The Killing Circle

The Killing Circle

ANDREW PYPER

For Heidi

Table of Contents

Cover Page

Title Page

Dedication

Prologues

PART ONE The Kensington Circle

1

2

3

4

5

6

7

8

9

10

11

12

PART TWO The Sandman

13

14

15

16

17

PART THREE Story Thieves

18

19

20

21

22

23

24

25

26

27

28

29

PART FOUR The Terrible Man Who Does Terrible Things

30

31

32

33

34

35

Acknowledgments

About the Author

By the same author

Copyright

About the Publisher

LABOUR DAY, 2007

I didn’t know my son could tell directions from the stars.

Corona Austrina. Lyra. Delphinus.

Sam leaves noseprints on the passenger window as we highway out of the city, reciting the constellations and whispering "South” and "East” and "North” with each turn I make.

"Where’d you learn that?"

He gives me the same look as when I came into his room a couple nights ago and found him slingshooting a platoon of plastic Marines, one by one, on to the neighbour’s roof. "I’m a terrorist,” he had answered when asked what he thought he was doing.

"Learn what?"

"The stars."

"Books."

"Which books?"

"Just books."

With Sam I know I’ll get no further than this. It’s because both of us are readers. Not by passion necessarily, but by character. Observers. Critics. Interpreters. Readers of books (most recently the later, furious Philip Roth for me, and Robinson Crusoe, told in bedtime snippets, for Sam). But also comics, travel brochures, bathroom-stall graffiti, owner’s manuals, cereal-box recipes. The material doesn’t matter. Reading is how we translate the world into a language we can at least partly understand.

"North,” Sam says, his nose returned to the glass.

The two of us peer at the slab of shadow at the top of the rise. A square monolith jutting out of an Ontario corn field like the last remnant of an ancient wall.

"Mus-tang Drive-in. End of Sea-son. La-bour Day dusk-’til-dawn,” Sam reads as we pass the sign.

He leans forward to study the neon cowboy on a bucking bronco that is the Mustang’s beacon, directing us in from the night roads.

"I’ve been here before,” he says.

"You remember that?"

"The sign. The man on the horse."

"You were so little then."

"What am I now?"

"Now? Now you’re a book-reading, star-gazing young man."

"No,” he says, grimacing. "I’m eight years old. And I just remember things."

We have come out here, widower and son, to watch the last movie show of the summer at one of the last drive-ins in the country. The last of the lasts.

Tamara—Sam’s mother, my wife—died eight months after Sam was born. Since then, I have found a parental usefulness in moviegoing. In a darkened cinema (or here, in a darkened corn field) Sam and I can find an intimacy without the dangers of talk. There’s something distinctly male about it. The closeness fathers and sons find in passive, mostly silent hobbies, like fly fishing or watching baseball games.

The guy at the admission booth pauses when he spots Sam in the passenger seat. Tonight’s main feature—a spooky Hollywood thriller currently raking in the last of the easy summer dollars—is R-rated. I hand the guy a bill that more than covers full price for two adults. He winks and waves us on, but offers no change.

The place is packed. The best spot left is in front of the concession stand, well off to the side. Sam wanted to try further back, but I know that’s where the high school kids go. Pot and smuggled rye, teenaged boys and girls and all the things they get away with. It’s not concern for Sam’s moral education, but the nostalgic envy that being so close to these crimes would cause in me that makes me stay up here with the rest of the respectables.

"It’s starting!” Sam announces as the floodlights cut out.

It leaves me to pull our chairs and mothballed sleeping bag out of the trunk with only the light of the commercials to see by. I slide along the side of the car keeping my eye on the screen. This, for me, is the best part of the whole drive-in experience: the vintage ad for junk food. A dancing hot dog, leering milkshake, a choir of french fries. And there’s something about the tap-dancing onion ring that always breaks my heart.

I set up Sam’s chair, then my own. Snuggle up next to each other under the sleeping bag.

"En-joy Our Fea-ture Pres-en-ta-tion!” Sam says, reading the screen.

The parked rows await the sky’s final turn from purple to black. A single honk to our right, a minivan rollicking with sugar-freaked little leaguers, brings muffled laughter from the vehicles around us. But there’s something nervous in these sounds—the bleat of alarm, the reply of hollow mirth. To make this impression go away I try at a laugh of my own. A dad laugh. And once it’s out, I inhale the familiar mix of gas fumes, popcorn, burnt hamburger. Along with something else. Something like fear. Faint as the perfume a previous guest leaves on a motel pillow.

The movie starts. A scene of introductory horror: a dark figure pursuing its prey through a field at night. Flashes of desperate movement, swinging arms and boots and jangling keys on a belt. Jump edits between the killer’s certain stride and the other’s panicked run, fall, then sobbing, crab crawl forward. A brief shot of hands dripping with what may be oil, or wet earth, or blood. A close-up scream.

We don’t know who this person is, this certain victim, but we recognize the context of hopeless struggle. It is the dream all of us have had, the one in which our legs refuse to carry us, the ground softened into black syrup, taking us down. And behind us is death. Faceless and sure, suffering no such handicaps.

We’re so close to the screen that to look at anything else forces me to turn all the way around in my chair. An audience of eyes. Looking back at me through bug-spattered windshields.

