Faithful Place (Dublin Murder Squad, #3) by Tana French
Prologue
In all your life, only a few moments matter. Mostly you never get a good look at them except in hindsight, long after they’ve zipped past you: the moment when you decided whether to talk to that girl, slow down on that blind bend, stop and find that condom. I was lucky, I guess you could call it. I got to see one of mine face-to-face, and recognize it for what it was. I got to feel the riptide pull of my life spinning around me, one winter night, while I waited in the dark at the top of Faithful Place.
I was nineteen, old enough to take on the world and young enough to be a dozen kinds of stupid, and that night as soon as both my brothers were snoring I slid out of our bedroom with my rucksack on my back and my Docs hanging from one hand. A floorboard creaked and in the girls’ room one of my sisters murmured in her sleep, but I was magic that night, riding high on that surge tide, unstoppable; my parents didn’t even turn over on the pullout bed as I moved through the front room, close enough to touch. The fire had burned down to nothing but a muttering red glow. In the rucksack was everything important I owned: jeans, T-shirts, a secondhand wireless, a hundred quid and my birth cert. That was all you needed to go over to England, back then. Rosie had the ferry tickets.
I waited for her at the end of the road, in the shadows outside the foggy yellow circle of lamplight. The air was cold as glass, with a savory burnt edge from the hops up at Guinness’s. I had three pairs of socks under the Docs, and I stuffed my hands deep into the pockets of my German army parka and listened one last time to my street alive and moving down the long currents of the night. A woman laughing, Ah now who said you could, a window slamming down. Scrabble of a rat along brickwork, a man coughing, the whoosh of a bike around the corner; the low fierce grumble of Mad Johnny Malone, in the basement of Number 14, talking himself to sleep. Couple-noises somewhere, muffled whimpers, rhythmic bumps, and I thought about the smell of Rosie’s neck and grinned up at the sky. I heard the bells of the city chime for midnight, Christchurch, St. Pat’s, St. Michan’s, huge round notes tumbling down from the sky like a celebration, ringing in our own secret New Year.
When they rang one I was afraid. A trail of faint rustles and thumps all down the back gardens, and I straightened up ready, but she didn’t come climbing over the end wall; probably someone sneaking home, late and guilty, in at a window. In Number 7 Sallie Hearne’s newest kid cried, a thin defeated wail, till she dragged herself awake and sang to it. I know where I’m going . . . Painted rooms are bonny . . .
When they rang two, the mix-up hit me like a kick in the hole. It catapulted me right over the end wall into the garden of Number 16, condemned since before I was born, colonized by us kids ignoring the awful warnings, littered with beer cans and fag ends and lost virginities. I leaped up the rotten stairs four at a time without caring who heard. I was so sure, I could already see her, furious copper curls and fists on hips, Where the f*ck have you been?
Splintered floorboards, holes punched in plaster, debris and cold dark drafts and no one. In the top front room I found the note, just a page ripped out of a kid’s school copy. On the bare floor, fluttering in the pale rectangle of light from the window, it looked like it had been there for a hundred years. That was when I felt that riptide change, jackknife and turn deadly, much too strong to fight and not on my side any more.
I didn’t take the note with me. By the time I left Number 16 I knew it by heart, and I had the rest of my life to try to believe it. I left it where it was and went back to the end of the road. I waited there in the shadows, watching the plumes of smoke that my breath sent into the lamplight, while the bells tolled three and four and five. The night faded to a thin sad gray and round the corner a milk cart clattered over cobblestones towards the dairy, and I was still waiting for Rosie Daly at the top of Faithful Place.
1
My father once told me that the most important thing every man should know is what he would die for. If you don’t know that, he said, what are you worth? Nothing. You’re not a man at all. I was thirteen and he was three quarters of the way into a bottle of Gordon’s finest, but hey, good talk. As far as I recall, he was willing to die a) for Ireland, b) for his mother, who had been dead for ten years, and c) to get that bitch Maggie Thatcher.
All the same, at any moment of my life since that day, I could have told you straight off the bat exactly what I would die for. At first it was easy: my family, my girl, my home. Later, for a while, things got more complicated. These days they hold steady, and I like that; it feels like something a man can be proud of. I would die for, in no particular order, my city, my job, and my kid.
The kid is well behaved so far, the city is Dublin, and the job is on the Undercover Squad, so it may sound obvious which one I’m most likely to wind up dying for, but it’s been a while since work handed me anything scarier than a paperwork megaturd. The size of this country means a field agent’s shelf life is short; two ops, maybe four, and your risk of being spotted gets too high. I used up my nine lives a long time back. I stay behind the scenes, for now, and run operations of my own.
Here’s the real risk in Undercover, in the field and out: you create illusions for long enough, you start thinking you’re in control. It’s easy to slide into believing you’re the hypnotist here, the mirage master, the smart cookie who knows what’s real and how all the tricks are done. The fact is you’re still just another slack-jawed mark in the audience. No matter how good you are, this world is always going to be better at this game. It’s more cunning than you are, it’s faster and it’s a whole lot more ruthless. All you can do is try to keep up, know your weak spots and never stop expecting the sucker punch.