will, Sarge, but the hours we’re all working with nothing coming of it, it’s doing my head in.’ Her words got several nods of agreement, plus an awed look from Reynolds.

‘All yours, Will,’ said Watts. They waited, Traynor choosing his words.

‘Molly Lawrence continues to experience significant difficulty in providing details of the shootings. In her interests and those of this investigation, I’m considering a different approach which could help her verbalize the memories she does have. Re-enactment. It’s our best hope.’

He tracked the various officers’ responses, ranging from uncertainty to scepticism. ‘I want to encourage her engagement with events of that night while reducing her emotional responses to them. I believe that inviting her to show us what occurred could give her a sense of control so that she is able to release the detail she has. She has managed to provide some of that detail during my three visits to her but not at the pace or to the degree needed by this investigation. She is frustrated by her own difficulty in giving more. I believe this behavioural approach is in her and our best interests.’

He looked around the room, still seeing uncertainty on some faces. ‘When we put this into practice Molly needs to feel comfortable so I’m going to ask a small number of you to be directly involved. If what I’m suggesting sounds strange, once we start the planning process, I believe you’ll appreciate what I’ve suggested. I want the following officers directly involved in the re-enactment: Jones and Kumar, Chloe Judd, DI Watts as SIO, Adam as head of forensics, plus two of his officers, and Dr Chong. There will be a meeting at six forty-five this evening for those named.’

He glanced around the room. ‘I’m asking all of you to trust what I’m saying about this as the way forward.’

He stepped away. Watts stood. ‘That meeting will be in my office.’

He and Traynor followed Brophy’s stiff-backed