Copyright

Published by HarperCollinsPublishers Ltd

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published in Great Britain by HarperCollinsPublishers 2016

This edition published 2017

Copyright © Cecelia Ahern 2016

Jacket design by Heike Schüssler © HarperCollinsPublishers Ltd 2016

Feather illustration based on Simon Cotter’s photograph

Cover images © Shutterstock.com (leaves)

Cecelia Ahern asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780007501892

Ebook Edition © May 2017 ISBN: 9780007501885

Version: 2019-03-01

Dedication

For Paula Pea

It is not the strongest of the species that survives, nor the most intelligent. It is one that is most responsive to change.

Attributed to Charles Darwin

Table of Contents

Cover

Title Page

Copyright

Dedication

Epigraph

Prologue

Part 1

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Part 2

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Chapter 29

Chapter 30

Chapter 31

Chapter 32

Chapter 33

Chapter 34

Part 3

Chapter 35

Chapter 36

Chapter 37

Chapter 38

Chapter 39

Chapter 40

Chapter 41

Chapter 42

Part 4

Chapter 43

A Summary

Acknowledgements

Questions & Answers

Keep Reading …

About the Author

Also by Cecelia Ahern

About the Publisher

PROLOGUE

He moves away from the others, their constant chat blending into a tedious monotonous sound in his head. He’s not sure if it’s the jet lag or if he’s simply not interested in what’s going on. It could be both. He feels elsewhere, detached. And if he yawns one more time, she’ll have no hesitation in calling him out on it.

They don’t notice him break away from them, or if they do, they don’t comment. He carries his sound equipment with him; he’d never leave it behind – not just because of its value, but because it’s a part of him by now, like another limb. It’s heavy but he’s used to the weight, oddly is comforted by it. He feels a part of him is missing without it, and walks like he’s carrying the audio bag even when he isn’t, his right shoulder dropped to one side. It might mean he’s found his calling as a sound recordist, but his subconscious connection to it does nothing good for his posture.

He walks away from the clearing, away from the bat house, the cause of the conversation, and moves towards the forest. The fresh cool air hits him as he reaches the edge.

It’s a hot June day, the sun beats down on the top of his head and is baking the naked flesh at the back of his neck. The shade is inviting, a group of midges do high-speed set-dancing in paths of sunlight looking like mythical insects. The woodland floor is cushioned and springy beneath his feet with layers of fallen leaves and bark. He can no longer see the group he left behind and he tunes them out, filling his lungs with the scent of refreshing pine.

He places the audio bag down beside him and leans the boom mic against a tree. He stretches, enjoys the cracks of his limbs and flexing of his muscles. He lifts off his sweater, his T-shirt rising up with it, revealing his stomach, then ties it around his waist. He pulls the hair bobbin from his long hair and ties it up tighter in a topknot, enjoying the air on his sticky neck. Four hundred feet above sea-level he looks out over Gougane Barra and sees tree-covered mountains extending as far as the eye can see, not a sign of a neighbour for miles. One hundred and forty-two hectares of national park. It’s peaceful, serene. He has an ear for sound, has acquired it over time and has had to. He’s learned to listen to what you don’t immediately hear. He hears the birds chirping, the rustle and crack of creatures moving all around him, the low hum of a tractor in the distance, building work hidden in the trees. It’s tranquil, but alive. He inhales the fresh air and as he does he hears a twig snap behind him. He whips around quickly.

A figure darts into hiding behind a tree.

‘Hello?’ he calls out, hearing the aggression in his voice at being caught off guard.

The figure doesn’t move.

‘Who’s there?’ he asks.

She peeks out briefly from behind the trunk, then disappears again, like she’s playing a game of hide-and-seek. An odd thing happens. He now knows he’s safe but his heart starts pounding; the reverse of what it should be doing.

He leaves his equipment behind and slowly walks towards her, the crunch and snap of the floor beneath him revealing his every move. He makes sure to keep space between them, making a wide circle around the tree she hides behind. Then she comes into full view. She tenses, as if readying herself for defence, but he holds his hands up in the air, palms flat, as though in surrender.

She would almost be invisible or camouflaged in the forest if it weren’t for her white-blonde hair and green eyes, the most piercing he’s ever seen. He’s completely captivated.

‘Hi,’ he says, softly. He doesn’t want to scare her away. She seems fragile, on the edge of fleeing, perched on her toes, ready to take off at any moment if he takes a wrong step. So he stops moving, feet rooted to the ground, hands up flat, as if he’s holding up the air, or maybe it’s the air that’s holding him up.

She smiles.

The spell is cast.

She’s like a mythical creature, he can barely see where the tree begins and she ends. The leaves that act as their ceiling flutter in the breeze, causing rippling light effects on her face. They’re seeing each other for the first time, two complete strangers, unable to take their eyes off each other. It is the moment his life splits; who he was before he met her and who he becomes after.

PART 1

One of the most beautiful and rare and probably the most intelligent of all the world’s creatures is that incomparable artist, the Lyrebird … The bird is extremely shy and almost incredibly elusive … characterised by amazing intelligence.

To say that he is a being of the mountains only partially explains him. He is, certainly, a being of the mountains but no great proportion of the high ranges that mark and limit his domain can claim him for a citizen … His taste is so exacting and definite, and his disposition so discriminating, that he continues to be selective in these beautiful mountains, and it was a waste of time to seek him anywhere save in situations of extraordinary loveliness and grandeur.

Ambrose Pratt,

The Lore of the Lyrebird

1

That Morning

‘Are you sure you should be driving?’

‘Yes,’ Bo replies.

‘Are you sure she should be driving?’ Rachel repeats, asking Solomon this time.

‘Yes,’ Bo replies again.

‘Is there any chance you could stop texting while you’re driving? My wife is heavily pregnant, the plan is to meet my firstborn,’ Rachel says.

‘I’m not texting, I’m checking my emails.’

‘Oh well then.’ Rachel rolls her eyes, and looks out the window as the countryside races past. ‘You’re speeding. And you’re listening to the news. And you’re jet-lagged to fuck.’

‘Put your seatbelt on if you’re so worried.’

‘Well, that’s reassuring,’ Rachel mumbles as she squeezes her body into the seat behind Bo and clicks her seatbelt into place. She’d rather sit behind the passenger seat where she can keep a better eye on Bo’s driving, but Solomon has the seat pushed so far back that she can’t fit.

‘And I’m not jet-lagged,’ Bo says, finally putting her phone down, to Rachel’s relief. She waits to see Bo’s two hands return to the wheel but instead Bo turns her attention to the radio and flicks through the stations. ‘Music, music, music, why does nobody talk any more?’ she mutters.

‘Because sometimes the world needs to shut up,’ Rachel replies. ‘Well, whatever about you, he’s jet-lagged. He doesn’t know where he is.’

Solomon opens his eyes tiredly to acknowledge them both. ‘I’m awake,’ he says lazily, ‘I’m just, you know …’ He feels his eyelids being pulled closed again.

‘Yeah, I know, I know, you don’t want to see Bo driving, I get it,’ Rachel says.

Just off a six-hour flight from Boston, which landed at five thirty this morning, Solomon and Bo had grabbed breakfast at the airport, picked up their car, then Rachel, to drive three hundred kilometres to County Cork in the southwest of Ireland. Solomon had slept most of the way in the plane but it still wasn’t enough, yet every time he’d opened his eyes he’d found Bo wide awake spending every second watching as many in-flight documentaries as she could.

Some people joke about living on pure air. Solomon is convinced that Bo can live on information alone. She ingests it at an astronomical rate, always hungry for it, reading, listening, asking, seeking it out so that it leaves little room for food. She barely eats, the information fuels her but never fills her, the hunger for knowledge and information is never satiated.

Dublin based, Solomon and Bo had travelled to Boston to accept an award for Bo’s documentary, The Toolin Twins, which had won Outstanding Contribution to Film and Television at the Boston Irish Reporter Annual Awards. It was the twelfth award they’d picked up that year, after numerous others they’d been honoured with.

Three years ago they had spent a year following and filming a pair of twins, Joe and Tom Toolin, who were seventy-seven years old at the time. They were farmers who lived in an isolated part of the Cork countryside, west of Macroom. Bo had discovered their story whilst researching for a separate project, and they had quickly taken over her heart, her mind and consequently her life. The brothers lived and worked together all their lives. Neither of them had ever had a romantic relationship with a woman, or with anyone for that matter. They had lived on the same farm since birth, had worked with their father and then taken it over when he passed away. They worked in harsh conditions, and lived in a very basic home of humble means, a stone-floored farmhouse, sleeping in twin beds with nothing but an old radio to keep them entertained. They rarely left the land, received their weekly shopping from a local woman who delivered their meagre items, and did general housekeeping. The Toolin brothers’ relationship and outlook on life had torn at the heartstrings of the audience as it had the film crew, for beneath their simplicity was an honest and clear understanding of life.

Bo had produced and directed it under her production company, Mouth to Mouth productions, with Solomon on sound, Rachel on camera. They’d been a team for the past five years since their documentary, Creatures of Habit, which explored the falling number of nuns in Ireland. Bo and Solomon had been romantically involved for the past two years, since the unofficial wrap party of the documentary. The Toolin Twins had been their fifth piece of work but their first major success, and this year they had been travelling the world going from one film festival or awards ceremony to another, where Bo had been accepting awards and had polished her speech to perfection.

And now they’re on the way back to the Toolin twins’ farm which they are so familiar with. But it is not to celebrate their recent successes with the brothers, it is to attend the funeral of Tom Toolin, the younger brother by two minutes.

‘Can we stop for something to eat?’ Rachel asks.

‘No need.’ Bo reaches down to the floor on the passenger side, dangerously, one hand still on the wheel as the car swerves slightly on the motorway.

‘Jesus,’ Rachel says, not able to watch.

Bo retrieves three power bars and throws one to her. ‘Lunch.’ She rips hers open with her teeth, and takes a bite. She chews aggressively, as if it’s a pill she must swallow, food for fuel, not food for enjoyment.

‘You’re not human, you know that?’ Rachel says, opening her power bar and studying it with disappointment. ‘You’re a monster.’

‘But she’s my little inhumane monster,’ Solomon says groggily, reaching out to squeeze Bo’s thigh.

She grins.

‘I preferred it when you two weren’t fucking,’ Rachel says, looking away. ‘You used to be on my side.’

‘He’s still on your side,’ Bo says, in a joking tone but meaning it.

Solomon ignores the dig.

‘If we’re going to pay our respects to poor Joe, why did you make me pack all my gear?’ Rachel asks, mouth full of nuts and raisins, knowing exactly why but in the mood to stir things up even further. Bo and Solomon were fun like that, never completely stable, always easy to tip.

Solomon’s eyes open as he studies his girlfriend. Two years together romantically, five years professionally and he can read her like a book.

‘You don’t actually think that Bo is going to this funeral out of the goodness of her heart, do you?’ he teases. ‘Award-winning internationally renowned directors have to be receptacles for stories at all times.’

‘That sounds more like it,’ Rachel says.

‘I don’t have a heart of stone,’ Bo defends herself. ‘I re-watched the documentary on the flight. Do you remember who had the final words? Tom. “Any day you can walk away from your bed is a good day.” My heart is broken for Joe.’

‘Fractured, at least,’ Rachel teases, gently.

‘What’s Joe going to do?’ Bo continues, ignoring Rachel’s jab. ‘Who can he talk to? Will he remember to eat? Tom was the one who organised the food deliveries and he cooked.’

‘Tins of soup, beans on toast and tea and toast isn’t exactly cooking. I think Joe will easily be able to take up the gauntlet,’ Rachel smiles, remembering the men sitting down together to shovel hard bread into watery soup in the winter afternoons when darkness had already fallen.

‘For Bo, that’s a three-course meal,’ Solomon teases.

‘Imagine how lonely life will be for him now, up that mountain, especially in the dead of winter, not seeing anyone for a week or more at a time,’ Bo says.

They allow a moment of silence to pass while they ponder Joe’s fate. They knew him better than most. He and Tom had let them into their lives and had been open to every question.

While filming, Solomon often wondered how the brothers could ever function without each other. Apart from the market, and tending to their sheep, they rarely left the farm. A housekeeper would see to their domestic needs, which seemed an inconvenience to them rather than necessity. Meals were taken quickly and in silence, hurriedly shovelling food into their mouth before returning to their work. They were two peas in a pod, they would finish each other’s sentences, move around each other with such familiarity it was like a dance, but not necessarily an elegant one. Rather, one that had been honed over time, unintentionally, unrealised. Despite its lack of grace, and maybe because of it, it was beautiful to see, intriguing to watch.

It was always Joe and Tom, never Tom and Joe. Joe was the elder by two minutes. They were identical in looks, and they gelled despite the difference in personalities. They made peculiar sense in a landscape that didn’t.

There was little conversation between them, they had no need of explanation or description. Instead their communication relied on sounds that to them had meaning, nods of the head, shrugs, a wave of the hand, a few words here and there. It took a while for the film crew to understand whatever message had passed between them. They were so in tune they could sense each other’s moods, worries, fears. They knew what the other was thinking at any given time, and they gave the beauty of this particular connection no thought whatsoever. They were often bamboozled by Bo’s depth of analysis of them. Life is what it is, things are as they are, no sense analysing it, no sense trying to change what can’t be changed, or understand what can’t be understood.

‘They didn’t want anybody else because they had each other, they were each enough for one another,’ Bo says, repeating a line she has said a thousand times in promotion for her documentary but still meaning every word. ‘So am I chasing a story?’ Bo asks. ‘Fuck yeah.’

Rachel throws her empty wrapper over Bo’s shoulder.

Solomon chuckles and closes his eyes. ‘Here we go again.’

2

‘Wow,’ Bo says as the car crawls towards the church in its stunning surroundings. ‘We’re early. Rachel, can you get your camera set up?’

Solomon sits up, wide awake now. ‘Bo, we’re not filming the funeral. We can’t.’

