I grab my dry cellphone and the printout of Rachel Tyler, and head back down to my car.
I’ve barely left the car park when I think better of my initial impulse. It’s the wrong time of the day to show up at somebody’s house to tell them their daughter is probably dead. Most people would think there never is a right time — but there is. It’s the sort of thing you want to do earlier on so they can call friends and family who can come over to console them. Anyway, it may be Rachel’s ring but it doesn’t mean it’s her corpse.
I drive towards the edge of the city and park my car outside a florist that is open every week night until seven. I need to replace this darkness with some light, yet the first thing I think about is how flowers and death have been mixed together over time as much as flowers and love.
‘Hi ya, Theo.’ An extremely pretty girl with an easy manner smiles at me as I go in.
‘How’s it going, Michelle?’ I do my best to smile back.
We make the usual chitchat, then she asks me if I’m after the usual. I tell her I am.
‘Your wife must really love flowers,’ Michelle tells me, and I slowly nod.
Michelle picks out a bunch she thinks Bridget will like, wraps some cellophane around the stems, and hands them over. She writes down the amount in a small book behind the counter. At the end of the month, like every other month, she will send me a bill.
‘Say hi to Bridget for me,’ she says, and her smile is infectious.
Sometimes I think I could just watch this woman smile for ages.
I head back to my car and rest the flowers in the passenger seat, careful not to crush them. I glance at my watch. Bridget won’t be in any hurry to see me, so I change my mind and decide maybe I can pay a visit to Rachel Tyler’s family after all. I do a U-turn and drive back in the opposite direction, taking with me a bunch of already dying flowers and a whole lot of bad news.
chapter seven
Averageville. That’s where the Tylers live. All the houses in the street are well kept, but there is nothing special, as if any one resident was too scared to make their house stand out above another. No huge homes with giant windows, no expensive cars parked outside, no Porsches or Beemers suggesting a world of big money and high debt. Doctors and lawyers and drug dealers live elsewhere. This is typical living in suburbia, where robberies are high but homicides are low. It’s a pleasant place to live. Sure as hell beats some of the alternatives.
I slow down and glance at the letterboxes, getting an idea early how much further I have to drive. This wasn’t my case when the bodies floated up. It wasn’t my case when the caretaker took off. But it became my case the moment the coffin opened and Rachel Tyler’s body made a suggestion that there are others out there who could still be alive if not for my mistake. I glance at the geranium cocktail next to me, and for a few seconds I think about my wife. I like to think that I know what she would want me to do, but I can’t be sure. It’s been a long time since she gave me any advice.
I step out into the light rain in front of a single-storey house that was mass-produced back at the start of the townhouse era.
Things are tidy, but a little run down. The garden has a few weeds; the lawn is a little long; the entire house looks a little tired.
The door is opened by a woman in her late forties, early fifties. She looks like she has been on edge for the last two years, expecting news at any moment. She is like the house — tidy, neat, but tired.
‘Yes?’
‘Mrs Tyler?’
“Yes …’
I can tell she isn’t sure whether I’m here to sell her encyclopaedias or God, or whether I’m here to bolster or destroy her hopes for her missing daughter. Slowly I reach into my pocket and take out a business card. Her eyes widen and her mouth drops slightly as I hand it across, and when she reads it her mouth firms back up.
She doesn’t seem sure what to say. Doesn’t seem to know whether to be happy or scared that I’m on her doorstep.
‘My name is Theodore Tate,’ I say, ‘and I’m a private investigator.’
‘That’s what the card says,’ she offers, without any sarcasm.
‘Can I have a few minutes of your time?’
‘Do you know where she is?’ she asks, already sure of the reason for my visit.
‘This is about Rachel,’ I say, ‘but not directly. Please, if we can step inside, I can tell you more.’
She fights with the beginnings of a sentence; perhaps the struggle is with the hundreds of questions trying to come out at once, a hundred different ways in which to ask if her daughter is still alive. I bet she’s rehearsed this moment time and time again, but the reality is crushing her, confusing her. She steps back and I move inside.