Michael Beres: Chernobyl Murders

“Finally, end of duty for a few days.”

“Do you live in Kiev?” asks Tamara.

“With my husband, Vitaly. It is surprising how much I miss him.”

“How long have you been married?” asks Tamara.

“Since the fall of the Soviet Union.” Lyudmilla reaches across the aisle and touches Tamara’s arm. “Tell me. Are you related to one of the victims?”

Michael leans forward and smiles. “She was one of the Chernobylites. Of course, she didn’t fill me in on the details until today.”

He nudges Tamara. “A mystery woman.”

“You’re too young to have been a Chernobylite,” says Lyudmilla.

Tamara touches her tummy. “My mother was carrying me at the time.”

“She… it must have been terrible for her. Is she… how can I say it?”

“She died in the United States in 2000. My father was one of the engineers taken to Moscow, where he died within days of the accident. My stepfather came with me on this visit, but he stayed in Kiev. He was in the Kiev militia in 1986. He says he never wants to visit the plant or Pripyat again.”

Lyudmilla shakes her head. “I don’t blame him. For me, it’s a job. Are you visiting others during your stay?”

“My stepfather is bringing his niece to the museum to meet us, then we’ll go to dinner. Tomorrow we’re all going into the countryside to visit my mother’s roommate from Pripyat and her husband and family.”

Michael points to Tamara. “Her stepfather’s niece is her stepsister, if you can believe it.”

Lyudmilla nods while she tries to decipher the relationship. As the bus begins moving, the overhead television monitors come to life. The volume of the televisions, all tuned to a news station giving the latest statistics on global climate change records, is loud, but not so loud for Lyudmilla to tune out the voice of the inquisitive German tourist at the rear of the bus.

“Will we get more radiation screening at the museum?” demands the German in English. “I wonder if Dytyatky was the last.

Can anyone tell me?”

Lyudmilla wishes she could stand and tell the German to shut his mouth. But she is off duty and is not required to respond one way or another. Instead, she closes her eyes and thinks of home, wondering if Vitaly will be there, or if, like the last time they had an argument, he will be away with his friends when she arrives.

The television commentator is also speaking in English. “In Kiev, celebrating the traditional Day of Victory Parade, two elderly World War II veterans who managed to march remain in hospital suffering from heat stroke. In other news, lack of spring rain has caused water shortages on farms throughout Ukraine…”

Lyudmilla dozes during the bus ride to Kiev. When she awakens, it is almost dark. A small group of people waits beneath the streetlights in front of the Chernobyl museum, among them a handsome younger bald man talking to an older man and a young woman, both whom are wearing Sox baseball caps. The young woman has short hair beneath the cap, reminding Lyudmilla of how she wore hers when she was young and slender and could wear a short, tight skirt in public and feel good about it.

Suddenly, there is a surprise. Just as she is anticipating the hot evening walk alone to the Metro Blue Line, she sees Vitaly jump out of their car parked across the street. He runs to the bus stop like a younger man. He is smiling. He is carrying yellow spring flowers.

Kiev’s Casino Budapest throbs with everything from bump-and-grind to techno to rock and roll to disco, and even some traditional folk music. Tonight, while the striptease bar and the disco pound out their rhythms, the variety show for restaurant guests features a Gypsy orchestra playing traditional Hungarian music.

The restaurant is crowded with tourists. Americans at table twelve, which tonight seats five but can accommodate six, have brought along baseball caps. Two caps, inscribed with the word Sox, decorate the center of their table. No one wore the caps into the restaurant, and everyone is dressed casually but appropriately, men in jackets, women in skirts and blouses. The waiter has determined the man paying the tab will be the older, thin-faced man with a prominent nose and who is wearing a garish red, white, and green tie. All five at the table have finished eating, and the table has been cleared.

The two young women at the table are both beautiful in their own way. The young American woman has long brown hair and is buxom. She sits between the older man and a very tall, dark-skinned young African American man. At one point during the Gypsy orchestra entertainment, she puts her arms around both men and they sway back and forth. The young Ukrainian woman at the table is thin yet shapely with very short hair. She sits with a bald young man who leans very close so she can speak into his ear. She is not telling secrets. Early on, the waiter discovered her voice is a mere whisper and one must lean close to hear her.

After a short interlude, the Gypsy orchestra launches into a Hungarian number. A slow passage is followed by the traditional dance, the czardas. While the thin-faced older man at table twelve pays the tab, the other two men stand to pull out chairs. Before standing, the two young women at table twelve each take a Sox baseball cap and put it on. All five laugh as they leave the table. Rather than leaving the restaurant, they move closer to the Gypsy orchestra and the dance floor, where several couples have begun to dance.

The tall African American man offers his hand to the long-haired buxom beauty, while the bald young man offers his hand to the thin Ukrainian beauty who, with her short hair and shapely legs, looks like a fashion model.

Both couples watch others dancing the fast-paced czardas and try to do the same, but it is obvious they need practice. When the music slows to the solo violin, the couples move closer and sway on the dance floor. The older man in the red, white, and green tie stands to the side, smiling as he plays his own invisible violin.

The soloist is exceptional, reminiscent of Lakatos and his Gypsy Orchestra. The violin cries out on the dance floor, but it can also be heard up and down the hallways of Casino Budapest. As if on cue, intermission is called at other venues within the casino, and the cry of the violin alone travels outside onto the street.

From high on the Kiev hills, this could be any city, the heat of the day making its lights shimmer. The solo violin does not skip a beat as the soloist goes into his final, mournful note. It is as if the violinist possesses a bow of infinite length. This is music from the border regions to the south and west, music from Hungary and Romania. To the north, near the Belarus border, a pair of red lights on the Chernobyl towers blink slowly in the night as if they, too, can hear the violin. The red eyes of the predator, momentarily taken by the music, blinking to clear away its tears.