‘Why not?’ she asks, brown eyes staring into his intently.

‘You don’t have permission.’

She looks around. ‘From who? This isn’t private property.’

‘Okay, I’m out,’ Rachel says, getting out of the car to avoid being caught up in another of their arguments. The tumultuous relationship is not just with Solomon, it’s anyone who comes into contact with Bo. She’s so stubborn, she brings the argument out in even the most placid of people, as though the only way she knows to communicate or to learn is by pushing things so far that they spark a debate. She doesn’t do it for the enjoyment of the debate; she needs the discussion to learn how other people think. She’s not wired like most people. Though she’s sensitive, she is more sensitive to people’s stories, not necessarily in the method of discovering them. She’s not always wrong, Solomon has learned plenty from her over time. Sometimes you have to push at awkward or uncomfortable moments, sometimes the world needs people like Bo to push the boundaries in order to encourage people to open up and share the story, but it’s about choosing the right moments and Bo doesn’t always get that right.

‘You haven’t asked Joe if you can film,’ Solomon explains.

‘I’ll ask him when he arrives.’

‘You can’t ask him before his brother’s funeral. It’s insensitive.’

She looks around at the view and Solomon can see her brain ticking over.

‘But maybe some of the funeral attendees will do an interview afterwards, tell us stories about Tom we didn’t know, or get their opinion on how they think Joe’s life will be from now on. Maybe Joe will want to talk to us. I want to get a sense of what his life is like now, or what it’s going to be like.’ She says all this while spinning around, seeing the view from 360 degrees.

‘Pretty fucking lonely and miserable, I’d imagine,’ Solomon snaps, losing his temper and getting out of the car.

She looks at him, taken aback, and calls after him. ‘And after that we’ll get you some food. So that you don’t bite my head off.’

‘Show some empathy, Bo.’

‘I wouldn’t be here if I didn’t care.’

He glares at her, then having enough of the argument he senses he will lose he stretches his legs and looks around.

Gougane Barra lies to the west of Macroom in Co. Cork. Its Irish name, Guagán Barra, meaning ‘The Rock of Barra’, derived from Saint Finbar, who built a monastery on an island in a nearby lake in the sixth century. Its secluded position meant St Finbar’s Oratory was popular during the time of Penal Laws, for celebrating the illegal Catholic Mass. Nowadays, its stunning surroundings makes it popular for weddings. Solomon is unsure as to why Joe chose this chapel; he’s sure Joe doesn’t follow trends, nor does he go for romantic settings. The Toolin farm is as remote as you can imagine, and while it must be part of a parish, he’s not sure which. He knows the Toolin twins were not religious men; unusual for their generation, but they’re unusual men.

He may not feel it’s right interviewing Joe on the day of his brother’s funeral but he does have some of his own questions he’d like answering. Despite his frustration with Bo for overstepping boundaries, he always benefits from her doing so.

Solomon takes off on his own to record. Now and then Bo points out an area, an angle, or an item that she would like Rachel to capture, but mostly she leaves them to their own devices. This is what Solomon likes about working with Bo. Not unlike the Toolin twins, Bo, Solomon and Rachel understand how each member of the team prefers to work and they give each other the space to do that. Solomon feels a freedom on these jobs that is lacking in the other work he takes on purely to pay the bills. A winter spent filming unusual body parts for a TV show Grotesque Bodies, followed by summer shooting at a reality fat fit club that sucked the life from him. He is grateful for these documentaries with Bo, for her curiosity. What irritates him about her are the very skill sets that help set him free from his regular day-jobs.

An hour into their filming, the funeral car arrives, closely followed by Joe, eighty years old, behind the wheel of the Land Rover. Joe climbs out of the jeep, wearing the same dark brown suit, sweater and shirt that they’ve seen on him hundreds of times. Instead of his Wellington boots he wears a pair of shoes. Even on this sunny day he wears what he’d wear in the depths of winter, perhaps a hidden layer less. A tweed cap covers his head.

Bo goes to him immediately. Rachel and Solomon follow.

‘Joe,’ Bo says, reaching out to him and shaking his hand. A hug would have been too much for him, not being comfortable with physical affection. ‘I’m so sorry for your loss.’

‘You didn’t have to come,’ he says, surprised, looking around at the three of them. ‘Weren’t you in America when I rang you?’ he asks, as if they were on another planet.

‘Yes, but we came home straight away to be here for you. Could we film, Joe? Would that be okay? People who watched your story would like to know how you’re doing.’

Solomon tenses up at Bo’s nerve but she also amuses him, he finds her gutsiness, her honesty, remarkable and rare.

‘Ara go on,’ says Joe, waving his hand dismissively as if it makes no difference to him either way.

‘Can we talk to you afterwards, Joe? Is there a gathering planned? Tea, sandwiches, that kind of thing?’

‘There’s the graveyard and that’s it. No fuss, no fuss. Back to business, I’m working for two now, aren’t I?’

Joe’s eyes are sad and tired with dark circles. The coffin is removed from the car and is placed on a trolley by the pallbearers. Including the film crew, there are a total of nine people in the church.

The funeral is short and to the point, the eulogy read by the priest, who mentions Tom’s work ethic, his love for his land, his long-departed parents and his close relationship with his brother. The only movement the stoic Joe makes is to remove his cap when Tom’s coffin is lowered into the ground at the graveyard. After that, he pops it back on his head, and walks to his jeep. In his head, Solomon can almost hear him say, ‘That’s that.’

After the burial, Bo interviews Bridget the housekeeper, though it’s a title that’s used loosely as she merely delivers food and dusts the cobwebs from their damp home. She’s afraid to look at the camera in case it explodes in her face, looking defensive as though every question is an accusation. Local garda Jimmy, the Toolin twins’ animal feed supplier and a neighbouring farmer whose sheep share the mountainous land with theirs, all refuse an interview.

The Toolin farm is a thirty-minute drive, far from anything, deep in the heart of the mountainside.

‘Are there books in the Toolin house?’ Bo asks out of nowhere. She does that often, blurts out random questions and thoughts as she slots the various pieces of information that come from different places together in her head to tell one clear story.

‘I’ve no idea,’ Solomon says, looking at Rachel. Rachel would have a better visual image and memory than any of them.

Rachel thinks about it, re-runs her shot-list in her head. ‘Not in the kitchen.’ She’s silent while she runs through the house. ‘Not in the bedroom. Not on open shelves, anyway. They have bedside lockers, could be in there.’

‘But nowhere else.’

‘No,’ Rachel says, certain.

‘Why do you ask?’ Solomon asks.

‘Bridget. She said that Tom was an “avid reader”.’ Bo scrunches her face up. ‘I wouldn’t peg him as a reader.’

‘I don’t think you can tell if someone’s a reader or not by looking at them.’

‘Readers definitely always wear glasses,’ Rachel jokes.

‘Tom never mentioned books. We lived their entire schedule with them for a year. I never saw him read, even hold a book. They didn’t read newspapers, neither of them. They listened to the radio. Weather reports, sports and sometimes the news. Then they’d go to bed. Nothing about reading.’

‘Maybe Bridget made it up. She was very nervous about being on camera,’ Solomon says.

‘She was very detailed about buying books for him at second-hand shops and charity sales. I believe she bought the books, I just can’t figure out why we never saw one book in the house and neither of them reading. That’s something I would have wanted to know about. What did Tom like to read? Why? And if he did, was it a secret?’

‘I don’t know,’ Solomon says, yawning, never really hung up on the minor details that Bo dissects, particularly now, as the hunger and tiredness kick in again. ‘People say odd things when they’ve a camera pointed at their face. What do you think, Rachel?’

Rachel is silent for a moment, giving it more clout than Solomon did. ‘Well he’s not reading anything now,’ she says.

They arrive at the Toolin farmhouse and are more than familiar with the land; they spent many dark mornings and nights, in torrential rain, traipsing over this treacherous land. The brothers had separated the work. As hill sheep farmers, they had split their responsibilities from the beginning and stuck to that. It was a lot of work for little income, but they had each stuck to their designated roles since their father died.

‘Tell us what happened, Joe,’ Bo says gently.

Bo and Joe sit in the kitchen of the farmhouse on the only two chairs at the plastic table. It’s the main room of the house and contains an old electric cooker, the four hobs the only part of it in use. It’s cold and damp, even in this weather. There is one socket on the wall with an extension lead feeding everything in the kitchen: the electric cooker, the radio, the kettle, and the electric heater. An accident waiting to happen. The hum of the heater, Solomon’s sound enemy. The room – in fact the entire house – smells of dog because of the two border collies that live with them. Mossie and Ring, named after Mossie O’Riordan and Christy Ring who were instrumental in Cork’s victory in the All-Ireland Hurling final in 1952, one of the few times the boys travelled to Dublin with their father, one of the only interests they have outside of farming.

Joe sits in a wooden chair, quiet, elbows on the armrest and hands clasped at his stomach. ‘It was Thursday. Bridget had dropped by with the food. Tom was to put it away. I went off. I came in for my tea and found him here on the floor. I knew right away that he was gone.’

‘What did you do?’

‘I put the food away. He hadn’t done that yet, so it was early enough when he died. Must have been soon after I left. Heart attack. Then I made a call …’ He nods at the phone on the wall.

‘You put the food away first?’ Bo asks.

‘I did.’

‘Who did you call?’

‘Jimmy. At the station.’

‘Do you remember what you said?’

‘I don’t know. “Tom’s dead”, I suppose.’

Silence.

Joe remembers that he’s on camera, remembers the advice Bo gave him three years ago to keep talking so it’s him that’s telling the story. ‘Jimmy said he’d have to ring the ambulance anyway, even though I knew there was no bringing him back. He came by himself then. We had a cuppa while we waited.’

‘While Tom was on the floor?’

‘Sure where would I move him?’

‘Nowhere, I suppose,’ Bo says, a faint smile on her lips. ‘Did you say anything to Tom? While you were waiting for Jimmy and the ambulance.’

‘Say anything to him?’ he says, as if she’s mad. ‘Sure he was dead! Dead as dead can be. What would I be sayin’ something for?’

‘Maybe a goodbye or something. Sometimes people do that.’

‘Ah,’ he says dismissively, looking away, thinking of something else. Maybe of the goodbye he could have had, maybe of the goodbyes he’d already had, maybe of the ewes that needed to be milked, the paperwork that needed to be filled.

‘Why did you choose the church today?’

‘That’s where Mammy and Daddy were married,’ he says.

‘Did Tom want his funeral to be held there?’

‘He never said.’

‘You never talked about your plans? What you’d like?’

‘No. We knew we’d be buried with Mammy and Daddy at the plot. Bridget mentioned the chapel. It was a grand idea.’

‘Will you be all right, Joe?’ Bo asks, gently, her concern genuine.

‘I’ll have to be, won’t I?’ He gives a rare smile, a shy one, and he looks like a little boy.

‘Do you think you’ll get some help around here?’

‘Jimmy’s son. It’s been arranged. He’ll do some things when I need him. Lifting, the heavy work. Market days.’

‘And what about Tom’s duties?’

‘I’ll have to do them, won’t I?’ He shifts in his chair. ‘No one else left to be doing it.’

Both Joe and Tom were always amused by Bo’s questions. She asked questions that had obvious answers; they couldn’t understand why she questioned things so much, analysed everything, when to them that was that, all the time. Why question something when the solution was obvious? Why even try to find another solution when one would do?

‘You’ll have to talk to Bridget. Give her your shopping list. Cook,’ Bo reminds him.

He looks annoyed at that. Domesticity was never something he enjoyed, that was Tom’s territory, not that Tom enjoyed it either, he just knew if he was waiting for his brother to feed him, he’d die of starvation.

‘Did Tom like reading?’ she asks.

‘Ha?’ he asks her, confused. ‘I don’t think Tom ever read a book in his life. Not since school, anyway. Maybe the sports pages when Bridget brought the paper.’

Solomon can sense Bo’s excitement from where he stands. She straightens her back, ready to dive into what’s niggling at her.

‘When you put away the shopping on Thursday, was there anything unusual in the bags?’

‘No.’

Understanding Joe’s grasp of the English language, she rephrases, ‘Was there anything different?’

He looks at her then, as if deciding something. ‘There was too much food, for a start.’

‘Too much?’

‘Two pans of bread. Two ham and cheese, sure I can’t remember what else.’

‘Any books?’

He looks at her again. The same stare. Interest piqued. ‘One.’

‘Can I see it?’

He stands and gets a paperback from a kitchen drawer. ‘There you go. I was going to give it to Bridget – thought it was hers, and the extras too.’

Bo studies it. A well-thumbed crime novel that Bridget had picked up from somewhere. She opens the inside hoping for an inscription but there’s nothing. ‘You don’t think Tom asked for this?’

‘Sure why would he? And if he did it wasn’t just his heart that there was something wrong with.’ He says this to the camera and chuckles.

Bo hangs on to the book. ‘Going back to Tom’s duties. What are the duties you have on the farm now?’

‘Same as usual.’ He thinks about it as if for the first time, all the things that Tom did during his day that he never thought about, or the things they used to discuss in the evening. ‘He saw to the well by the bat house. I haven’t been there for years. I’ll have to keep an eye on that, I suppose.’

‘You never mentioned the bat house before,’ Bo says. ‘Can you take us there?’

The four of them and one of the loyal sheepdogs get into Joe’s jeep. He drives them across the land, on dirt tracks that feel dangerous now, never mind during the winter on those stormy days or icy mornings. An eighty-year-old cannot do this alone, two eighty-year-olds were barely managing it. Bo hopes that Jimmy’s son is an able-bodied young man who does more than Joe asks, because Joe’s not a man to ask for help.

A rusted railing stops them in their tracks. Solomon beats Joe to it and jumps out of the jeep to push it open. He runs to catch up with them. Joe parks in a clearing by the forest, Solomon collects his equipment. They must walk up a trail the rest of the way. The dog, Mossie, races up ahead of them.

