Blood Men: A Thriller

When I get home I’m hit with the expectation that something will be different. It’s as though all that happened today was a movie that’s rolled to the end, the gunmen only actors, the wounds on my wife manufactured with stage blood. If not that, then at least Jodie will be here somewhere, released from the hospital—on the way to the morgue somebody found her breathing and they saved her. I expect the police to be here, to tell me they’ve caught the men who did this. I expect life to have moved forward.

What I get defies all my expectation—everything is exactly how I left it. Nobody has been; nobody is here, even the poltergeist who visits at night to mess things around hasn’t shown up. I step inside and between the time I left a few hours ago and now, nothing has altered other than the angle of the sun. It’s got lower in the sky, barely coming through the living room windows now, picking out dust floating in the air, and the temperature has cooled—but that’s about it. Mogo is somewhere else, outside somewhere, doing whatever it is that crazy cat does. Sometimes the voice from twenty years ago tells me there is a solution to getting rid of that cat. I wonder if Mogo senses that. I wonder, now that Jodie isn’t here, whether Mogo will ever come back.

Sam wakes up when I carry her inside, but falls back asleep within about a minute. I get her tucked into bed and head out to the living room. I turn on the TV but the next news bulletin is still over an hour away. I tidy up the kitchen, putting the phone back on the hook, packing everything into the dishwasher, killing time, killing time—rinse a plate and—bang—another distraction but only for a split second before my world comes crashing back down. Doing the housework seems the wrong thing to be doing—but what is the right thing? It turns out the right thing is throwing a couple of dinner plates really hard into the wall. They both shatter. A small tooth-sized piece bites into the wall and stays there, the other shards raining down on the floor. I pick up a glass and it follows the same trajectory. Next thing I know half a dozen of them are down there, a cocktail of broken glass and ceramic shards, and I tip out the cutlery drawer and add to it before sitting down and leaning against the fridge.

Sam is standing outside the kitchen. There are tears on her face and her teddy bear is tucked against her chest.

“Did you and mummy have a fight?” she asks, looking at all the broken dishes.

“No, baby.”

“Then why did she go?”

I get to my feet and hug my daughter before taking her back to bed. I sit with her until she falls asleep, and I sit with her for a bit after too. I don’t know how to make it through the weekend. Don’t know how to plan the funeral. Don’t know how to plan my future with Sam. The truth is Sam’s the only reason right now I’m not picking up one of those shards off the kitchen floor and fishing for the veins in my forearm.

I clean the kitchen up, watching my wife reaching out over and over, the man behind her raising the gun, then I go back a few minutes earlier and watch us in the bank, I watch the men coming in behind her, different pairs going in different directions. I stand up and fight them, taking the guns off them, struggling with them, six gunshots and six gunmen all lying dead on the floor. People swarm around me and hug me, they recognize me, but the gene my dad gave me doesn’t scare them, in fact it excites them. The serial killer gene just saved all their lives.

Another time I grab Jodie and pull her back from the action, locking us into a nearby bathroom until they’ve gone. Then I watch as the men come in and the security guard takes action and he grabs the first guy, twists him toward the others, guns going off, the bad guys all shooting each other as smoke and blood fill the air. Then I picture us at lunch, laughing, planning, the time slipping away and suddenly we’ve missed our appointment at the bank, disappointed but alive.

I picture getting a flat tire on the way to work this morning. I picture work piling up and me unable to get away. I picture a power cut, an earthquake, somebody choking on a piece of chicken at the restaurant, a car accident right outside work. I picture ringing Jodie and telling her I can’t make it, that it’ll have to be next week, and Jodie tells me what a pain in the ass I am and it’s obvious she’ll be pissed at me all weekend. I picture Jodie in the living room right now getting Sam ready for bed. The TV is on. Sam is asking for some cookies. Jodie is saying no, and Sam is getting upset. I picture reading Sam a bedtime story, something about elves and princesses, then Jodie and me sitting up watching TV, my arm around her, holding her, rubbing her shoulder and then she touches my thigh, I kiss her and then . . . she is gone. Dead. Her body bloody and empty lying on the road as the black van speeds away.

The phone rings. I stare at it but don’t want to talk to anybody. After eight rings the machine picks it up. Jodie recorded the outgoing message. Her voice in the silent house does two things simultaneously—it makes me think she’s still alive, and it makes me think her ghost is here. Two completely opposite things—and it does a third thing too—it makes me shiver.

“You’ve reached Eddie and Jodie and Sam, but we’re all out or pretending to be out, so please leave a message after the beep.”