Blood Men Page 14

  I sit down, my legs weak. I suddenly realize that I have no idea where our cat is. I can’t even remember the last time I saw him, and I’m not even sure if I’ve been feeding him or if he’s even still alive. Jesus-the monster didn’t get him when I was drunk, did it?

  “Daddy?”

  “Not this year, honey. I’m going to come and see you, okay? Tell Daddy-Nat and Gramma that I’m on my way.”

  “Okay, Daddy,” she says, and hangs up without another word.

  I pack some of her clothes. Jodie bought a bag for this a couple of years ago as occasionally Sam spends the night at her grandparents’. I find a couple of toys, and I figure it ought to be enough. Everything else-pajamas, toothbrush, et cetera-are at Nat’s house.

  The sun is still blazing bright, the day isn’t as hot as it was a few hours ago but I still drive with the window down. Christchurch weather has the ability to turn on a dime. There are bus stops full of people all waiting to go somewhere, tourists with backpacks half the size of them visiting the Garden City, mums with baby carriages and bags full of shopping. Every mailbox outside every house is jammed full of supermarket and store brochures. Kids on front lawns are running through and sitting on top of sprinklers. I pass hedgehogs flattened by cars and dogs walking freely along sidewalks, sniffing at fast-food bags dropped in the gutters. I’m in control the entire drive, and I’m in control when I pull up in the driveway and step out. Sam comes and hugs me, and leads me inside to show off the Christmas tree. It’s the same tree they have every year. I smile at the tree and say how good it looks, but the truth is I’ll probably never enjoy Christmas again.

  “You look like hell,” Nat says, and I guess he’s right-I haven’t really checked.

  “Can I fix you something to eat?” Diana asks.

  “Sure, thanks,” I say. I don’t think I’ve eaten anything since the boxed cereal yesterday.

  I spend a couple hours at the house. I fit in well enough, but it’s like I’m an outsider the entire time, and even though my in-laws try hard, I think this may be the last time I visit them-other than to drop Sam off or pick her up. I can’t be here with them, and I don’t know why. They don’t blame me for what happened, but their pain and loss are written all over their faces. I don’t need to see that, not now, perhaps never again. After dinner we sit out on the porch, me and Nat, him drinking a beer and wondering why I don’t want one too.

  “Listen, Nat, can you watch Sam again tonight? There’s something I have to do.”

  He takes a long swallow of beer before answering. “You know, Eddie, I’m not kidding when I say you look like hell.”

  “I know.”

  “The only thing you ought to be doing right now is taking care of what family you have left.”

  “That is what I’m doing.”

  “Uh-huh. And how exactly are you doing that?”

  “Can you take care of Sam or not?”

  “Of course we can, Eddie, you know that. I’m just worried you’re thinking of doing something stupid.”

  “Like what?”

  “I don’t know. Something. Stupid.”

  “I’m only helping the police with a few things.”

  “You’ve got a daughter who needs you. I’m not telling you to let go of what happened, but you have to let the police do their job. A man needs to know what his priorities are.”

  “I know. You’re right. It’s only for tonight,” I say, “I promise.”

  “Okay, Edward. And don’t worry, I won’t hold you to your promise,” he says, and finishes off his beer.

  chapter twenty-four

  I sit in my living room with the curtains closed and the stereo off and the TV off and the phones off. I’m sick of the world. Sick of my phone-sick of messages left by reporters and the psychiatrist I used to see years ago and by people wanting to check up on me. I stare at the TV as if it were on. In the beginning I can see my reflection, but the later the day becomes the harder it gets to see. I have nothing to do but wait for it to become dark. I stare at the Christmas tree and once again I think about taking it down, but once again I decide to leave it up for Sam. The sun comes in through one of the living room windows, it climbs up the walls as it sinks toward the horizon, reflecting off the shiny balls and bells on the tree. It moves over a photo of Sam, over a wedding photo of me and Jodie, it reflects across the room, orange light, weakening, and then it’s gone.

  I keep waiting.