‘Bad land, we could never do nothing with it, but we kept it nonetheless,’ Joe tells them. ‘In the thirties, Da planted Sitka spruce and lodgepole pine. Thrive in bad soils, good with strong winds. About twenty acres. You can see Gougane Barra Forest Park from up here.’

They walk through the trails and come to a clearing with a shed that was once painted white but now is faded, beaten away by time, and reveals the dull concrete beneath. The windows have been boarded up. Even on this beautiful day it’s bleak, the austere outbuilding at odds with the beautiful surroundings.

‘That’s the bat house,’ Joe explains. ‘Hundreds of them in there. We used to play in there as boys,’ he chuckles. ‘We’d dare each other to go inside, lock the door and count for as long as we could.’

‘When is the last time you were here?’ Bo asks.

‘Ah. Twenty years. More.’

‘How often would Tom check this area?’ Bo asks.

‘Once, twice a week, to make sure the well wasn’t contaminated. It’s over there, behind the shed.’

‘If you can’t make money from this land, why didn’t you sell it?’

‘After Da died, the land was up for sale. Some Dublin lad wanted to build a house up here but couldn’t do anything with that bat house. Environmental people’ – he throws his chin up in the air to note his annoyance – ‘they said the bats were rare. Couldn’t knock down the shed or build around it because it would ruin their flight path, so that was that. Took it off the market then. Mossie!’ Joe calls for his dog, who’s disappeared from view.

They cut filming. Rachel moves close to the bat house, presses her face up to the windows to see in through the cracks in the wood. Bo notices Solomon walk away, equipment in hand, and head towards the forest. She hopes he’s heard something interesting to record and so lets him go. Even if he hasn’t, she knows she’s gotten him and Rachel up early and driven them here with no food, and they can’t function without it, unlike her, and she’s starting to sense their irritation. She lets him go, for a few moments on his own.

‘Where’s the well?’

‘Up there, beyond the bat house.’

‘Would you mind if we filmed you checking the well?’ she asks.

He gives her that same grunt that she recognises as signalling he’ll do whatever she wants, he doesn’t care, no matter how odd he regards her.

While Rachel and Joe talk bats – Rachel can hold a conversation about just about anything – Bo takes a little wander around the back of the bat house. There’s a cottage behind it, run-down, the outside in the same condition as the bat house, the white paint almost completely gone and the grey concrete dreary amidst all the green. Mossie wanders around in front of the cottage sniffing the ground.

‘Who lived here?’ Bo calls.

‘Ha?’ he shouts, unable to hear her.

She studies the cottage. This building has windows. Clean windows.

Joe and Rachel follow her and turn the corner into the path of the cottage.

‘Who lived here?’ Bo repeats.

‘My da’s aunt. Long time ago. She moved out, the bats moved in.’ He chuckles again. He closes his eyes while he tries to think of her name. ‘Kitty. We tormented the woman. She used to hit us with a wooden spoon.’

Bo moves away slightly, closer to the cottage, she studies the area. This house has a vegetable patch beside it, some fruit growing too. There are wildflowers sitting in a tall glass in one of the windows.

‘Joe,’ Bo says. ‘Who lives here now?’

‘Nobody. Bats maybe,’ he jokes.

‘But look.’

He looks. He takes in all that she has already absorbed. The fruit and vegetable garden, the cottage, the windows that are gleaming, the door painted green, fresher paint than anything else in the vicinity. He’s genuinely confused. She walks around the back. She finds a goat, two chickens wandering around.

Heart pounding, she calls out. ‘Somebody is living in there, Joe.’

‘Intruders? On my land?’ he says angrily, an emotion she has never seen from Joe Toolin or his brother in all her time with them.

Hands in thick fists by his side, he charges towards the cottage, as fast as he can, and she tries to stop him. Mossie follows him.

‘Wait, Joe, wait! Let me get Solomon! Solomon!’ she yells, not wanting to alert the person inside the cottage, but having no choice. ‘Rachel, film this.’ Rachel is already on the case.

But Joe doesn’t care about her documentary and places his hand on the door knob. He’s about to push open the door but stops himself – he’s a gentleman, after all. He knocks instead.

Bo looks in the direction of the forest where Solomon disappeared, then back to the cottage. She could kill Solomon right now, she shouldn’t have let him wander off, it was unprofessional of him. She let him leave because she knew he was famished, because as his girlfriend she knows how he becomes. Grumpy, unfocused, ratty. Again, one of the frustrating parts of being romantically linked with a colleague is actually caring when your decisions mean they go hungry. The sound will have to be compromised. At least they’ll have a visual, they can add sound in after.

‘Careful, Joe,’ Rachel says. ‘We don’t know who’s in there.’

There’s no answer at the cottage and so Joe pushes open the door and steps inside. Rachel is behind him, and Bo hurries after.

‘What the …?’ Joe stands in the centre of the room, looking around, scratching his head.

Bo quickly points out singular items she wants Rachel to capture.

It’s a one-roomed cottage. There’s a single bed by one wall, with a view through one of the small windows beside the vegetable patch. On the other side there’s a natural fire, a cooker, not too dissimilar to the one in Joe’s farmhouse, and an armchair beside shelves of books. The four shelves have been filled to the brim and stacks of books are piled neatly on the floor beside it.

‘Books,’ Bo says aloud, wonderingly.

There are a half-dozen sheepskin rugs on the floor, no doubt to warm the cold stone floor during the desperate winters in a house with no obvious heating other than the fire. There’s sheepskin across the bed, sheepskin on the armchair. A small radio sits alone on a side table.

It has a distinctly feminine feel. Bo’s not exactly sure why she feels this. She knows it’s biased to base this on the glass of flowers; there’s no scent but it feels feminine, not the dirty rustic feel of Tom and Joe’s farmhouse. This feels different. Cared for, lived in, and there’s a pink cardigan folded over the top rail of a chair. She nudges Rachel.

‘Got it already,’ she says, the sweat pumping from her forehead.

‘Keep filming, I’ll be back in a minute,’ Bo says, and runs out of the cottage towards the forest.

‘Solomon!’ she yells at the top of her voice, knowing there are no neighbours around to disturb. She returns to the clearing in front of the bat house, sees him a short way down the hill in the forest, just standing there, looking at something, as though he’s in a trance. His sound bag is on the ground a few feet away from him, his boom mic leaning up against the tree. The fact that he’s not even working tips her over the edge.

‘Solomon!’ she yells, and he finally looks at her. ‘We found a cottage! Someone lives there! Equipment, hurry, move, now!’ She’s not sure if the words she has used make sense or if they’re in the right order, she needs him to move, she needs sound, she needs to capture the story.

But what Bo hears in response is a sound unlike anything she’s heard before.

3

The sound is a bit like a squawk, from a bird, or something not human, but it comes from a human, from the woman standing at the tree.

Bo runs down into the forest and the blonde woman’s basket goes flying up in the air, its contents fall out on to the forest floor and her eyes are wide in terror.

‘It’s okay,’ Solomon says, hands out, wanting to calm her, standing between Bo and the stranger like he’s trying to tame a wild horse. ‘We’re not going to hurt you.’

‘Who is that?’ Bo calls.

‘Just stay there, Bo,’ Solomon says, annoyed, without turning.

Of course she ignores him and comes closer. The young woman makes a sound again, another unusual, kind of chirping sound, if a chirp could ever seem like a bark. It’s directed at Bo.

Bo is gobsmacked, but a smile crawls to her face with fascination.

‘I think she wants you to back off,’ Solomon says to her.

‘Okay, Doctor Doolittle, but I haven’t done anything wrong,’ she says, annoyed at being told what to do. ‘So I’m not leaving.’

‘Well then just don’t come any closer,’ Solomon says.

‘Sol!’ she says, looking at him with shock.

‘Hey, hey, it’s okay!’ he says to the girl, slowly moving a little closer, getting on his hands and knees to pick up the flowers and herbs from the ground. He places them in her basket and holds it out to her. She stops her chirping but is clearly in distress, looking from Solomon to Bo, eyes wide and fearful.

‘My name is Bo Healy. I’m a filmmaker and we’re here with Joe Toolin’s permission.’ She holds out her hand.

The blonde woman looks at her hand and makes a series of more distressed sounds, none of them words.

‘Oh my God.’ Bo looks at Solomon, wide-eyed, taking out her phone and calling Rachel. ‘Rachel, come up to the clearing, quickly. I need the camera.’ She hangs up. ‘Record this,’ she mouths to Solomon, signalling his equipment with her eyes, afraid to move the rest of her body.

The young woman is firing off one bizarre sound after the next and it is the strangest thing Solomon has ever witnessed. It doesn’t sound like it’s coming from her voice box, it’s like a recording. He’s so stunned and fascinated he can’t stop watching her, he looks for wires and there are none. This is real.

He takes a few steps in the direction of his audio bag.

Rachel appears through the trees, rushing with her camera in her hands, closely followed by Joe.

‘What the hell is going on down there?’ Rachel shouts, coming to an abrupt halt as she sees with her own eyes.

The young woman turns to Rachel and starts making the sound of a car alarm. Solomon looks at what’s happening from her perspective, surrounded by three people, strangers in the forest, she must feel completely trapped. He can’t bring himself to record this. It’s not right.

Bo senses his hesitancy and sighs. ‘Oh, for God’s sake,’ she snaps. She does what she should have done at the outset had she thought of it at the time, and films the unfolding scene with her phone.

Joe joins them.

The blonde woman stops making her sounds, for a moment she looks at Joe and she seems relieved.

‘Who are you?’ Joe shouts, half hidden by a tree. The fear is obvious in his voice. ‘What are you doing on my land?’

She panics again, backing away through the trees.

Solomon watches them all. Bo is filming on her phone, Rachel pointing the camera at her, Joe a fierce face on him.

Solomon is exhausted, he needs to eat.

‘Stop!’ he yells and everybody goes silent. ‘You’re frightening her. Everybody step away. Let her go.’

She stares at him.

‘You’re free to go.’

She keeps looking at him. Those green eyes on him.

‘I don’t think she understands,’ Bo says, still filming.

‘Of course she understands,’ Solomon snaps.

‘I don’t think she can speak … words. What’s your name?’ Bo asks.

The young woman ignores the question and continues to look at Solomon.

‘Her name is Laura,’ he says.

Mossie suddenly comes racing from the direction of the bat house, towards the forest, he’s barking manically, protecting his land from the intruder. But instead of stopping by Joe he continues into the forest and heads straight for Laura.

‘Whoa, whoa, whoa, call him off her, Joe,’ Solomon says fearfully, afraid he’ll take a chunk out of her.

But Mossie stops right at her feet, circles her excitedly, jumping up and down for her attention, licking her hand.

She rubs him – clearly the two of them are no strangers – as she nervously keeps her eye on everyone around her. She holds her hand out to Solomon and he looks at her, confused, thinking she wants to hold his hand. He reaches out his hand and then she smiles and looks down at the basket.

‘The basket, Sol,’ Bo says.

Embarrassed, he hands it to her.

Laura sets off with Mossie in tow, trying to avoid everyone. She is tentative at first. As she passes Bo, she growls, a perfect imitation of a dog growl so real it sounds like a recording, or as though it has come from Mossie. Laura examines Joe carefully and as soon as she’s clear of them she runs up through the forest, past the bat house in the direction of the cottage.

‘Did you get that?’ Bo asks Rachel.

‘Yep.’ She removes the camera from her shoulder, and wipes the perspiration from her forehead. ‘I got the blonde woman barking at you.’

‘Where did she go?’ Solomon asks.

‘There’s a cottage around the back of the bat house,’ Rachel explains. Bo is too busy reviewing her video footage to see if she captured the moment.

‘Do you know her?’ Solomon asks Joe, completely confused as to what happened but feeling the adrenaline running through his body and a light tremble within him.

‘She’s trespassing on private property,’ he huffs, the anger steaming off him.

‘Do you think Tom knew about her?’ Bo asks.

That question stumps him. His face goes from certainty, to confusion, to anger, betrayal, to disbelief once again. Then he’s sad. If his brother did know about this young woman living in the cottage on their land, then he was keeping it from him. The brothers with no secrets from each other, it turns out, had one very big one.

4

‘There’s only one way of finding the answers,’ Bo says, rolling up the sleeves of her black blouse to reveal her bronzed skin, as the sun continues to beat down overhead. ‘We have to talk to the girl.’

‘She’s not a girl. She’s a woman, and her name is Laura,’ Solomon says, not sure where the anger is coming from. ‘And I seriously doubt she’ll want to talk to us now after we scared the shit out of her.’

‘I didn’t know she was … that she had a … disability,’ Bo defends herself.

‘Disability?’ Solomon splutters.

‘Oh, come on, what’s the PC term?’ Bo searches. ‘Developmentally delayed, developmentally disabled, unsophisticated. Any of those please you? You know what I mean, I didn’t realise.’

‘Well, she ain’t exactly normal,’ Rachel says, sitting down on a rock, exhausted and sweating.

‘Whatever the word for her, there’s clearly something wrong with her, Solomon,’ Bo says, pushing her hair off her face and redoing the short ponytail in her hair, the excitement bursting from her. ‘If I’d known that, I would have approached her differently. Did you two talk? Apart from her telling you her name. You were there a while.’

‘I think what happens from here is Joe’s decision. It’s his land,’ Solomon says, ignoring Bo’s interview, his stomach grumbling.

Bo throws him an annoyed look.

Joe shuffles around, clearly very uncomfortable with this chain of events. Joe likes routine, for everything to remain the same. Already his day has been very stressful and emotional. ‘I want Mossie back,’ he says finally. ‘And she shouldn’t be living on my land.’

‘Squatters laws are tricky,’ Rachel says. ‘Friend of mine went through it. You have to get a court order to remove them.’

‘Did your friends get rid of the squatter?’ Solomon asks.

‘My friend was the squatter,’ Rachel replies.

Despite his frustration with what’s going on, Solomon smirks.

‘She has no right keeping my dog. I’m getting Mossie,’ Joe says, adjusting his cap and marching off toward the cottage.

