“I hated Donna from the first moment I saw her. She looks ridiculous- you must have seen her picture? She gave an exclusive to almost every national paper and charged them a fortune. All that cleavage and lipstick. She looks like a female impersonator.”

Susie either coughs or laughs. All I can hear is her voice, as if she’s talking into my ear, with the uncracked timbre she had before her confidence was shattered and her creamy voice curdled. I hear her sip a drink and sit back. She’s sitting on leather, good leather judging by the sound, and it shrieks and sighs as she shifts her weight.

She shouldn’t have given an interview, not to anyone, but she’d been sacked and was bitter and probably a bit panicky. She didn’t tell me until the magazine came out in September. She went off early in the morning, saying she was going to get the papers or stamps, I forget which. She didn’t come back for three hours, and when she did she had red eyes and was shaking.

I asked what was up. She put the magazine on the kitchen table and looked out the window. “It’s a disaster,” she said, quietly. “I’ll never get work again.”

I thought she was being overdramatic until I read the interview. It definitely contributed to the end. If she’d felt she had anything to lose, I don’t think she would have gone to Cape Wrath. Which means, of course, that her career mattered more in the final instance than me or Margie or the house or our way of life or her freedom.

I never understood why the interviewer hated her so much. It seemed to me that she was doing him a great favor. And he was a pal of Morris Welsh’s, which should have been a warning, I suppose. Of all the magazines to give an interview to, GLT was probably the most unprofessional. They sandwiched the article between an interview with a retired gangster and a chart of the biggest tits in porn. When she gave the interview, she didn’t know it was for GLT, just that Morris’s pal was starting out and could sorely do with the scoop. The photograph was unkindly lit and made her look old and wizened. Wizened; my beautiful Susie.

I think she agreed to be interviewed because she was hoping for a completely new career as a media psychiatrist. She’s always watching telly and criticizing the psychiatric pundits on it. Forensic psychiatry’s a small world. She wasn’t in any hurry to suffer job interviews or explain her departure from Sunnyfields. She kept speculating about who’d heard about her sacking. Now I realize that this speaks volumes about her state of mind; she never wondered if nice people had heard and felt bad for her, only whether all the shitty bastards in the profession had heard and were pleased. And there are nice people in the profession, a couple of really nice women, like Tabitha Morley and that Finnish woman with the nose. If I’d been fired it wouldn’t have mattered, but Susie’s career is a huge part of her identity. It was a sort of death to her, I think; all her hard work being denied.

She had bought a suit for the GLT interview, a pale blue woolen one with a shorter skirt than she’d normally go for. She hid it from me, hung it at the back of her closet and pretended it wasn’t new. She looked lovely in it. She couldn’t wear it to court because it pinched her at the waist and looked sexy. She had to wear somber blacks and blues, straight-sided jackets that hid her shape and made her look sexless. She didn’t have anything like that in her wardrobe. She sent me out to buy them before the trial. I got her a navy blue blazer that had ridiculous gold buttons with anchors stamped on them. It was graceless and horrible and she wore it almost every day. When we still thought she’d get off, we were having tea in the kitchen and she said she liked the blazer because it reminded her of who she wasn’t.

I loved her in that pale blue woolen suit, loved the way she moved in it, the modest way she tugged at the hem when she sat down. If we can’t find any grounds for an appeal, she might never get to wear it again. She’ll be too old when she gets out.

I rewound the tape and pressed play. As I listened I imagined Susie looking great, sitting on a modernist leather sofa, legs crossed at the knee, gently swinging her free foot, holding an elegant espresso cup.

“All that cleavage and lipstick. She looks like a female impersonator.”

Susie’s right: Donna did look extraordinary. There are a lot of pictures of Donna in the plastic bag and on the walls around the office. For a blushing bride concentrating on her husband’s appeal, she managed an astonishing number of interviews.

She was five feet two and wore clumpy high heels that made her walk as if she were falling forward the whole time. She dressed in frilly über-feminine dresses with plunging necklines and many gold chains. She looked a bit country-and-western with her big hair and sticking-out bum. The newspapers portray her as thoughtful but grasping (they nearly all mention how hard she negotiated the price of the interview), and the magazines have her as an ecstatic newly married nut case. In one women’s magazine there is a particularly tasteless photo of her throwing a wedding bouquet backward at the wire fence around Sunnyfields State Mental Hospital. And some of the stuff she’s quoted as saying, honestly, the League for People with Shit for Brains could sue her for bringing their name into disrepute.

I turn up the volume:

“Yeah, it’s a recognized phenomenon, prison romances. They’re sad, sad women mostly. Often the men are in the course of serving their sentence when the women start writing to them. They meet them on a visit and start an affair. [The interviewer asks something that I can’t make out.] No, Donna hadn’t met him before. She saw him in the paper and fell in love with his picture.”

Susie starts to laugh, and Morris’s pal laughs politely along with her. He doesn’t find it as funny as Susie. She gives such big, barking laughs that it ends up sounding forced, as though she doesn’t find it funny either.

I have a picture of Gow from the bag under the desk. Susie has marked it “Donna’s 1st view of G.” This must be the picture Donna saw of him, the one that she fell in love with. In the picture Gow is looking over his shoulder at the photographer. His hands are cuffed together and he’s wearing a green prison jumpsuit. His head is shaved, but he has the elaborate facial-hair arrangement of a man who’s in no hurry to get out to work in the mornings: a pencil line along the jaw, a mufflike hair cap on his chin, a thin mustache. His eyes are small and beady. He’s about as attractive as an anal prolapse.

chapter five

I WAS EATING A SANDWICH IN THE KITCHEN JUST NOW AND I GOT SO freaked out that I had to come up here. This is not a joke. They’re really going to keep my Susie in a prison for years and years and years. It’s grotesque. My heart will starve.

All the papers are in tidy piles now, some on the floor, some on the desk, waiting for me to work through them. Yeni is downstairs giving Margie a bath. Margie’s in a terrible temper this evening. She’s crying at everything. I keep turning around to talk to Susie about it and finding she isn’t there anymore.

What happened to us? We shouldn’t be worrying about murder convictions and appeals. We should be buying bigger houses, moving up the career ladder, fighting about next summer’s holiday destination. The worst of it is that it wasn’t just a random bolt from the blue. Susie had been gathering clippings about Gow for nearly a year, she got the sack over him, she followed him up to Cape Wrath. Let those who have eyes see.