  Darkness settles in. An hour goes by. I switch on the TV and there’s a New Zealand-made show about psychics on. They’re trying to solve the crimes the police haven’t been able to. A short time ago this kind of thing disgusted me. People were making money off the misery of victims-from the psychics themselves to anybody who had anything to do with the shooting of the show. Women were raped and murdered only to have their story re-enacted and retold by psychics trying to make a quick buck, and the TV-viewing public loved it-or at least enough of them did to keep making the show. But now I think of it differently. If the police can’t do their job, maybe the psychics can. Before I can change channels, the front of the bank appears, then two side-by-side photos, one of my wife, one of the bank manager. Jonas Jones, the main psychic on the show, sits down at an office table that may or may not be inside the bank, closes his eyes, and, surrounded by burning candles, tells the public that the stolen money is still in Christchurch, hidden, somewhere near water, which is a great feat considering Christchurch is on the edge of an ocean. No wonder psychics aren’t winning the lottery every week.

  Midnight comes and goes.

  I get changed at one o’clock. The shirt has dried out from last night and is stiff and scratches at me and smells the same as it did this morning. I drive through the early-Thursday-morning streets, most of them deserted until I get toward town, where there are sparks of life from the drunk and disorderly. In suburbia Christmas lights flash at me from windows and roofs and trees, the dark air illuminated by the reds and yellows as well as the pale light from the moon. If Jodie were alive it would all look fantastic. Instead it’s gaudy and cheap, the decorations coming from sweatshop factories in third-world countries. It makes the people in these houses seem desperate to cling to happiness.

  If map reading was one of Darwin’s tests for survival of the fittest, I’d have been screwed long ago. It takes me a while, but I manage to find the address. Draw a straight line on a map and plot the neighborhoods on it, and they go steadily downhill, nice homes near town, okay homes further away, homes that can only be improved with the introduction of a Molotov cocktail further out again. This is where the map takes me, into a neighborhood you’d normally see on the news where the insurgents are fighting off an invading army. I keep a steady pace, not wanting to risk slowing down. I pass beaten-up cars, old washing machines parked on the sidewalk, random pieces of timber, split-open rubbish bags with waste spilling out. The street I want isn’t any better. Every yard is covered in brown grass and dog crap. Half of the streetlights don’t work. Only a few of the homes have fences, and those that do have about a quarter of a fence at most, every third or fourth paling stolen or used as firewood. A few years ago a neighborhood like this wouldn’t have existed. There were bad areas but not to this extent. Study the line I plotted on the map, and you’d see this neighborhood is spreading, it’s like a virus, touching other suburbs, infecting them, finally consuming them before moving further on. Gerald Painter’s wife is right to move her family away. They live maybe five kilometers from here in a nice street with nice cars and nice trees, but it’s only a matter of time before the virus parks up outside their house and moves in.

  I drive past the house I want, my heart racing, my palms sweaty, but all I’ve come to do is see the house, maybe catch a glimpse of Shane Kingsly, then drive home and. .

  Well, drive home and do something. I don’t know what. Maybe phone the police. Maybe go to bed. Maybe write his name down next to Dean Wellington and the life insurance guy.

  Then why is Sam’s bag s
till in the backseat?

  “I forgot to take it out,” I say. The killing kit is still stuffed inside.

  Then why’d you get changed?

  “How about shutting up?”

  I park a few houses down under a busted light, this time on the opposite side of the road, this time with the house ahead of me so I can keep watch. That’s the plan. Sit for a while. Watch for a while. Then leave.

  Yeah right.

  Immediately I realize the problem. This isn’t the kind of place I can sit for a while. I stand out here. Soon one of the neighbors will come to mug me, or kill me. I’ve seen all that I can safely see, and now it’s time to leave.

  Like hell it is. Let me help you.

  “No.”

  Fine. Have it your way. Let the men who did this to Jodie go free. Go back to your life and move on. It’s not long until you hear that from everybody you know. Move on.

  “What do you need me to do?” I ask.