‘Follow him,’ Bo says quickly, picking up Rachel’s camera and handing it to her, ignoring the exhausted glare. But as she’s doing that Joe runs out of steam.

‘Maybe it’s better a woman talks to her.’

‘Don’t look at me,’ Rachel warns Bo.

Apart from his mother, Bo, Rachel and Bridget, Joe hasn’t been around many women, and has rarely spoken to a woman for most of his life. Rachel is easy with all people but it took him some adjustments to get used to her, particularly as she’s not the kind of woman he’s used to; a woman married to another woman was a fact that boggled his mind on learning it. Joe doesn’t consider Bridget a woman, he doesn’t really consider her at all; and Bo is still a cause for some awkwardness because of her own social abilities, or lack thereof. Having to talk to another new woman would flummox him. Especially one so odd, who requires care, thought and understanding. The four go to the cottage, their movements less charged and aggressive than before.

Bo knocks on the door, while Rachel and Solomon wait outside.

‘What do you think?’ Solomon asks Rachel.

‘I’m fucking starving.’

‘Me too,’ Solomon rubs his face tiredly. ‘I can’t think straight.’

They watch as she knocks again.

‘If Bo was looking for a new story, then she sure as fuck found one. This is a whole new brand of crazy,’ Rachel says.

‘She won’t agree to an interview,’ Solomon says, watching the door.

‘You know Bo.’

He does. Bo has a way of convincing people who are so sure about not wanting to appear on camera into eventually speaking with her. When she really wants them, that is; the three interviews at the graveyard weren’t important so she hadn’t pursued them. Solomon and Rachel aren’t usually this listless when it comes to a project, but Bo’s typical filming style has severely altered today. She’s jumpy, grabbing at things, obviously without a plan.

Laura appears at the window but refuses to open the door.

‘Tell her I want Mossie,’ Joe says loudly, fidgeting, his hands in his pockets. He’s uncomfortable. It’s been an emotional day, having to bury his soulmate. A day spent out of his comfort zone, a break in his routine that has gone unchanged for over fifty years. His world has turned upside down. It’s taken its toll and he wants his dog and to get back to the safety of his farmhouse.

‘Please open the door, we just want to talk,’ Bo says.

Laura stares at Solomon from the window.

Then everyone looks at Solomon.

‘Tell her,’ Bo says to him.

‘What?’

‘She’s looking at you to see if it’s okay. Tell her that we only want to talk.’

‘Joe wants the dog,’ Solomon says honestly, and Rachel chuckles.

Laura disappears from the window.

‘Smooth,’ Rachel smirks. The two are now delirious from the lack of food.

Joe is about to bang on the door when it opens. Mossie runs out and she closes the door again and locks it.

Joe storms off while an excited Mossie dances around him, almost tripping him.

‘I’ll ring Jimmy,’ Joe grumbles as he passes. ‘He’ll sort her out.’

‘Wait, Joe,’ Bo calls after him.

‘Let it go,’ Rachel snaps. ‘I’m starving. Let’s head over to the hotel. Eat. Actual food. I need to call Susie. Then you can make a plan. I’m serious.’

Rachel rarely loses her temper. The only time she flares up is when something is disturbing her shot – people in the background making faces, or Solomon’s mic boom appearing in the frame – but when she does lose her temper everyone knows she means it. Bo knows she’s pushed them too far.

She gives in, for now.

Back at Gougane Barra Hotel, Solomon and Rachel dig into their dinners, not uttering a word, while Bo thinks aloud.

‘Tom must have known about this girl, right? He was the one who checked that area, that was part of his responsibility, checking the well a few times a week. You can’t check the well without noticing the cottage. Or the vegetable plot, or the goat and chickens. It would be impossible. And there’s the extra items of food on the shopping list, the bookshelves and the book from Bridget. Plus, Mossie knows her, so Tom must have brought him to visit her.’

‘He’s a dog.’ Solomon speaks for the first time since he started eating ten minutes ago. ‘Dogs wander. He could have met her himself.’

‘Good point.’

‘Met her,’ Rachel says. ‘Do dogs meet people? I guess they meet people who speak dog,’ she jokes, then stops laughing when the others don’t join in; Bo because she’s not listening, Solomon because he’s sensitive about mocking Laura. ‘Whatever. I’m going to call Susie.’ Rachel takes her plate of food with her to another table.

‘What is that thing she was doing? The noises?’ Bo asks Solomon. ‘Is it a Tourette’s thing? She growled and barked and chirped.’

‘As far as I know, people with Tourette’s don’t bark at people,’ Solomon says, licking the sticky sauce from his fingers before taking a bite of his pork ribs.

The sauce is all over his face. Bo looks at him in disgust, not understanding his absolute inability to function without food. She stops picking at her green salad.

‘You have your food now, why are you still snapping at me?’

‘I don’t think you handled today well.’

‘I think you’ve been jet-lagged, moody and irritable all day,’ she says. ‘Extra sensitive – which, for you, is saying a lot.’

‘You scared Laura.’

‘I scared Laura,’ she repeats, as she always does, as if saying the words again will help her to process them. She does the same during interviews with interviewees’ responses. It can be unsettling for them, as though she doesn’t believe them, but really it’s her trying to grasp what they’ve just said.

‘You could tell she was frightened. You could see a young woman, surrounded by four people in a forest. Three of us dressed in black for a funeral, like we’re ninjas. She was terrified, and you were filming.’

That set-up seems to occur to her suddenly. ‘Shit.’

‘Yes, shit.’ He sucks his fingers again and studies her. ‘What’s going on?’

‘What we saw today was remarkable. What that girl did—’

‘Laura.’

‘What Laura did, those sounds she made, it was like magic. And I don’t believe in magic. I’ve never heard anything like that before.’

‘Me neither.’

‘I got excited.’

‘You got greedy.’

Silence.

He finishes his rib, watches the news on the TV in the corner.

‘You know everyone keeps asking me what I’ve got coming out next,’ she says.

‘Yeah, they’re asking me too.’

‘I’ve got nothing. Nothing like The Toolin Twins. All these awards we’re getting – people are interested in my work now. I have to be able to follow it up.’

He’s known she’s been feeling the pressure, and he’s glad she’s finally admitting it.

‘You should be happy you made one thing that people like. Some people never get that. The reason you were successful in the first place is because you took your time. You found the right story, you were patient. You listened. Today was a mess, Bo. You were rushing around like a headless chicken. People would rather see something authentic and worthy, than something that’s been thrown together.’

‘Is that why you’re doing Fat Fit Club and Grotesque Bodies?’

The anger bubbles inside him as he tries to remain calm. ‘We’re talking about you, not me.’

‘I’m under pressure, Solomon.’

‘Don’t be.’

‘You can’t tell someone not to feel pressure.’

‘I just did.’

‘Solomon …’ She doesn’t know whether to laugh or be angry.

‘You lost yourself in the forest,’ he says. He hadn’t planned on saying it, it just popped out.

She studies him. ‘Who are you talking to? Me, or yourself?’

‘You, obviously,’ he says, then throws the rib down. It makes a louder sound than he intended, as the bone hits the ceramic plate, and he starts a new one.

Bo folds her arms, studying him for a moment. He doesn’t look at her, doesn’t say a word.

‘We both saw something fascinating in the forest. I jumped into action, you … froze.’

‘I didn’t freeze.’

‘What were you doing there, all that time, while I was at the cottage? Was she there the entire time?’

‘Fuck off, Bo.’

‘Well, it’s a valid question, isn’t it?’

‘Yes. We had sex. In the two minutes I was away from you, we had sex. Up against the tree.’

‘That’s not what I fucking mean and you know it.’

Wasn’t it?

‘I’m trying to figure her out and you’re not giving me anything. You must have had a conversation but you keep ignoring the question. She told you her name. You were alone with her before I got there, I want to know what you talked about …’

He ignores her; the desire to yell at the top of his lungs in front of everybody is too great. He buries the anger, buries it, buries it deep, until a simmer is all that remains. It’s as much as he can manage. He looks at Sky News but doesn’t see it.

Bo eventually leaves the table, and the room.

He could think about what Bo said, analyse it, understand it, look within himself for the answers. He could think about what he said and why, he could think about all of it. But he’s jet-lagged, hungry and pissed off, so instead he concentrates on the news on the TV, starting to hear the words coming from the presenter’s mouth, starting to see the words that scroll by at the bottom of the screen. When he finishes his last rib, he sucks his fingers dry of the sticky sauce and leans back in his chair, feeling bloated and satisfied.

‘Happy now?’ Rachel calls across the empty restaurant.

‘A night’s sleep and I’ll be grand.’ He yawns and stretches. ‘How’s Susie?’

‘A bit pissed off. Weather’s too hot. She can’t sleep. Feet and ankles are swollen up. Baby has a foot in her ribs. Think we’re going home tomorrow?’

Solomon takes a toothpick out of its packet and picks at the meat between his front teeth. ‘Hope so.’

He does want to go home, he knows that much is true. Because he feels spooked. Because he did lose himself in that forest. And Bo saw it happen. And just like Joe wanted to go back to his farmhouse, Solomon wants to return to Dublin, to the Grotesque Bodies show that he despises, to his apartment that constantly smells of curried fish wafting up from his neighbours. He wants normality. He wants to go where he’s used to not thinking about how he’s feeling, where no confusion or analysis is necessary, where he’s not drawn to people he knows he shouldn’t be, or to doing things he knows he shouldn’t do.

‘Are you asleep? Because your eyes are open,’ Rachel says, waving a rib across his eyeline, sending sauce flying on the table and floor. ‘Fuck.’

Bo comes running into the bar, with that look on her face, and her phone in her hand.

‘That was Jimmy – the garda we met earlier. He’s at the Toolin farm. Joe called him to go talk to that girl, but his car hit Mossie on the way up the track. The girl took Mossie into her cottage and she’s doing that crazy voice thing. She’s locked herself in and won’t let anyone near her or let anyone look at Mossie.’

Solomon looks at her in a ‘so what?’ kind of way. It’s all he can summon up, but inside his heart is beating wildly.

Bo fixes him with an intriguing look. ‘She’s asking for you, Sol.’

5

Jimmy is standing by his patrol car, doors open, garda radio on, car directed straight towards the trees at the bat house. It’s still daylight on this summer evening.

He lifts his arms in an apologetic way as they approach. ‘Mossie was running around the car, I didn’t see him.’

‘Where’s the girl now?’ Bo asks.

‘She grabbed the dog, carried it to the cottage, and now she won’t come out or let anyone in. She’s in a hysterical state. Joe said to call you.’

He looks as stunned as they had been when they first witnessed Laura’s vocal outburst.

‘She asked for Solomon?’ Bo asks, eager to move things along.

‘She asked for Tom first. Kept demanding I get him, that he could tell me who she is. I told her that he was dead and she went even more doolally. Then she mentioned Solomon.’

They were in the forest, both unable to break their gaze.

‘Hi,’ he said gently.

‘Hi,’ she said softly.

‘I’m Solomon.’

She’d smiled. ‘Laura.’

Bo is looking at him in that same uncertain way.

‘I told her my name before we had sex,’ he snaps. Jimmy prickles, Bo glares at him.

‘Are you going to get her?’ she asks.

‘Not if he’s going to arrest her.’

‘I’ve nothing to arrest her for. I need to talk to her, find out who she is and why she’s on Joe’s property. If she’s a squatter, those laws are complicated, and if Tom gave her permission, there’s not much we can do. I’m only here to put Joe’s mind at ease. And I went and hit the feckin’ dog,’ he says guiltily.

‘So what do you want me to do?’ Solomon asks, feeling the pressure build.

‘Go to the cottage and see what she wants,’ Bo says.

‘Okay, Jesus,’ he curses, running his fingers through his hair, retying it in a knot on the top of his head. He walks up the trail to the cottage; the other two follow him but stay close to the bat house when he goes to the cottage.

Solomon’s heart pounds as he approaches the door and he has no idea why. He wipes his clammy hands on his jeans, and prepares to knock but before he even lifts his hand, the door opens. He can’t see her, assumes she’s behind the door and so he steps inside. As soon as he’s in, the door closes. She locks the door and stands with her back to it, as if to reinforce it.

‘Hi,’ he says, shoving his hands into his pockets.

‘He’s by the fire,’ Laura says, eyes barely able to settle on him. She seems nervous, worried.

Even though she introduced herself earlier, Solomon is almost surprised to hear her speak. In the woods she had a wild girl feeling about her; here in her home she seems more real.

Mossie is lying on his side on a sheepskin rug before the log-burning stove, his chest rising and falling with his slow breaths. His eyes are open, though he seems unaware of what’s going on around him. The fire blazes beside him, a bowl of water and a bowl of food sit untouched by his head.

‘He’s not eating or drinking anything,’ she says, getting on the floor beside Mossie, arms over him, protecting him.

Solomon should be looking at the dog but he can’t take his eyes off her. She looks up at him, lost, worried, beautiful enchanting green eyes.

‘Is he bleeding?’ He goes to Mossie and slides beside him, opposite Laura, the closest they’ve been. ‘Hiya, boy.’ He places a hand on his fur and gently rubs.

Mossie looks at him, the pain obvious from his eyes. He whimpers.

Laura echoes Mossie’s whimper in an astonishing likeness that forces Solomon to study her again. ‘He’s not bleeding. I don’t know where his pain is, but he can’t stand.’

‘He should see a vet.’

She looks at him. ‘Will you take him?’

‘Me? Sure, but we could ask Joe, seeing as he’s his dog.’ And then, at the look on her face, he adds, ‘Too.’

‘Joe doesn’t like me,’ she says. ‘None of them likes me.’

‘That’s not true. Joe isn’t used to change, that’s all. Change makes some people angry.’

‘Change with the change,’ she says, but her voice has drastically altered. It’s lower, deeper, Northern England, someone else’s.

‘Excuse me?’

‘Gaga. My grandmother. That’s what she used to say.’

