Free The Cuckoo's Calling by Robert Galbraith

decision to sit at the other end of her desk, he had pretended to notice her engagement ring for the first time before sitting down, then made polite, studiously impersonal conversation about her fiancé for five minutes. He learned that he was a newly qualified accountant called Matthew; that it was to live with Matthew that Robin had moved to London from Yorkshire the previous month, and that the temping was a stopgap measure before finding a permanent job.
    “D’you think she could be in one of these pictures?” Robin asked, after a while. “The girl from the treatment center?”
    She had brought up a screen full of identically sized photographs, each showing one or more people dressed in dark clothes, all heading from left to right, making for the funeral. Crash barriers and the blurred faces of a crowd formed the backdrop to each picture.
    Most striking of all was the picture of a very tall, pale girl with golden hair drawn back into a ponytail, on whose head was perched a confection of black net and feathers. Strike recognized her, because everyone knew who she was: Ciara Porter, the model with whom Lula had spent much of her last day on earth; the friend with whom Landry had been photographed for one of the most famous shots of her career. Porter looked beautiful and somber as she walked towards Lula’s funeral service. She seemed to have attended alone, because there was no disembodied hand supporting her thin arm or resting on her long back.
    Next to Porter’s picture was that of a couple captioned Film producer Freddie Bestigui and wife Tansy. Bestigui was built like a bull, with short legs, a broad barrel chest and a thick neck. His hair was gray and brush-cut; his face a crumpled mass of folds, bags and moles, out of which his fleshy nose protruded like a tumor. Nevertheless, he cut an imposing figure in his expensive black overcoat, with his skeletal young wife on his arm. Almost nothing could be discerned of Tansy’s true appearance, behind the upturned fur of her coat collar and the enormous round sunglasses.
    Last in this top row of photographs was Guy Somé, fashion designer. He was a thin black man who was wearing a midnight-blue frock coat of exaggerated cut. His face was bowed and his expression indiscernible, due to the way the light fell on his dark head, though three large diamond earrings in the lobe facing the camera had caught the flashes and glittered like stars. Like Porter, he appeared to have arrived unaccompanied, although a small group of mourners, unworthy of their own legends, had been captured within the frame of his picture.
    Strike drew his chair nearer to the screen, though still keeping more than an arm’s length between himself and Robin. One of the unidentified faces, half severed by the edge of the picture, was John Bristow, recognizable by the short upper lip and the hamsterish teeth. He had his arm around a stricken-looking older woman with white hair; her face was gaunt and ghastly, the nakedness of her grief touching. Behind this pair was a tall, haughty-looking man who gave the impression of deploring the surroundings in which he found himself.
    “I can’t see anyone who might be this ordinary girl,” said Robin, moving the screen down to scrutinize more pictures of famous and beautiful people looking sad and serious. “Oh, look…Evan Duffield.”
    He was dressed in a black T-shirt, black jeans and a military-style black overcoat. His hair, too, was black; his face all sharp planes and hollows; icy blue eyes stared directly into the camera lens. Though taller than both of them, he looked fragile compared to the companions flanking him: a large man in a suit and an anxious-looking older woman, whose mouth was open and who was making a gesture as though to clear a path ahead of them. The threesome reminded Strike of parents steering a sick child away from a party. Strike noticed that, in spite of Duffield’s air of disorientation and distress, he had made a good job of