  We climb out of the car. I turn a three-sixty looking for somebody, anybody, but there is nobody. I grab Sam’s bag and carry it tightly.

  We move onto the edge of the property. The dry grass crunches underfoot. I hunker down and pull on the hat and the gardening gloves and take a knife out, then move closer to the house. There are no lights on inside. None of the houses in the street have any Christmas lights. Santa doesn’t even know this place exists. Kingsly’s house is government subsidized, maybe sixty years old, made from wood siding that hasn’t seen fresh paint in all that time. The guttering is covered in dark mould and sags in places where it’s all cracked and busted. There are clumps of grass growing out of it. There is a run-down car parked up the driveway, another one on the lawn, and if you combined all the bits that worked you’d have a car that probably wouldn’t get you anywhere. I slowly approach the house and try to peer in through the windows. I can’t see a damn thing.

  I head easily around the side of the house, walking slowly, careful in case there are dogs here, but so far nothing has barked at me. I thought a neighborhood like this would have a thousand dogs. Maybe the virus got them.

  I look through the back windows and get the same result. The back door is locked. I don’t know how to get inside. I guess knocking on the door is the way to go.

  No it’s not. We don’t know how many people are inside. We don’t know who will answer. It’s easier than that. Just follow my lead.

  There aren’t many places in the backyard to hide, but I find a gap in a mangle of hedge that’s overgrown in the corner. We move toward it, searching the ground for something to throw. I take aim and fire a stone hard up onto the roof. It thumps heavily, and I duck in behind the hedge, the branches scratching at me and snagging my clothes. I stay absolutely still. Nothing happens. I throw a second stone twenty seconds later.

  A light comes on inside the house. Just one light in a bedroom. Could mean the other bedrooms are empty. Could mean the others are better sleepers. A few moments later I can hear the front door open. Twenty seconds after that it closes, and not long after that the back door opens. A man, silhouetted by the hallway light, steps into the backyard. He’s wearing pajama bottoms and nothing on top. Tattoos that probably have violent stories behind them climb up his body from under the waistband. He’s skinny and tall and looks like he’s spent too many years in jail and the rest of them on drugs. He takes a customary glance over the backyard, shrugs for his own benefit, then goes back inside. I wait until the lights go off, then I wait another few minutes, then I throw a third stone, same speed, same place, same kind of sound.

  The light comes on much quicker this time. Still just the one light. Front door. Nothing. Then back door. He walks out into the yard.

  “Fuck is out there?” he asks, and he probably asked the same thing out the front and got the same answer, but he’s probably thinking he’s talking to a cat or a possum.

  We don’t answer him. He doesn’t walk far, stays near the door, wondering if the sound was an animal, or a pinecone falling from somewhere. Only difference between this time and the last time is this time he’s carrying a flashlight. He’s not using it as a flashlight, though, he’s using it as a weapon. It’s not even switched on. It’s black and steel and about the length of his forearm and I figure if he had a better weapon he would have brought it out here. Nobody brings a flashlight to a gunfight. He heads back inside. The light goes off. Silence.

  We give it ten minutes this time. Long enough for him to think the sound isn’t coming back. Long enough that he might be falling asleep again.

  This time the lights don’t come on. The front door doesn’t open. Only the back door, and it’s fired open quickly and he storms outside, the meat of the flashlight slapping into the palm of his hand. He’s dressed this time, black jeans, black top, black everything.

  “Who’s out there?” he yells. “That you, Reece? This ain’t funny.”

  He moves deeper into the yard. He switches on the flashlight and spotlights random areas. He passes it over the hedge but he doesn’t squat down or move branches aside or come any closer. He doesn’t circle behind it. He thinks whatever is being thrown on his roof is either some random event or it’s being thrown from outside his yard. He walks one way, then the other way, and he comes back to the doorway and he stares out toward us awhile without seeing us, then he closes the door. His bedroom light turns on and off, but he’s not in there, he’s waiting inside the doorway, waiting for the next sound, ready to burst out at a second’s notice.