‘Oh. Right. Will you come with me to the vet?’ he asks. He wants her to come with him.

‘No. No. I stay here.’

It is a general statement. Not, I will stay here. But I stay here. Always.

Her clear skin is illuminated by the firelight. It’s so calm and serene in this room, despite Mossie’s struggle to survive and Laura’s quiet panic.

She strokes Mossie’s belly, which moves up and down slowly.

‘When is the last time you left the mountain?’ he asks.

She hides her face behind her hair, uncomfortable with the question.

‘How long have you lived here?’ he asks.

She takes a while to answer the question. ‘Since I was sixteen. Ten years ago,’ she replies, stroking Mossie.

‘You haven’t left since then?’

She shakes her head. ‘I’ve had no reason to.’

He’s staggered by this. ‘Well, you have one now. Mossie would probably prefer it if you came with him,’ he says.

And as if in agreement Mossie breathes out, his body shuddering.

Bo is outside with Jimmy, pacing, making awkward conversation, watching the flickering fire in the windows, the scent of chimney smoke pumping from the cottage.

‘Interesting Joe never noticed the smoke.’ She looks up at the plume of smoke rising from the chimney.

Jimmy looks up. ‘I suppose farms are always burning something or other.’

Bo nods, good point. ‘So you don’t know who this girl is?’

‘I’ve never seen her before,’ he shakes his head. ‘And I’d know everyone around here. In a rural town like ours with a population of a few hundred, all spread around the mountains. It’s a mystery. My wife reckons she’s a tourist, not from around here, one of those hikers who stumbled across the cottage and stayed. We get a lot of them. Over the years a few have stayed. They fall in love with the place, or someone in the place, decide to put down roots here. She might not be here very long.’

Bo ponders that but his wife’s conclusion does nothing to quell Bo’s curiosity, only further fuels her multiplying questions. Why would Tom lie about renting the cottage? Was it for his own financial gain? She doubted that. She filmed on this mountain three years ago and Tom never brought them here, never even mentioned it. She guesses the girl has been there at least that long or they would have filmed here. ‘Why the secret?’ she asks, confused.

Jimmy looks thoughtful, but doesn’t reply.

The door to the cottage opens and Solomon appears. He fills the tiny doorframe with his physique. The firelight is behind him, he is a dark large shadow. He looks like a hero, carrying a dog from a blazing fire.

Bo smiles at the image.

Solomon turns and speaks to the girl behind him, encourages her to come outside.

‘Come on, Laura, it’s okay.’ And there’s something in the way that he says that, or looks as he says that, that causes Bo’s smile to freeze.

And then the girl appears, in a belted checked shirt-dress, with Converse and a chunky cardigan over it, her long blonde hair falling over her shoulders.

‘We’re going to take Mossie to the vet,’ Solomon tells them. ‘Where do we go?’

‘Patrick Murphy, in the main street. Surgery will be closed now, but I’ll give him a call,’ Jimmy says, studying Laura. ‘Hello, Laura,’ he says kindly, wanting to make up for his earlier approach.

Laura stares down at her Converses. She looks terrified. She reaches out and holds on to Solomon’s arm. She grips him so tightly, he can feel her body shaking.

‘We should go quickly, Garda.’ Solomon starts to move. ‘Mossie isn’t doing very well. I’m sure Joe would want him seen to first before anything else.’

‘Right so,’ Jimmy says, stepping back. ‘Laura, we can arrange to have an informal chat over the next few days. This lad can be here with you if you like.’

Head down, Laura continues to cling to Solomon’s arm, another protective hand on Mossie. She makes a sound that appears to be the crackle of a dispatch radio.

Jimmy frowns.

‘We can arrange a time for you and Laura to talk,’ Bo says to him, walking along with Laura and Solomon. ‘And perhaps you’ll agree to do the interview?’ She’d asked him to talk about finding Joe at the house when Tom was lying dead on the ground, she wanted to hear the peculiar scene explained by someone else. Now is a good time to negotiate. She’ll help him speak with Laura if he speaks with her.

Laura stops walking.

‘Come on,’ Solomon calls to her, gently, in a tone of voice that Bo has never heard him use with her, or with anyone for that matter.

Laura just stares at Bo, which puts Solomon in an incredibly difficult position, but this is getting ridiculous now. He’s exhausted, he wants to sleep. Mossie is getting heavier in his arms.

‘Jimmy, would you mind driving Bo to our hotel, please?’ He avoids Bo’s eye as he asks. ‘I’ll meet you there later, Bo.’

Her mouth falls open.

‘You told me to help,’ he snaps, following the trail that leads to their parked car, adjusting the dog in his arms. ‘I’m helping.’

Laura sits in the back of the car with Mossie. The dog lies across the seat, his head on her lap. Bo gets into the garda car, a scowl on her face. It would be a funny sight if Solomon were capable of being remotely amused by what is happening.

‘Thank you, Solomon,’ Laura says, so quietly that Solomon’s body immediately relaxes and the anger leaves him.

‘You’re welcome.’

Laura is quiet in the car, whimpering occasionally along with Mossie in what he guesses is a show of support. He turns the radio on, lowers it, then decides against it and turns it off. The vet is thirty minutes away.

‘Why was the garda there?’ she asks.

‘Joe called him. He wanted to find out who you are and figure out why you’re living there.’

‘Have I done something wrong?’

‘I don’t know, you tell me,’ he laughs. She doesn’t and he gets serious again. ‘You are living in a cottage on Joe’s land, without his knowledge, that’s … well, it’s illegal.’

Her eyes widen. ‘But Tom told me I could.’

‘Well, that’s okay then, that’s all you need to tell them.’ He pauses. ‘Do you have that agreement on paper? A lease?’

She shakes her head.

He clears his throat, she copies him, which is quite off-putting, but her innocent face suggests no malice, nor any sign that she’s even aware of what she did.

‘Were you paying him rent?’

‘No.’

‘Right. So you asked him if you could live there and he said you could.’

‘No. Gaga asked him.’

‘Your grandmother? Could she support you on that?’ he asks.

‘No.’ She looks down at Mossie and strokes him. She kisses his head and nuzzles into him. ‘Not from where she is.’

Mossie whimpers and closes his eyes.

‘Is it true that Tom is dead?’ she asks.

‘Yes,’ he says, watching her in the mirror. ‘Sorry. He had a heart attack on Thursday.’

‘Thursday,’ she says quietly.

They park in the main street and knock on the surgery door. There’s no answer but the front door to the attached house opens and a man appears, wiping his mouth with a napkin, the smell of a home roast drifts out the door to them.

‘Oh hello, hi,’ he says. ‘Jimmy called me. Emergency, is it?’ he asks, seeing Mossie in Solomon’s arms. ‘Come in, come in.’

Solomon sits outside the surgery while Laura goes inside. He leans his elbows on his thighs and rests his head in his hands. His head is spinning, the ground is moving from the jet lag.

When the surgery door opens, Laura appears with tears rolling down her cheeks. She sits beside Solomon, without a word.

‘Come here,’ he whispers, wrapping his arm around her shoulders and pulling her to him. Another loss in her week. He doesn’t know how long they stay like that, but he would happily remain that way if the vet wasn’t standing at the open door patiently waiting for them to gather themselves and leave so he can to return to his family after a long day.

‘Sorry.’ Solomon removes his arm from around Laura’s shoulders. ‘Let’s go.’

Outside in the now dark night, music drifts from the local pub.

‘I could really do with a pint,’ he says. ‘Want to join me?’

A fire-escape door opens at the side of the bar and a bottle goes flying outside and lands in a recycling skip, smashing against the others inside.

Laura mimics the smashing sound.

He laughs. ‘I’ll take that as a yes.’

They sit outside the pub, at one of the wooden picnic tables, around the corner from the gang of smokers. When Solomon pulled the door open, and all the heads turned to stare at the two strangers, Laura quickly backed away. Solomon was relieved to not have to sit inside and be examined by the locals. Now she sits with a glass of water, while he drinks a pint of Guinness.

‘Never drink?’ he asks.

She shakes her head, the movement causing the ice to clink against the glass. She imitates the sound of the ice perfectly. It’s something Solomon still can’t wrap his head around, though he’s unsure of how to broach the subject; it’s as though she doesn’t even notice.

‘Are you okay?’ he asks. ‘Tom and Mossie – that’s a lot to lose in one week.’

‘One day,’ she says. ‘I only learned about Tom tonight.’

‘Sorry you had to hear it that way,’ Solomon says softly, thinking of how Jimmy had blurted it out.

‘Tom used to bring the shopping on Thursdays. When he didn’t come, I knew something was wrong, but I had no one to ask. I thought Joe was Tom today in the forest. I’ve never seen him before. They’re identical. But he was so angry. I’d never seen Tom so angry.’

‘You’ve lived there for ten years and you’ve never seen Joe?’

She shakes her head. ‘Tom wouldn’t allow it.’

He’s about to ask why, but stops himself. ‘Joe’s grieving, he’s usually more accommodating. Give him time.’

She sips her water, concerned.

‘So you haven’t eaten anything since Thursday,’ Solomon suddenly realises.

‘I have the fruit-and-veg patch, the eggs. I bake my own bread. I have enough but Tom likes … liked … to supply some extras. I was foraging when I saw you.’ She smiles shyly at him as she remembers how they met. He smiles too and then laughs at himself for his schoolboy feelings.

‘Jesus, let me get you some food. What do you want, burger and chips? I’ll get some for me too.’ He stands and looks across the road to the chipper. ‘It’s been a whole two hours since I ate.’

She smiles.

He expects her to mill into her food, but she doesn’t. Everything about her is calm and slow. She delicately picks at the chips with her long elegant fingers, occasionally studying one before she takes a bite.

‘You don’t like them?’

‘I don’t think there’s any potato in it,’ she says, dropping it to the greasy paper and giving up. ‘I don’t eat this kind of food.’

‘Unlike Tom.’

Her eyes widen. ‘I always told him to fix his diet. He wouldn’t listen.’ She looks sad again as the news of his death and her loss sinks in further.

‘Joe and Tom aren’t the types to listen to anybody.’ Solomon senses her blaming herself.

‘He once told me he had a ham sandwich for dinner and I gave him such a lecture about it when he came back the next week he was so proud to tell me he’d had a banana sandwich that day instead. He thought the fruit would be healthier.’

They both laugh.

‘Perhaps I was wrong,’ Solomon says gently, ‘he did listen to somebody.’

‘Thanks,’ she says.

‘How did your grandmother know Tom?’ Solomon asks.

‘You ask a lot of questions.’

He thinks about it. ‘I do. It’s how I make conversation. How do you make conversation?’ he asks and they both laugh.

‘I don’t. Apart from Tom I never have anybody to talk to. Not people, anyway.’ Somebody at the table around the corner stands, pushing aside the bench, which screeches against the ground. She imitates the sound. Once, twice, until she gets it right. The bar girl clearing the table beside them gives her a funny look.

‘I have fine conversations with myself,’ Laura continues, not noticing the look or not caring. ‘And with Mossie and Ring. And inanimate objects.’

‘You wouldn’t be alone in that.’ He smiles, watching her, completely intrigued.

She makes a new sound, one that makes him laugh. It sounds like a phone vibrating.

‘What is that?’ he asks.

‘What?’ She frowns.

And then suddenly he hears the sound again and it’s not coming from Laura’s lips, though he has to study her closely. He feels his phone vibrating in his pocket.

‘Oh.’ He reaches into his pocket and takes out his phone.

Five missed calls from Bo, followed by three messages of varying desperation.

He puts it face down on the table, ignoring it.

‘How did you know Tom?’

‘More questions.’

‘Because I find you intriguing.’

‘I find you intriguing.’

‘Ask me something then.’ He smiles.

‘Some people learn about people in other ways.’ Her eyes sear into him so much his heart pounds.

‘Okay.’ He clears his throat and she imitates the sound perfectly again. ‘We – me, Bo and Rachel – made a documentary about Joe and Tom. We spent a year with them, watching their every move, or at least that’s what we thought. You seemed to elude us. My experience of Joe and Tom is that they had no contact with anybody at all, apart from suppliers and customers, and even then it was rare for it to be human contact. It was just them, every day, all their lives. I’m not sure how Tom would have met your grandmother.’

‘She met him through my mum, who brought them food and provisions. She cleaned their house.’

‘Bridget’s your mother?’

‘Before Bridget.’

‘How long ago are we talking?’ Solomon asks, leaning in to her, enthralled, whether she’s spinning bullshit or not. He happens to think it’s the truth. He wants to think it’s the truth.

‘Twenty-six years ago,’ she says. ‘Or a little bit more than that.’

He looks at her, slowly processing. Laura is twenty-six years old. Tom did her grandmother a favour. Her mother was a housekeeper at their house twenty-six years ago.

‘Tom was your dad,’ he says in a low voice.

Despite knowing this, him saying it aloud seems to unsettle her and she looks around, imitating the clink of glasses, the smash of bottles in the recycling bin, the cracking ice. All sounds overflowing and overlapping each other as a sign of her distress.

He’s so shocked that his summation is true. He places his hand over hers. ‘I’m even more sorry you had to learn about his death like that.’

She imitates the sound of him clearing his throat, even though he hasn’t made the sound; she has linked it to his feeling of awkwardness, is perhaps telling him she feels uncomfortable, is trying to show him how she feels, connect it to those moments when he feels like that. Perhaps there is a language in her mimicry. Perhaps he’s losing his mind completely, investing such time and belief in someone that Bo considered unsophisticated, or developmentally delayed. But there doesn’t seem to be anything unsophisticated about the woman who sits before him right now. If anything she operates and communicates on more levels and layers than he’s ever experienced.

‘Laura, why did you ask for me tonight?’

She looks at him, those bewitching green eyes. ‘Because, apart from Tom, you’re the only person I know.’

Solomon has never ever been the only person that someone knows. It seems to him to be an odd thing, but a beautifully intimate thing. And something that isn’t to be taken lightly. It’s something that carries huge responsibility. Something to cherish.

