Good Girls Lie by J.T. Ellison
“And now I’m going to tell you about a scorpion. This scorpion wanted to cross a river, so he asked the frog to carry him. ‘No,’ said the frog, ‘no thank you. If I let you on my back, you may sting me and the sting of the scorpion is death.’ ‘Now, where,’ asked the scorpion, ‘is the logic in that? For scorpions always try to be logical. If I sting you, you will die. I will drown.’ So the frog was convinced and allowed the scorpion on his back. But just in the middle of the river, he felt a terrible pain and realized that, after all, the scorpion had stung him. ‘Logic!’ cried the dying frog as he started under, bearing the scorpion down with him. ‘There is no logic in this!’ ‘I know,’ said the scorpion, ‘but I can’t help it—it’s my character.’”
—Orson Welles, Mr. Arkadin
1
THE HANGING
The girl’s body dangles from the tall iron gates guarding the school’s entrance. A closer examination shows the ends of a red silk tie peeking out like a cardinal on a winter branch, forcing her neck into a brutal angle. She wears her graduation robe and multicolored stole as if knowing she’ll never see the achievement. It rained overnight and the thin robe clings to her body, dew sparkling on the edges. The last tendrils of dawn’s fog laze about her legs, which are five feet from the ground.
There is no breeze, no birds singing or squirrels industriously gathering for the long winter ahead, no cars passing along the street, only the cool, misty morning air and the gentle metallic creaking of the gates under the weight of the dead girl. She is suspended in midair, her back to the street, her face hidden behind a curtain of dirty, wet hair, dark from the rains.
Because of the damage to her face, it will take them some time to officially identify her. In the beginning, it isn’t even clear she attends the school, despite wearing The Goode School robes.
But she does.
The fingerprints will prove it.
Of course, there are a few people who know exactly who is hanging from the school’s gates. Know who, and know why.
But they will never tell.
As word spreads of the apparent suicide, The Goode School’s all-female student body begin to gather, paying silent, terrified homage to their fallen compatriot. The gates are closed and locked—as they always are overnight—buttressed on either side by an ivy-covered, ten-foot-high, redbrick wall, but it tapers off into a knee-wall near the back entrance to the school parking lot, and so is escapable by foot. The girls of Goode silently filter out from the dorms, around the end of Old West Hall and Old East Hall to Front Street—the main street of Marchburg, the small Virginia town housing the elite prep school—and take up their positions in front of the gate in a wedge of crying, scared, worried young women who glance over shoulders looking for the one who is missing from their ranks. To reassure themselves this isn’t their friend, their sister, their roommate.
Another girl joins them, but no one notices she comes from the opposite direction, from town. She was not behind the redbrick wall.
Whispers rise from the small crowd, nothing loud enough to be overheard but forming a single question.
Who is it? Who?
A solitary siren pierces the morning air, the sound bleeding upward from the bottom of the hill, a rising crescendo. Someone has called the sheriff.
Goode perches like a gargoyle above the city’s small downtown, huddles behind its ivy-covered brick wall. The campus is flanked by two blocks of restaurants, bars, and necessary shops. The school’s buildings are tied together with trolleys—enclosed glass-and-wood bridges that make it easy for the girls to move from building to building in climate-controlled comfort. It is quiet, dignified, isolated. As are the girls who attend the school; serious, studious. Good. Goode girls are always good. They go on to great things.
The headmistress, or dean, as she prefers to call herself, Ford Julianne Westhaven, great-granddaughter several times removed from the founder of The Goode School, arrives in a flurry, her driver, Rumi, braking the family Bentley with a screech one hundred feet away from the gates. The crowd in the street blocks the car and, for a moment, the sight of the dangling girl. No one stops to think about why the dean might be off campus this early in the morning. Not yet, anyway.
Dean Westhaven rushes out of the back of the dove-gray car and runs to the crowd, her face white, lips pressed firmly together, eyes roving. It is a look all the girls at Goode recognize and shrink from.
The dean’s irritability is legendary, outweighed only by her kindness. It is said she alone approves every application to the school, that she chooses the Goode girls by hand for their intelligence, their character. Her say is final. Absolute. But for all her goodness, her compassion, her kindness, Dean Westhaven has a temper.
She begins to gather the girls into groups, small knots of natural blondes and brunettes and redheads, no fantastical dye allowed. Some shiver in oversize school sweatshirts and running shorts, some are still in their pajamas. The dean is looking for the chick missing from her flock. She casts occasional glances over her shoulder at the grim scene behind her. She, too, is unsure of the identity of the body, or so it seems. Perhaps she simply doesn’t want to acknowledge the truth.
The siren grows to an earsplitting shriek and dies midrange, a soprano newly castrated. The deputies from the sheriff’s office have arrived, the sheriff hot on their heels. Within moments, they cordon off the gates, move the students back, away, away. One approaches the body, cataloging; another begins taking discreet photographs, a macabre paparazzi.