Richard House - The Kills

Isa, enraged, hands on hips, belly round and protruding, asks him what, exactly, does he mean by this?

Rike sucks in her breath. ‘It’s a phrase,’ she explains. ‘He means it’s broken.’

‘Even so.’

Shade from the lemon tree sheds a map across the patio. Rike looks up at the canopy, picks out the angled pockets of blue sky and wonders if the boy is responsible for shooting the cats.

1.6

Three Sutlers: one walking into the path of a train, another into a desert. It’s hard to fathom. How is it possible that a man is found walking through a desert, alone, with no water and no food, ninety-two kilometres from where he was last seen (by a witness at a gas station), and thirty-seven kilometres from the most rudimentary habitation? For Rike the answer is pragmatic. It’s best not to think of how, as in, How would you manage such a thing, but, why. Why would anyone do that?

She thinks of this event as an unfortunate coincidence, a collision of bad choice and bad luck. Imagine this: you hire or buy a car which is barely serviceable. You plan to drive it a long distance trusting that as it’s managed to convey you so far already, there’s no reason to worry, and anyway, you’re driving at night when it’s not so hot, and however remote the route you’re assured that the vehicle will double as shelter if something should happen. She can see this, it isn’t hard to imagine — so the first splutter, that hint of failure, isn’t exactly a surprise, but neither is it such a terrible moment. It might test your patience, and you might start to wonder what the problem is, pause and ask yourself if you should continue, or if you should make some attempt to return.

There have been other people travelling this route, not so many in recent hours, true. In fact, the only vehicle you’ve noticed recently is one of those black sedans the Arabs are fond of, with black windows, impenetrable, which drive at a speed, and while they overtake with plenty of room, your vehicle still shudders as they pass — a reminder, as if you need it, of your vehicle’s inferiority.

You marvel at the night sky. How clear it is and how those stars are so much more complex out here, and there are times when this spangled black makes you feel part of something, connected, dot-to-dot. There are times, looking up, when you feel infinitely insignificant, the sheer number of stars obliterates your uniqueness.

When it happens, it happens with brutal speed. Perhaps it’s your fault because you see something in the road. A rogue camel, maybe something more exotic — some fantastic creature poised as it crosses, yellow eyes flashing as you veer off the road and pick up some brush which lodges under the vehicle. Or maybe something more banal, which comes as a change in tone. The car just doesn’t sound right. Or a vibration shivers through the steering wheel before a loss of power. You are, goddammit, slowing down.

Or maybe a woman in a gaberdine comes staggering out from the roadside, hands aflap, shoeless but on the run. Her sobs run over the radio as you drive toward trouble.

1.7

There are two witnesses. The first, a clerk for Trenitalia, saw Parson at the station in Naples, and can confirm he took an express to Rome. The second witness, a construction worker, saw Parson running along the track until the train obscured his view. He heard the second train but couldn’t see it. It wasn’t until he caught the news that he understood what he’d seen.

The man was running like he was being chased.

Gibson gives the news to Geezler. ‘I can’t see him running. Parson never hurried. I can’t see it.’

And what of Sutler?

Gibson doesn’t know. There’s so much here that is unknown. The newspapers are speculating that Sutler is responsible. Perhaps there was a confrontation? He doesn’t know. It would not be like Parson to confront someone. But you never know. Unless other witnesses come forward no one is likely to find out. When this settles he will ask for Parson’s papers which are currently with the Italian police.

Geezler isn’t happy. Parson was tracking Sutler, those papers belong to them. They should be retrieved.

‘Send someone,’ he says. ‘Tidy this up. Find out what he knew and see if Sutler is responsible.’

Gibson doesn’t mention the expense of hiring a PR firm. How insensitive the calls and enquiries have become. The accusative tone that follows any mention of Sutler, HOSCO, Gibson & Baker. There is a photograph of Parson in the lobby set on a flimsy easel, under which staff have begun to leave flowers. On their website is an announcement: It is with deep regret …

1.8

Isa stands at the counter, the Cyprus Mail open in front of her. She recognizes the name, she says. Parson. It’s unusual. It means priest, no? She recognizes the name because early last summer Henning had to go to Istanbul to sort out some business with a photographer. She’s heard the name before. Henning met him.

What she doesn’t understand is why this man called Parson, who was supposed to be looking for Sutler, came to be confused with the man he was looking for? Odd, no? And what a way to go? Hit by two trains. Can you imagine?

Rike reads the article over her sister’s shoulder. Geezler. HOSCO. These names are also familiar.

Isa shrugs. It’s all confusing, she says, and a little strange. Henning isn’t exactly forthcoming with the detail. He won’t be happy.

* * *

Henning calls at nine. Rike is on the couch and Isa is preparing for bed, apologizing for her lack of energy. Rike answers and Henning asks if Isa is about. When Rike says she’ll get her, ready to open the call to speakerphone, Henning tells her to wait a moment.

It’s Rike he wants to speak to.

‘Steer her away from the news,’ he says.

‘She’s going to bed.’

‘But in the next couple of days.’

Rike asks if this has anything to do with the man in Rome. ‘She already knows.’

Henning groans, this is the last thing he needs. Once Isa gets her nose into this she won’t leave him alone. There won’t be an end to it.

‘She says you knew him.’

‘Who?’

‘Parson. She said you met him last year in Istanbul. She remembered the name.’

‘Just keep her off the subject,’ Henning asks.

2.1

Rike follows a small map she’s printed from the internet and counts down the house numbers. The apartment, one of a row of new developments, is set on the outskirts of Limassol, close to the hospital: a twenty-five-minute walk in the full heat of the day.

The air tastes of gasoline. On every landing she finds a sign posted in English and Greek: No littering, no loitering, no deliveries, Karnezis Management. This is the same company that manages Isa’s complex.

Rike’s thoughts catch on how strange it is, a little risky, to arrive unaccompanied at the apartment of a man you haven’t met. But now, exchanging greetings at his door, those doubts are gone, and anyway, he works for the UN. There, inside, a white jacket folded over a folding chair with the blue insignia stitched to the upper sleeve.

She imagines that he recognizes her; that in the slight eye-narrowing is the tiniest trace of familiarity. Perhaps she reminds him of someone? It’s hard to tell as the reaction is so fleeting. For her part she doesn’t recognize him. She knows few men of his age so he isn’t familiar on any level.