6

The following morning the film crew are in Joe’s kitchen. Joe is sitting silently in his chair. Ring is by his feet, mourning the loss of his friend.

Bo has revealed to him, as gently as she could, that Laura is Tom’s daughter. He hasn’t said a word, made absolutely no comment whatsoever. He’s lost in his head, perhaps running through all the conversations, all the moments he could have missed this information, the moments he was possibly deceived, wondering how Tom could have lived a life he never knew about.

It breaks Solomon’s heart; he can’t even watch him. He holds the boom mic in the air, looking away, out of respect, trying to give Joe as much privacy in this moment as he can, despite three people invading his home and a camera pointed at his face. Of course Solomon was against revealing this news to Joe on camera, but the producer has the final say.

‘Laura’s mother, Isabel, was your housekeeper over twenty-six years ago.’

He looks at Bo then, coming alive. ‘Isabel?’ he barks.

‘Yes, do you remember her?’

He thinks back. ‘She wasn’t with us very long.’

Silence, his brain ticks over, sliding through the memory files.

‘Do you recall Tom and Isabel being particularly close?’

‘No.’ Silence. ‘No.’ Again. ‘Well, he’d …’ He clears his throat. ‘You know, he’d do the same as with Bridget: pay her for the cleaning and the provisions. I’d be out on the land. I’d not much to do with that.’

‘So you’d no idea about a love affair between them?’

It’s as though that expression occurs to him for the first time. The only way for Tom to have become a father was to have had a love affair. Something they both had said they’d never had. Two virgins at seventy-seven years old.

‘This girl is sure about that?’

‘After Isabel died, her grandmother revealed to her that Tom was her father. Laura’s grandmother, who was ailing herself, made an arrangement with Tom for Laura to live at the cottage.’

‘He knew about her then,’ Joe says, as if that’s been the burning question the whole time but he was afraid to ask.

‘Tom only learned she was his daughter after Isabel’s death, ten years ago. The cottage was modernised as much as was possible, by Tom, though there’s no electricity or hot running water. Laura has been living there alone ever since.’ Bo consults her notes. ‘Laura’s grandmother Hattie Murphy reverted to her maiden name Button after her husband’s death. Isabel changed her name too, and so Laura calls herself Laura Button. Hattie died nine years ago, six months after Laura moved to the cottage.’

Joe nods. ‘So she’s on her own then.’

‘She is.’

He ponders that. ‘She’ll be expecting his share then, I suppose.’

Solomon looks at him.

‘His share of …’

‘The land. Tom made a will. She’s not in it. If that’s what she’s looking for.’

The infamous Irish hunger for land rises in him.

‘Laura hasn’t mentioned anything about wanting a share of the land. Not to us.’

Joe is agitated; Bo’s comments don’t do much to calm him. It’s as though he’s readying himself for a fight. His land, his farm is his life, it’s all he has ever known his entire life. He’s not going to give any of it up for his brother’s lie.

‘Perhaps Tom had planned to talk to you about her,’ Bo says.

‘Well, he didn’t,’ he says with a nervous, angry laugh. ‘Never said a word.’ Silence. ‘Never said a word.’

Bo gives him a moment.

‘Knowing what you know now, will you allow Laura to continue living at the cottage?’

He doesn’t respond. He seems lost in his head.

‘Would you like to start a relationship with her?’ she asks gently.

Silence. Joe is completely still though his mind is most likely not.

Bo looks at Solomon, uncertain as to how to proceed.

‘Perhaps a relationship is too much for you to think about now. Perhaps it would be simpler to consider whether you will continue to support her, as Tom did?’

His hands grip the armrests, Solomon watches the colour drain from his knuckles.

‘Joe,’ Bo says gently, leaning forward. ‘You know this means that you’re not alone. You have family. You’re Laura’s uncle.’

Joe stands up from the chair then, fiddling with the microphone on his lapel. His hands are shaking and he’s clearly upset, becoming irritated by the film crew’s presence now, as if they have brought this nuisance into his life.

‘That’s that,’ he says, dropping the mic to the thin cushion on the wooden chair. ‘That’s that now.’

It’s the first time he has walked out on them.

The crew move to Laura’s cottage. Laura sits in her armchair, the same checked shirt-dress tied at the waist with a belt, and a tattered pair of Converse. Her long hair has been recently washed and is drying, there isn’t a stitch of make-up on her clear, beautiful skin.

The camera is off, Rachel is outside with the gear, on the phone to Susie. The day is drizzly, unlike yesterday’s heatwave, and Solomon wonders how she survives in this place in the depths of winter when even his modern Dublin city apartment feels depressing. As Bo talks, Laura watches Solomon. With Bo in the room, this makes it somewhat awkward for him. He clears his throat.

Laura mimics him.

He shakes his head and smiles.

Bo misses what passes between them as she prepares for her conversation. ‘So, bearing in mind we don’t know how much of an assistance Joe will be to you, moving forward, we’d like, Solomon and I …’

He closes his eyes as she mentions him. It’s a ploy to build Laura’s trust by portraying herself as an ally to Solomon and therefore an ally to Laura. Technically, it’s true; she is, after all, his girlfriend. But it still feels like a ploy.

‘We’d like to make a suggestion. We’d like to offer to help you. I feel you and I got off to a wrong start – and let me explain why. I apologise profusely for how I behaved when I first met you. I got excited.’ Bo places her hand on her heart as she speaks completely honestly, meaning every word. ‘I’m a documentary maker. A couple of years ago, I followed your father and uncle for a year.’

Solomon notices how Laura flinches at that, as if equally uncomfortable with the truth as Joe is.

‘They are, were, fascinating people and their story spread all over the world. Aired in twenty countries, I have it here. This is an iPad; if you do this …’ She swipes carefully, looking at Laura then back to the iPad to see if she understands.

Laura mimics the iPad clicking sounds.

‘Then you press this to watch it.’ Bo touches the screen and the film starts playing.

She allows Laura to watch it for a moment.

‘I’d love to make a documentary about you. We’d love to film you here at the cottage, get a sense of who you are and how you live your life.’

Laura looks at Solomon. He’s about to clear his throat but stops himself. Laura does it instead, sounding like him. Bo still doesn’t notice.

‘There is a fee, but it’s small. I have the terms here.’

Bo takes a page from her folder and hands it to her.

Laura looks at the page blankly.

‘I’ll leave this with you, for you to decide.’

Bo looks at the piece of paper, wondering if she should explain it any further, or if doing so would seem patronising. With Solomon standing behind her shoulder, judging her, maybe not deliberately but she feels the judgement, this cold air that comes from him when she does or says something. She does appreciate that he has a better way with negotiating certain situations but she also wants the freedom to be able to act as she deems appropriate, without fearing or dreading the feedback, the sensing the disapproval and disappointment. Of always letting him down. Of having to check herself. She doesn’t want any more cold air between them, but mostly she doesn’t like to have to second-guess herself at a job that she knows she’s more than capable of doing. In ways, it was easier when their relationship was platonic. She cared more about what he thought, rather than what he thinks of her.

She’s sitting on the edge of her chair, too much in Laura’s space. She pushes herself back and tries to appear relaxed, waits for a positive answer.

Laura is watching the first few minutes of video of her father and uncle on the iPad.

‘I don’t think that I’d like people to know about me,’ Laura says, and Solomon is surprised by his relief.

He would never consider their documentaries exploitive, but he’s proud of Laura for sticking to what feels right to her, not being swayed by attention and fame as so many people are. Rarely does Bo have to convince anybody to say anything on camera, she dangles a camera in front of them and they jump to attention, ready for their five minutes of fame. He likes that Laura is different. She’s normal. She’s a normal person who appreciates her anonymity, who values privacy. That, and something else.

‘You don’t have to share anything with us that you don’t want,’ Bo says. ‘Joe and Tom allowed us to follow them and see how they lived and communicated with each other but I don’t think they felt we crossed any boundaries. We had a very well understood agreement, that as soon as they felt uncomfortable, we’d stop filming.’

Like this morning, in Joe’s kitchen. It made Bo feel unwell, as though she’d had a falling out with a friend.

Laura looks relieved. ‘I like to be by myself. I don’t want –’ she looks at the iPad, and newspaper articles and magazine reviews on the table, ‘I don’t want all of that.’

She pulls the sleeves of her cardigan over her wrists and scrunches them between her fingers, and hugs herself, as if she’s cold.

‘Understood,’ Solomon says, and looks at Bo, an air of finality to it. ‘We respect your decision. But before we go, we brought you some things.’

Solomon carries the shopping bags over to her and places them on the floor beside her. He’d probably gone overboard but he didn’t want her to be left with nothing, especially if Bridget sides with Joe and doesn’t continue to provide for Laura. He’d run across to the local tourist shop, bought as many blankets, T-shirts, jumpers as he could. He couldn’t imagine how cold it got in here, wind whistling through the holes in the walls, the old windows, while bats are flying metres from her door.

Bo hadn’t commented on his purchases. She’d stayed in the car checking emails, while he’d filled the boot with shopping bags. It’s only now that Bo looks at the amount he places down, takes them in, and looks at him in surprise. He’s embarrassed but she’s impressed by his effort. In Bo’s opinion, it could go a long way to convincing Laura to work with them.

‘I thought it could get very cold up here,’ Solomon explains, awkwardly, faffing his hands over the tops of the bags and muttering about their contents.

Bo smiles, trying to hold in her laugh at her boyfriend’s discomfort.

‘Thank you so much for all of these things,’ Laura says, peering in the bags, then addressing Solomon. ‘It’s far too much. I don’t think I could eat all of this on my own.’

‘Well, there’s three people here who’d love to help you,’ Bo jokes casually, still pushing, always pushing.

‘I’ll have to give them all back to you,’ she says to Solomon and then to Bo. ‘I can’t do your documentary.’

‘They’re for you,’ Solomon says firmly, ‘whether you do it or not.’

‘Yes, yes, keep them,’ Bo says, distracted.

While Solomon is getting ready to leave, doing the thing where he doesn’t want to push, doesn’t want to be seen as being rude, in the way, Bo prepares. That part of it never bothers Bo, it’s a momentary awkwardness in an overall larger picture. Bo feels it in her gut that she can’t let Laura go. She’s a fascinating, beautiful, interesting, ferociously intriguing girl, none of which she has seen the likes of before. Not only has she a personal life that is ripe for storytelling but a unique characteristic which is visually splendid. The girl is perfect. While Solomon says his goodbye to Laura, Bo lags behind, taking her time tidying her paperwork up. Placing the newspaper photocopies in a neat pile, running through her head what she can say next.

‘You go ahead, Sol, I’ll be out in a minute,’ Bo says, placing her folder in her bag, slowly.

Solomon leaves, and closes the door behind him.

Dark disapproving boyfriend gone.

Bo looks up at Laura and the girl looks so forlorn, as though she’s about to start crying.

‘What’s wrong?’ Bo asks, surprised.

‘Nothing, I … nothing,’ she says, a little breathlessly. She stands up and moves across the room, to her kitchenette. She pours herself a cup of water and drinks it down in one.

She’s a peculiar girl. Bo wants to know everything about her. She wants to see the world from her eyes, walk in her shoes, she needs Laura to say yes. She cannot lose her. Bo knows that she is passionate about her work, that it borders on obsessed, but that’s what it takes for her to fully understand her subject. She has to absorb herself in his or her life, she wants to do that. Bo was searching for something new after The Toolin Twins, and here it is, the natural birth of a new story has quite literally emerged from the first story. It’s perfect, it’s right, it has potential to be even better than The Toolin Twins. It’s Bo’s job to make other people see what she sees, to feel what she feels. She must make Laura see that.

‘Laura,’ she says gently. ‘I respect your decision not to take part, but I want to make sure you are seeing the whole picture. I want to help you think this through. This week has obviously been a big week for you, a time of huge change in your life, with the passing of your dad.’

Laura looks down, her long eyelashes brush her cheekbones. Bo notes the reaction when she refers to Tom as her dad, to Joe as her uncle, she needs to be careful when using it. They’re not terms Laura is comfortable with and she wants to know why. Why, why, why! It seems that this girl is built entirely on secrets; created on one, born on one, reared on one, exists on one. Bo wants to break the chain.

‘It’s a new beginning for you. Your life is moving on. There is uncertainty as to whether Joe will allow you to live here, and if he does, uncertainty as to whether he will assist you in living the life you have been living for the past ten years. I don’t know if Joe will take on Tom’s role of acting as an intermediary with Bridget for you, getting your provisions, and paying for them, because I assume Tom covered the costs?’

She nods.

‘If Joe doesn’t, how will you get to the shops with no car? Do you have money? Can you pay for food? Tom, as helpful as he was to you, really did leave you in a very vulnerable situation.’ She leads into the next sentence gently. ‘There isn’t a mention of you in Tom’s will. He has left his share to Joe. Perhaps he intended on discussing your presence here with Joe, but he never did.’

She leaves that to sink in with Laura, who has now reached out to grip the back of the chair tightly. Her eyes dart around the room, deep in thought, everything that has been her world possibly dissolving right in front of her.

‘If you take part in this documentary, we can help you. The three of us will be here, we can bring you whatever you need. We can even help you get set up somewhere else if that’s what you want. Whatever you want, we can help you. You’re not alone. You’ll have me, Rachel and of course … you’ll have Solomon, who I can tell is so fond of you,’ Bo adds, with a smile.

7

‘She’s in!’ Bo sings, from the trail, making her way to where Solomon and Rachel are waiting by the car.

‘What?’ Rachel says, looking at Solomon. ‘He just said she’s out.’

‘Well it’s happening now!’ Bo raises her hand in the air for a high-five. They both stare at her.

‘Ah, come on, don’t leave me hanging.’

Rachel high-fives her, with a surprised laugh. ‘You are unbelievable. You truly are a piece of work.’

Bo raises her eyebrows, enjoying the praise, hand still in the air and waiting for Solomon.