  I move away from the hedge, slowly, confident slow movement will be less likely to draw his attention in case he’s watching from the window. I put more distance between the house and us, backing into the neighboring property, a similar house in similar disrepair, same warped wood siding, same dirt-packed yard, probably the same kind of person living inside. I keep the hedge between me and Kingsly. I head slowly down the side of the next-door house and make it back out to the road. My car is still where I left it. All the wheels are still on it. I figure it’s like winning the lottery out here. I move to the front of Kingsly’s house and walk up the pathway, staying low, moving slow. I stick the bag on the path halfway between the house and the road. I reach the front door and squat down and take a few moments to calm down, drawing strength from the monster.

  I knock. Twice. Two loud, heavy knocks. Footsteps pound down the hallway. I run, staying low, back to the side of the house before he gets the door open. I can hear him saying something but I’m not sure what, something that sounds like “what the fuck.” I reach the back of the house and put my hand on the door handle and trust in Kingsly’s desperation to get outside as fast as he could. Sure enough, the handle turns and the door opens. I can’t see a thing inside. The hallway has a bend in it, so I can’t see Kingsly either. He’s outside. I can hear him walking around out there, asking who’s out there, when he should be asking an entirely different question. He should be asking who’s in here. I close the door. I head into the bedroom where the light was turning on and off before, using my hands to lead the way, almost tripping on rope lining the floor. Kingsly stays outside for another minute before returning to the hallway. The front door closes.

  We wait in the dark for him to come into the bedroom.

  chapter twenty-five

  Kingsly heads out to the backyard. He moves around out there for a minute, swearing loudly, unsure of what he’s looking for. He knows he’s not dealing with pinecones anymore. He finally comes back in. He walks up and down the hallway a few times with the lights off. I’m not sure why, but as he does, it comes to me that I’ve already made my first mistake. The knife won’t make him talk. He isn’t going to come in here and see the steak knife in my hand, then start talking.

  I can’t see anything, but I can hear him. All I can see are the numbers from the clock radio and a small glow coming from the power button of a stereo. Kingsly knows the layout of his own house, knows where to walk without banging into anything. He has the flashlight on which helps him, I guess, but
helps me too.

  The flashlight beam comes into the room from the hallway, lighting up part of the bed from the angle he’s on. The light grows in size the closer he gets. I squat down and wait for him, the knife out ahead of me. As he comes into the room, he twists the flashlight toward the light switch and reaches for it.

  He switches it on at the exact time I move forward. I can’t kill him. I need him. I need names and addresses and information that he can’t provide if I stick the knife into his throat. So I aim for his shoulder. He hears me coming and turns and lifts his arm. It throws off my aim. The knife bites into his hand and pushes it back to the wall, but the knife goes into the wall too, right through the drywall, the blade burying down to the hilt, extending all the way into the wall and ripping into the wiring behind the light switch.

  Every single muscle in my body tightens, my head crashes up into his chin, my right arm numb and in pain. I can’t let go of the knife. Every muscle in Kingsly goes tight too, his arm with the flashlight swings up randomly, the metal casing hits me hard in the shoulder and pushes me back. My hand comes off the knife and I fall down and quickly back away, hitting the bed and pushing the mattress askew.

  Then nothing.

  Kingsly stands almost still. There are veins standing out in his neck and forehead. He’s still holding the flashlight, his arm straight up in the air like he’s asking a question. He isn’t screaming. Isn’t trying to pull the knife away. I can hear a low hum, and a couple of sparks fly from the wall from behind his hand, but nothing else. No crackle of electricity. Almost perfect silence-except for the low hum.

  Then I realize he actually is moving. Small, shallow movements, almost every part of him swaying minutely back and forth, convulsing almost, as if he’s having an epileptic fit but doesn’t have the energy to give it his all. He can’t break the contact, all he can do is this death dance as the power flows through him. His feet seem bolted to the floor. The lights in the bedroom fade, then come on real bright, then fade again. One of them blows, the other one brightens, dims, brightens.