"Yes. Aren't you going to take notes?"

"Would it make you happier if I did?" he asked.

"No," Amelia snapped.

They had obviously reached some kind of conversational impasse. Jackson looked at the Blue Mouse. It had "clue" written all over it. Jackson attempted to join the dots. "So, let's see," he ventured. "This is Olivia's and she had it with her when she was abducted? And the first time it's been seen since is when it turns up after your father's death? And you didn't call the police?"

They both frowned. It was funny because although they looked quite different they shared exactly the same facial expressions. Jackson supposed that was what was meant by "fleeting resemblance."

"What wonderful powers of deduction you have, Mr. Brodie," Julia said, and it was hard to tell whether she was being ironic or trying to flatter him. She had one of those husky voices that sounded as if she were permanently coming down with a cold. Men seemed to find that sexy in a woman, which Jackson thought was odd because it made women sound less like women and more like men. Maybe it was a gay thing.

"The police didn't find her then," Amelia said, ignoring Julia, "and they're not going to be interested now. And, anyway, maybe it's not a matter for the police."

"But it's a matter for me?"

"Mr. Brodie," Julia said, very sweetly, too sweetly. They were like good cop, bad cop. "Mr. Brodie, we just want to know why Victor had Olivia's Blue Mouse."

"Victor?"

"Daddy. It just seems…"

"Wrong?" Jackson supplied.

Jackson rented a house now, a long way from the Cambourne ghetto. It was a cottage really, in a row of similar small cottages, on a road that must once have been in the countryside, farm cottages, probably. Whatever farm they had been a part of had long since been built over by streets of Victorian working-class terraces. Nowadays even houses that were back-to-backs with their front doors opening straight onto the street went for a fortune in the area. The poor moved out to the likes of Milton and Cherry Hinton, but now even the council estates there had been colonized by middle-class university types (and the Nicola Spencers of the world), which must really piss the poor people off. The poor might always be with us, but Jackson was puzzled as to where they actually lived these days.

When Josie left for nonconnubial bliss with David Lastingham, Jackson considered staying on and living in the marital Lego house. This thought had occupied him for roughly ten minutes before he rang the estate agent and put it on the market. After they had split the proceeds of the sale, there wasn't enough money left for Jackson to buy a new place, so he had chosen to rent this house instead. It was the last in the terrace, on the run-down side, and the walls between it and the house next door were so thin that you could hear every fart and cat mewl from the neighbor's. The furnishings that came with it were cheap and it had an impersonal atmosphere, like a disappointing holiday home, that Jackson found strangely restful.

When he moved out of the house he had shared with his wife and daughter, Jackson went round to every room in the house to check that nothing had been left behind, apart from their lives, of course. When he walked into the bathroom he realized that he could still smell Josie's perfume – L'Air du Temps - a scent she had worn long before he had ever met her. Now she wore the Joy by Patou that David Lastingham bought her, a scent so old-fashioned that it made her seem like a different woman, which she was, of course. The Josie he had known had rejected all the wifely attributes of her mother's generation. She was a lousy cook and didn't even possess a sewing basket, but she did all the DIY in their little box house. She said to him once that when women learned that wall anchors weren't the mysterious objects they thought they were, they would rule the world. Jackson had been under the impression that they already did and made the mistake of voicing this opinion, which resulted in a statistical lecture about global gender politics – "Two-thirds of the world's work is done by women, Jackson, yet they only own one-tenth of the world's property – do you see any problem with that?" (Yes, he did.) Now, of course, she had turned into retro woman, a kind of Stepford wife, who baked bread and was going to knitting classes. Knitting! What kind of a joke was that?

When he moved into the rented house he bought a bottle of L'Air du Temps and sprayed the tiny bathroom with it, but it wasn't the same.

Amelia and Julia had given him a photograph, a small, square, faded color photograph from another time. It was a close-up of Olivia, grinning for the camera, all her regular little teeth on show. There were freckles on her snub nose and her hair was looped up in short plaits, tied with green-and-white gingham ribbons, although all the colors in the photograph had acquired a yellow tint with age. She was wearing a dress that matched the ribbons, the smocking on the dress partly concealed by the blue mouse that she was clutching to her chest. Jackson could tell she was making the blue mouse pose for the camera – he could almost hear her telling it to smile, but its features, appliqued in black wool, carried the same air of gravity then that they did now, except that time had robbed the blue mouse of half an eye and a nostril.

It was the same photograph that the papers had used. Jackson had looked up the microfiche files on his way home. There were pages and pages about the search for Olivia Land, the story ran for weeks, and Amelia was right – the big story before Olivia had been the heat wave. Jackson tried to remember thirty-four years ago. He would have been eleven years old. Had it been hot? He had no idea. He couldn't remember eleven. The important thing about it was that it wasn't twelve. All the years before he was twelve shone with an unblemished and immaculate light. After twelve it was dark.

He listened to the messages on his answering machine. One from his daughter, Marlee, complaining that her mother wouldn't let her go to an open-air concert on Parker's Piece "and would Jackson talk to her, please, please?" (Marlee was eight, no way was she going to an open-air concert.) Another "Frisky" message from Binky Rain and one from his secretary, Deborah Arnold, berating him for not coming back into the office. She was ringing from home – he could hear two of her loutish teenagers talking in the background over the blare of MTV Deborah had to shout in order to inform him that there was "a Theo Wyre" trying to get in touch with him and she didn't know what it was about except that he "seemed to have lost something." The name "Theo Wyre" sounded startlingly familiar but he couldn't place it. Old age, he supposed.

Jackson fetched a Tiger Beer from the fridge, pulled off his boots (Magnum Stealths, the only boot as far as Jackson was concerned), lay down on the uncomfortable couch, and reached over to his CD player (the good thing about living in a tiny house was that he could touch almost everything in the room without getting up) and put on Trisha Yearwood's 1995 Thinkin' About You album, now unavailable for some reason. Trisha might be mainstream, but that didn't mean she wasn't good. She understood pain. He opened An Introduction to French Grammar and tried to focus on the correct use of the past using etre (although when he lived in France there would be no past and no future, only present), but it was difficult to concentrate because the gum above his rogue tooth was throbbing.

Jackson sighed and retrieved the blue mouse from the mantelpiece and placed it against his shoulder and patted its small, soft back, in much the same way he had once comforted Marlee when she was small. The blue mouse felt cold, as if it had been in a dark place for a long time. Not for a moment did Jackson think that he could find that little girl with the gingham ribbons in her plaits.