He folds his arms. ‘I’m not high-fiving anything until you tell me how you changed her mind.’

Bo drops her hand and rolls her eyes. ‘Would you ask another producer that question? Or just me? Because I would like to have the same respect from you as you would give to somebody else, don’t you think that’s fair?’

‘If I was in the room with a producer who got a clear no, and then I left, and he got a yes, then yes, I would ask him.’

‘Why is the producer immediately a him?’ Bo asks.

‘Or her. Who gives a fuck? What did you do to make her say yes?’

‘Okay guys, before you both go off on one, can we first get some of the logistics straight?’ Rachel grabs their attention. ‘I really have to get home to Susie – we have an anatomy scan on Friday, I will not miss it,’ she says, fully serious. ‘I need to know what’s happening. Is there a plan?’

Bo looks at both of them, her eyes wide in shock. ‘Guys,’ she says, exasperated. ‘Can we quit the moaning for a second and embrace, truly acknowledge the fact that we have the subject of a new documentary confirmed? Can we not ruin the moment right now with a thousand questions, and celebrate?’ She looks at both of them. ‘We’re ready to go again. Whoo! Come on!’ She tries to jazz them up until they eventually cave in and celebrate with her, in a group hug, Rachel and Solomon momentarily hiding their reservations.

‘Congratulations, you relentless little shit,’ Solomon says, kissing her.

She laughs. ‘Thank you! Finally, the recognition I deserve.’

‘So …’ Rachel says.

‘I know, I know, Susie,’ Bo says, thinking it through. ‘Of course you need to get back to her. My feeling is that all the signs are pointing to filming now,’ Bo says. ‘The weather, for a start. We’ve been here in winter, it’s murky, it’s complicated. Rachel, you slipped on your ass more times than I care to remember and, while it was hilariously funny, it was dangerous – as you pointed out.’

Solomon chuckles.

‘And while I want to film what it’s like for Laura living here in all seasons, because I think that’s important, I want to get the principal stuff done now. I want to show people how we found her. Sleeping Beauty in her hidden cottage in the forest. I want the colour, I want light, I want these sounds,’ she says, seeing it all. ‘It’s a summer vibe. Thirdly, if we leave it too long, there’s a chance Laura will change her mind. I want her immediate thoughts, wishes, dreams, not something she’s figured out a few months down the road. Her life has changed now – bam! We need to follow her now, when she’s right on the cusp. And finally, I don’t know how long Joe is going to allow her to live here. If we leave he may just kick her out of the cottage, if we’re here he might be more likely to allow her to stay.

‘So, bearing that all in mind, we go home today, gather ourselves, I’ll prepare the paperwork, Rachel, you gather the equipment, and we’ll return Sunday evening. We begin filming here on Monday for a two-week shoot, tops.’

They all agree.

‘Rachel, I know that Susie’s due date is three weeks away, if for whatever reason you have to leave …’ Bo says, starting to think of replacement camera people she’s worked with. ‘I could call Andy and see if—’

‘Andy’s a dickhead, his filming is deeply inferior to mine. Don’t replace me with Andy. It would be an insult. Don’t replace me with anyone,’ Rachel says firmly. ‘This is a story,’ Rachel says, pointing up the mountain to the cottage. ‘I want to work on this.’

At Rachel’s show of support, Solomon feels goosebumps rise on his skin. He’s never heard her so enthusiastic, nor has he felt this way about a project before. They are all eager to begin, hankering to dive into discovering Laura’s story. Buzzing with excitement Bo returns to the cottage to discuss the filming schedule with Laura. However, she emerges moments later with less energy.

‘She’s changed her mind,’ Solomon guesses, feeling his stomach drop.

‘Not quite. She’s panicking. She’s doing the noise thing. She wants you, Sol. Again.’

Solomon closes the door to the cottage. Laura is standing, pacing the small area between her bed, the kitchenette and the living area.

‘Hi,’ he says.

She mimics a sound and he doesn’t know what it is until he closes the door and it is exactly the sound she has just made. The latch closing. Her sounds may be things she desires to happen. Solomon adds this observation to his list of studies.

‘I thought it would be starting tomorrow,’ she says, nervously twisting her fingers.

‘The documentary?’

‘Yes.’

‘No, I’m sorry. It can’t happen instantly. We have to go home, and prepare for the shoot but there’s no need to worry, we’ll be back on Monday for two weeks.’

‘When are you leaving?’ she asks, pacing the room.

‘Today,’ he says. ‘Laura, what’s wrong?’

‘If you go, I’ll be here alone.’

She starts to make noises, agitated. Bird sounds, distressed.

‘It’s only five days. You’re always here alone.’

‘Joe doesn’t want me here.’

‘We don’t know that Joe doesn’t want you here,’ Solomon says. ‘He’s in shock, it will take him a bit of time.’

‘But what if he comes over here, when you’re gone, and wants me to leave? What if the garda comes back? What will I do? Where will I go? I don’t know anyone. I don’t have anyone.’

‘You can call me, if that happens. Here,’ he roots around in his pockets for a pen and paper. ‘I’ll give you my number.’

‘How will I call you? I don’t have a phone.’

He stalls, the pen hovering over the page.

‘Please stay. I’d like to film tomorrow,’ she says, swallowing nervously. ‘If this is going to happen, it has to happen tomorrow,’ she says, trying to toughen up.

‘We can’t film tomorrow, Laura,’ he says gently. ‘Look, it’s okay. Please calm down. I have to get to my mam’s this weekend. She’s seventy. She lives in Galway, I can’t miss it. Rachel, the one with the camera, her wife is pregnant, she has to get home to her, and Bo, she’s the director, producer, she’s got a lot of work to do for next week, planning, paperwork, a lecture, that kind of thing. We need more equipment, there’s paperwork to be done, permission to be granted, there’s no way we could start tomorrow.’

‘Can I go with you?’ she asks.

He stares at her in shock, unable to think of how to reply. ‘You want to …’

‘Can I stay with you? I can’t stay here any more. It’s all been changed. I have to … change with the changes.’

She’s panicking, her mind working overtime.

‘Relax, Laura, it’s okay, everything’s okay, nothing’s changed.’ He goes to her, holds her by her arms, gently, tries to get her to look at him. His heart is pounding; just feeling her is sending him into a spin. She looks at him and those grassy eyes probe into him, into his very soul.

‘My dad’s dead.’ She looks at him, eyes piercing. ‘My dad is dead. And I never even called him dad. I never even knew if he knew that I was his daughter. We never even …’ The tears spill down her cheeks.

‘Oh, come here,’ he whispers, wrapping his arms around her and pulling her close to him so that her head is against his chest and she is completely enveloped in his love and care.

‘How can a place be a home if no one wants you there?’ she asks through her tears. ‘This is not a home.’

He can’t answer that.

He’s the only person she knows. He can’t leave her here.

‘What. The. Fuck,’ Bo says, sitting up, as Solomon walks towards her and Rachel with bags in his hands, closely followed by Laura.

‘She’s coming with us,’ he says, avoiding Bo’s stare, as he puts the bags in the boot of the car.

‘What?’ Bo joins him.

‘She’s scared here. She doesn’t want to wait on her own until we get back. I wonder who scared the shit out of her, Bo,’ he says through his teeth at her, the veins pulsating in his neck. He’s really angry.

‘But – you have to go to your parents’ house.’

‘Yes, and I’ll have to take her with me. She won’t go with you to Dublin,’ he mutters, trying to slot her shopping bags and suitcase into the boot among their recording equipment.

He waits for Bo to tell him no way, this is ridiculous, she is not allowing her boyfriend to travel with a young, beautiful strange woman to his family party, but instead when he looks up, she’s grinning broadly.

‘Laura,’ she calls, holding two thumbs up. ‘This is the best news. The best.’

8

‘Snow White!’ Bo announces, slamming her beer bottle down on the table in the hotel bar, more loudly than she’d intended.

Rachel laughs. Solomon shakes his head and reaches for the bowl of peanuts.

‘Seriously, she’s like a real-life Snow White,’ she says excitedly. ‘I could definitely pitch that. Lives in the forest, sings to the fucking animals.’

Solomon and Rachel can’t help but laugh at that, and at Bo’s intensity. Bo’s tipsy, her eyes are shining, her cheeks are rosy as they discuss plans for the documentary. Instead of going home, Bo managed to talk Rachel into staying for two more days. They’ll stay at the hotel in Gougane Barra for two nights, film during the day at the cottage, go their separate ways for the weekend, return to Cork on Sunday night. She can’t help herself and her excitement is contagious, both Solomon and Rachel find it impossible to say no. Laura is upstairs in her bedroom, a connecting room to theirs, which they’d filmed her entering. Bo had filmed everything. Laura’s first baby-steps into the big bad world, not that there had been anything dramatic to capture. Laura hadn’t been raised by wolves, she knew how to handle herself. Everything remained inside of her, contained. Rachel captured Laura sitting in the car, for the first time in ten years, the cottage disappearing in the background behind the bat house. Laura didn’t look back, though she mimicked the engine starting up. When Laura left the Toolin property her face never changed. She quietly, slowly absorbed everything around her; it was calming to watch, as hypnotic as watching a newborn baby. And while everything seemed locked inside of her, her sounds seeped out and revealed a little about her.

‘I feel like we have a child,’ Bo had joked to Solomon, about the connecting room, before shuddering.

‘If Laura is Snow White, who is the evil witch who locked her up?’ Rachel asks.

‘Her grandmother,’ Solomon replies, his tongue feeling loose. Considering he’d been falling asleep all day, he’s wide awake now. ‘But not evil. If anything, well-intentioned.’

‘All evil people think they’re well-intentioned in some shape or form,’ Bo says. ‘Manson thought his murders would precipitate the apocalyptic race war … What about Rapunzel?’

‘What about Mowgli?’ Rachel jokes.

Bo ignores her. ‘Trapped in a cottage, on the top of a mountain, cut off from the world. And she has long blonde hair and is beautiful,’ she adds. ‘Not that it should make a difference, but it does and we all know it.’ She points a finger in both Solomon and Rachel’s faces to prevent them from objecting, not that they were going to.

‘I don’t know why you’re going for Disney movies,’ Rachel says. ‘Is it a commercial thing?’

‘Because this feels fairytale-like. Laura has that ethereal feel, other-worldly, don’t you think?’

Of course Solomon agrees, he’s felt that all along and perhaps he was wrong, foolish even, to think that he was the only one who was affected by Laura.

‘She talks to animals and birds,’ Bo offers. ‘That’s quite Disney.’

‘De Niro talked to the mirror,’ Rachel suggests. ‘Shirley Valentine to the wall.’

‘Not quite the same thing,’ Bo smiles.

‘She doesn’t talk to them, she imitates them,’ Solomon explains. ‘There’s a difference.’

‘The imitator. The imitatress.’

‘Gendered titles, from a feminist such as yourself. You should be ashamed,’ Rachel teases, signalling the barman for another round.

‘Echoes of Laura.’

‘Perfect,’ Rachel says. ‘For True Movies.’

‘She mimics,’ Solomon says, thinking aloud. ‘She repeats things that she hasn’t heard before, a few times, until she gets it right. Maybe it’s to understand them. She makes distressed sounds when she feels endangered, like the barking, growling, car alarm sounds when we first met her. She associates those sounds with danger or defence.’

They’re both hanging on to his analysis.

‘Interesting,’ Rachel nods along. ‘I hadn’t realised there was a language to it.’

‘Hadn’t you?’ Solomon asks. It had seemed clear to him. The sounds were all different. Sympathetic when whimpering with Mossie, defensive, on the attack when she was surrounded. Mimicking Solomon’s throat-clearing when she recognises when he’s uncomfortable or generally an uncomfortable situation. The sounds make sense to him. Entirely peculiar, but there seems to be a pattern to them.

‘Laura’s Language,’ Bo says, continuing her search for a title.

‘So she’s a mimic,’ Rachel says. ‘Laura the Mimic.’

‘That’s deep,’ Bo laughs.

‘She doesn’t mimic actions or movements. Just sounds,’ Solomon says.

They both think about it.

‘I mean she’s not on all fours, growling like a dog, or running around the room and flapping her arms like a bird. She repeats sounds.’

‘Good point.’

‘Our friend the anthropologist,’ Rachel says, raising her new pint towards him.

‘Anthropologist, now that’s a good idea,’ Bo says, reaching for her pen and paper. ‘We need to speak to one of them about her.’

‘There’s a bird somewhere, that imitates sounds,’ Solomon says, not listening to the two of them. ‘I saw it on a nature programme a while ago.’ He thinks hard, mind foggy from the jet lag and now alcohol.

‘A parrot?’ Rachel offers.

Bo giggles.

‘No.’

‘A budgie.’

‘No, it imitates all sounds. Humans, machines, other birds, I saw it on a documentary.’

‘Hmm,’ Bo reaches for her phone. ‘Bird that imitates sounds.’

She searches for a moment. Suddenly her phone starts playing loudly and as the customers turn to her again, she quickly apologises and lowers the volume.

‘Sorry. This is it.’

They huddle around to watch a two-minute clip of David Attenborough and a bird that mimics the sounds of other birds, a chainsaw, a mobile phone, the shutter of a camera.

‘That’s exactly like Laura,’ Rachel says, prodding the screen with her greasy salty peanut finger.

‘It’s called a lyrebird,’ Bo says, deep in thought. ‘Laura the Lyrebird.’

‘The Lyrebird,’ Rachel says.

‘No,’ Solomon shakes his head. ‘Just Lyrebird.’

‘Love it,’ Bo grins. ‘That’s it. Congratulations, Solomon, your first title!’

Elated, they call it a night at midnight and return to their bedrooms.

‘I thought you were tired,’ Bo smiles as Solomon nuzzles into her neck, as she opens the door with a keycard. She misses a few times, her aim off. ‘You’re like a vampire, coming alive at night,’ she giggles.

He nibbles at her neck, which reminds him of a bat, which reminds him of the bat house, which reminds him of Laura, who is in the room next door, which knocks him off course, which makes him loosen his grip on Bo. Thankfully, she doesn’t notice as she finally gets the key in the door and pushes it open.

‘I wonder if she’s awake,’ Bo whispers.

Laura close to his mind, Solomon pulls Bo close to him, kisses her.

‘Wait,’ Bo whispers. ‘Let me listen.’

She pulls away and moves to the connecting door to Laura’s room. She pushes her ear to the door and while she listens, Solomon starts undressing her.

‘Sol,’ she laughs. ‘I’m trying to do research!’

He pulls her underwear from her foot and throws it over his shoulder. He starts at her ankle and kisses his way up her leg, licking the inside of her thigh.

‘Never mind,’ Bo gives up on her research and turns her back to the door.

In bed, Bo lets out moans of delight.

Solomon pulls her down to him, to kiss her, and as their lips lock, he hears the sounds of pleasure again. Bo’s sounds. But they’re not coming from Bo, they’re coming from the connecting door. They both freeze.

Bo looks at Solomon. ‘Oh my God,’ she whispers.

Solomon looks at the connecting door. The light from the bathroom is illuminating the otherwise dark room. Though the door on their side is still closed, Laura must have opened her own connecting door and is listening at their door.

‘Oh my God,’ Bo repeats, getting off Solomon and pulling the bedclothes around her protectively.

‘She can’t see you,’ he says.

‘Sssh.’

Solomon’s heart pounds, as if he’s been caught doing something he shouldn’t be. Even if Laura can’t see them, he’s sure she can hear them.

‘I don’t care, that’s sick.’

‘It’s not sick.’

‘For fuck sake, Solomon,’ she hisses, disgusted with him.

They listen out but there’s no further sound.

‘What are you doing?’ she hisses, watching him get out of bed.

He goes to the connecting door and pushes his ear to the cold wood. He imagines Laura right on the other side, doing the same thing. Her first night away from her cottage, perhaps they were wrong to leave her alone for a few hours. He hopes she’s okay.

‘Well?’ she asks, as he gets back into bed.

‘Nothing.’

‘What if she’s nuts, Sol?’ she whispers.

‘She’s not nuts.’

‘Like crazy psycho-killer nuts.’

‘She’s not.’

‘How do you know that?’

‘I don’t … it was your idea to bring her here.’

‘That’s helpful.’

He sighs. ‘Can’t we at least finish?’

‘No. That’s freaked me right out.’

Solomon sighs, rests his arms behind his head and stares, feeling wide awake, at the ceiling. Bo lies on top of him, her leg across his body, so he can’t even finish himself off, while she sleeps. Fully awake now, and unsatisfied.

He throws the covers off and moves so that Bo will get off him.

‘If you’re going to wank in the toilet, you better be quiet or the Lyrebird will be repeating your every sound for the next two weeks on camera,’ Bo warns, sleepily.

He rolls his eyes and gets back into bed, the mood completely killed.

At some stage he falls asleep listening to the sound of Laura listening to him.

9

Solomon wakes in the morning to an empty bed. The connecting door is open a fraction. He sits up and gets his bearings. He hears Bo’s voice drifting out to him. Gentle but organisational.

‘Joe has agreed that we can have access to the cottage for today so that we can film you there. We can see you go about your day, what you do, how you live, that kind of thing. And then I’ll ask you a few questions about how you see the future, what you’d like to do with your life. So maybe think about those kinds of things.’

Silence.

‘Do you have these answers now?’

Silence.

Solomon gets out of bed and pads naked across the room to the door. He peeks through the crack in the door and sees them, Laura sitting on the bed, the back of Bo’s head.

‘Okay, that’s okay, you don’t have to answer my questions now. But you do understand what we’re planning?’

‘I understand.’

‘We’ll film today and tomorrow, break for the weekend, and then return on Monday. Is that okay with you?’

‘I’m going to be with Solomon in Galway at the weekend.’

‘Yes.’

Awkward silence.

‘Last night, Laura …’

Silence.

Solomon closes his eyes and cringes, wishing Bo would just let it go. It was the first night in ten years that Laura had slept in a different bed, a different room. Everything was different. Bo’s sounds had been new for Laura, mimicking them was her way of understanding, that was all. He wishes Bo could get that and leave it.

‘Em, last night I heard you make a sound. While I was in bed.’

Laura makes the sound again, an exact replica of Bo’s pleasured moans, as if she had recorded it and was playing it from her voice box.

Solomon bites his lip, tries not to laugh.

‘Yes. That.’ Bo is mortified.

‘You want that in your film?’

Solomon peeks through the crack again, to get a look at Laura, he noticed the change in the tone of her voice. It’s playful. She’s playing with Bo. Bo, on the other hand, misses it.

‘No!’ she says, laughing nervously. ‘You see that, what you heard, was private, a private moment between me and …’ Bo pauses, not wanting to mention Solomon.

‘Sol,’ Laura says, repeating the name exactly as Bo does. It’s Bo’s voice coming from Laura’s mouth.

‘Jesus. Yes.’

‘Solomon’s your boyfriend?’

‘Yes.’

Solomon swallows, his heart pounding once again.

‘Is that … okay?’ Bo asks.

‘Okay for who?’

‘For you. Okay with you,’ Bo replies, confused.

Laura clears her throat awkwardly but it’s not her sound, it’s Solomon’s. She looks quickly in the direction of the door and he realises she knows he’s been listening. He smiles and walks away, to the shower.

They spend Thursday filming Laura’s home. After realising that, under observation, Laura had a tendency to freeze up and look at the camera, lost, Bo has come up with a plan to film her making vegetable soup. This is something that Laura is comfortable with. At first she is wary of their presence, self-conscious of their eyes and camera on her. Then, as she gets lost in what she’s doing, she visibly relaxes. They stay back, trying not to be intrusive, though as unnatural as three people with recording equipment in a forest are. She mimics their sounds less as she moves around.

She tends to her fruit-and-vegetable patch, she forages for herbs; wild garlic is plentiful along the streams and shady areas, she picks the larger leaves and flower heads that have blossomed.

She doesn’t speak very much, sometimes hardly at all. Bo asks her to describe what she’s found in the ground but then she stops, deciding that this is going to be one of those documentaries, much like The Toolin Twins, where their audio will have to be added to the visuals at a later date, when answers can come from direct questions. Laura is no narrator but she does mimic the bird-calls; the birds seem puzzled, or at least convinced by her authenticity from afar, and reply to her.

Bo is buzzing, this much is obvious. They all are. They work together as silently as possible, respecting Laura’s need for that. Between filming, their chat is kept to a minimum, basic communication. Hand gestures, a word here and there. It is possibly the quietest day of Solomon’s life, not just because he’s had to stay quiet – he’s used to that – but most of his days are spent listening to others. Despite filming on the same mountain as The Toolin Twins, there is a distinct difference between the feel, sounds and rhythms. What they’ve got here is a completely different documentary. This is lyrical, musical, even magical. The images of Laura working her way through the forest, her white-blonde hair and calm disposition, are stunning, unearthly. It brings Solomon back to that first moment he saw her, how she’d quite literally taken his breath away. He could watch her all day. He could listen to her all day. He does. And with her sound pack clipped on her clothes, the microphone on her T-shirt, he can practically hear every breath and heartbeat. Yet when he looks at her, when their eyes meet, there’s nothing dainty about her. She’s strong. She’s firm. That mind of hers is solid.

Laura stands up from the forest floor and stretches her back. She looks up at the sky, breathes in and, as if remembering the crew are there, she turns around and lifts the basket into the air.

‘What did you get?’ Bo asks, delighted Laura is ready for conversation.

‘Wild garlic, it’s good for flavouring soups. Also good for coughs and the chest. I use it for a wild garlic, onion and potato soup. I’ve got mushrooms …’ She runs her long fingers over the array of mushrooms.

‘How do you know these are safe?’

Laura laughs, her laugh is older than she appears. She makes a vomiting sound, one so real it plays with Rachel’s gag reflex, yet she doesn’t seem to notice her sound, it’s as if a memory for her has come alive through her own sound, as an image would flash in somebody else’s mind.

‘Trial and error for the first few years,’ Laura explains, then runs her hands over the food in the basket. ‘These are pig nuts, also known as fairy potatoes. They’re good roasted. Alexanders, they’re like celery. Nettles, gorse blossom for blossom jelly and garlic mustard. It’s a wild member of the cabbage family, good for marinating meat. I like this because you can eat all parts of the plant, roots, leaves, flowers and seeds. The root makes tasty garlic mustard root vinegar.’

‘Okay, great, thanks.’ Bo smiles happily.

Inside the cottage, she opens her cupboards to show them her collection of food that has been pickled, dried and canned. She preserves the fruits and vegetables that don’t grow in the winter, when her diet would otherwise grow monotonous. That’s when she really relies on what Tom gives her. Gave her. She pauses, checks herself, before continuing. She is confident, proud of her work on her food and she is happy to talk about it. Her sentences are short and limited, of course, but for her, to offer any information unprompted is a sign of her confidence, which grows throughout the filming day.

She makes her soup that she then offers to them to taste. Bo politely sips a spoonful. Solomon and Rachel finish their bowls.

It is late in the afternoon.

‘What would you do next?’ Bo asks, trying to move things along.

‘I would usually be still out foraging,’ Laura smiles politely, aware that time is of concern to Bo.

‘Don’t feel you have to rush everything on our account, I want to capture you as you’d normally be.’

‘I wouldn’t normally have served three people my soup,’ she smiles, and to Solomon, ‘That’s the first time I’ve done that in ten years.’

‘Four people,’ Rachel says. ‘Can I have seconds?’

Laura laughs. She likes Rachel, this is obvious. She is wary of Bo. With Solomon, everyone knows it’s a sure thing.

Laura suggests cleaning her clothes, something Bo isn’t interested in. She doesn’t scrunch up her nose but it’s a similar reaction.

‘How about we film you reading?’ Bo asks. ‘Books are an important part of your life, aren’t they?’

‘Of course, I read every day.’

‘They’re your connection to the world?’

‘I’d say they are the only things that aren’t my connection to the world,’ Laura replies. ‘They’re entertainment, escape.’

‘Yes,’ Bo says, though she’s too busy planning her next shot to process the answer. ‘Where do you usually read?’

‘In lots of places. In here. Outside.’

‘Let’s go outside, show us where you’d go.’

‘It depends on the time of year, on the day, on the time of day, on the light,’ she says. ‘I walk around until I find somewhere that feels right.’

‘Let’s do that then,’ Bo says, smiling and when Laura isn’t looking, she steals a look at her watch. It’s not that Bo isn’t interested – she is, she can’t have enough information – it’s that time has never been her friend. There is too much to do, and not enough time to do it in. The aim is to do everything, quickly, so that she doesn’t miss a thing, and of course in doing things so quickly all the time, she is missing things, as Solomon constantly warns her.

Solomon accompanies Laura to her bookshelf, which is overflowing. Books are piled up on the floor all around.

‘Do you have a favourite one?’ he asks.

She picks up one, an erotic romance A Rock and a Hard Place, and shows it to him. She then makes the sound she heard from the previous night, Bo’s sounds of pleasure. She is quiet enough so that Bo doesn’t hear her. Solomon laughs and shakes his head.

‘You’re in love with her?’ Laura asks.

He’s so taken aback by the question he’s not sure how to answer. He should know how to answer, but he can’t bring himself to address it.

She mimics his awkward throat-clear.

‘I’m surprised Bridget brought you that book,’ he changes the subject.

‘I’ve never met her but I was surprised too,’ she laughs. ‘There was a whole box of them. Second-hand, church sale. A virgin named Betty Rock and naughty Nathan the window cleaner. They get a lot of suds in a lot of places.’

They both laugh.

‘No. This is my favourite. I’ve read it over fifty times.’ She hands him a picture book.

‘There’s no words,’ he flicks through it.

‘Words are often over-rated,’ she says.

‘What’s it about?’

‘A tree that turns into a woman.’

‘Just like Bo said,’ Solomon says sarcastically, studying it. ‘Your connection to the world.’

She laughs.

He looks at the cover. Rooted. ‘What’s it about?’

‘There’s a tree in a park. A busy city park. It’s hundreds of years old and it watches people every day. Children playing with a ball, mothers walking their babies in prams, people jogging, couples arguing. Life. As time goes by, the more she absorbs the life around her, the more human the tree becomes. Her bark turns into skin, her leaves to hair, her branches to arms. She shrinks. Until one day she is no longer a tree, she’s a beautiful young woman. She uproots her feet from the soil and she walks out of the park.’

‘Interesting,’ Solomon says, flicking through the pages.

‘You can read it, if you like,’ she offers it to him.

‘Does she walk out of the park naked?’ he asks. ‘Nudity is a must in a book with pictures.’

‘That’s revealed on the pop-up page.’ She smiles.

He laughs and studies her, curiously.

She looks up at him, not at all self-conscious under his greedy gaze. She doesn’t seem to mind his attention, so he drinks her in a little more.

He takes a deep breath, lets it out slowly. ‘Thanks for the book. I’ll return it to you in the same condition. Actually, I have a book for you.’ Solomon takes a paperback from his audio bag. ‘Bridget brought it here on Thursday. I’m sure it’s for you.’

Solomon had to hand it to Bo. As soon as Bridget mentioned that Tom was an avid reader, she’d known something was up. He wonders what else she can sense.

Laura takes the book from him, her energy completely changing. It’s the last book she received from her father, even if he hadn’t chosen it, even if he never gave it to her, even if he never touched it, or knew what it was. He’d asked for it for her. She hugs it close to her.

‘Let’s go,’ Solomon says. ‘So, how do you clean your clothes?’ he asks as they pick up their gear and prepare to go outside.

‘The dry cleaner’s at the top of the mountain, beside the nightclub,’ Laura says, seriously. ‘But Bo didn’t want to know about that.’

Solomon throws his head back and laughs heartily.

Laura takes a note of that beautiful sound, records it in her mind, replays it over and over.

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