I sit forward again and tilt my head back. The autumn dome of night, endless and cold, lets me breathe. For a moment. Then even the stars crowd down.

"Dad?"

Sam has turned at all my fidgeting. I force myself to look straight ahead at the actors on the screen. Enormous, inescapable. Their words coming from every direction, as if spoken from within me. Soon the film becomes not just any dream, but a particular one I’ve had a thousand times.

I’m standing before I know I’m out of my chair. The sleeping bag spilling off my knees.

Sam looks up at me. Now, his face half in shadow, I can see his mother in him. It’s what gives him his sweetness, his open vulnerability. Seeing her in his features brings the strange feeling of missing someone who is still here.

"You want anything?” I ask. "Tater tots?"

Sam nods. And when I reach my hand out to him, he takes it.

We shuffle toward the source of the projector’s light. The blue beam and the glimpsed orange of matches lighting cigarettes in back seats—along with the dull glow of the quarter moon—the only illumination to see by. And the same dialogue broadcast from the speakers hooked to every car window.

It’s him.

What are you talking about?

The thing that lives under your bed. The eyes in your closet at night, watching you. The dark. Whatever frightens you the most…

Somebody opens the door to the concession stand and a cone of light plays over our feet. Sam runs to stay within it. Pretending that if he touches the unlit gravel before he gets inside he’ll be sucked into another dimension.

Which we are anyway. The Mustang’s snack bar belongs to neither Sam’s generation nor mine, but to whatever time it was when men wore ties to buy cheeseburgers. Just look at the posters on the walls: beaming sixties families stepping from their fin-tailed Fords to purchase treats for adorably ravenous Beaver Cleaver kids. It’s almost enough to put you off the food.

But not quite.

In fact, we need a tray. On to which I pile cardboard boats of taters, foil-wrapped dogs, rings so greasy you can see through the paper plate they sit on, as well as a jumbo soda, two straws.

But before we can leave, we need to pay. The girl at the till is speaking into the air. "No way," she says, hang-jawed. "No way.” And then I notice the cord coming out of her ear. The little mouthpiece thingy under her chin. "For real?"

"I’ll meet you where we’re sitting,” Sam says, grabbing a hot dog off the tray.

"Just watch for cars."

"They’re parked, Dad."

He gives me a pitying smile before running out the door.

Outside, after I’ve paid, the sudden dark leaves me blind. A tater tot leaps off the tray and squashes under my shoe. Where the hell did I park anyway? The movie tells me. The angle I’d been watching it from. Up a bit more, off to the side.

And there it is. My ancient Toyota. A car I should really think about replacing but can’t yet. It’s the lipstick and eyeliner Tamara left in the glove box. Every time I open it to grab my ownership certificate they spill out into my hand and she is with me. Sitting in the passenger seat, pulling down the visor mirror for a last-minute smearing. When we’d arrive at wherever we were headed to, she would turn to me and ask, "Do I look okay?" Every time I said yes, it was true.

I keep my eyes on the Toyota’s outline and stumble toward it, right next to the van of little leaguers. Quiet now. Their attention held by the movie’s suspense.

Why is he doing this? Why not just kill us when he had the chance?

The tray falls from my hands.

It’s not the movie. It’s what’s in front of my car that does it.

There’s our fold-out chairs. The sleeping bag.

Except the sleeping bag is lying on the ground. And both chairs are empty.

A couple of the minivan kids are sniggering at me, pointing at the unsheathed hot dog on the ground, the dixie cups of extra ketchup splashed gore over my pants. I look their way. And whatever shows on my face makes them slide the door shut.

I drift away from the Toyota, scuffing through the aisles between the cars. Slow, deliberate scans in every direction. Poking my head into the vehicles and noting the hundreds of North American lives in recreational progress—the dope-smoking kids, gluttonous adults, the couples slumped under comforters in the backs of pick-up trucks.

But no Sam.

For the first time the idea of calling the police comes to mind. Yet it remains only an idea. Sam’s been gone three minutes at most. He has to be here. What might be happening is not happening. It can’t be. It can’t.

"Sam!"

My son’s name comes to me from someone else. An alarmed third party.

"Sam!"

I start to run. As fast as I can at first. Then, realizing I won’t make it the length of a single row, slow it to a jog. A pushing-forty man trotting his way through the parked cars in the middle of the main feature, rubbernecking this way and that. It’s the sort of thing people notice. A teenager in his dad’s convertible wolf whistles as I go by, and the girls bunched into the front with him offer an ironic wave. Without thinking, I wave back.

When I finish zigzagging all the rows, I start around the perimeter of the lot. Peering into the shadowed fields. Each line of corn another chance of seeing Sam standing there, hiding, waiting for me to find him. This anticipated image of him becomes so particular that I actually spot him a couple of times. But when I stop for a second look, he’s gone.

I make it to the back of the lot where the light from the screen is dimmest, everything bathed in a deep-sea glow. The corn rows seem wider here, and darker. The roof of a distant farmhouse the only interruption on the horizon. No lights in its windows. I try to blink it into better focus, but my eyes are blurred by tears I hadn’t felt coming.

I thought you were a ghost.

I was a ghost. But ghosts don’t get to do things. It’s much better being the monster. The kind you don’t expect is a monster until it’s too late.

I bend over and put my hands on my knees. Sucking air. A pause that lets the panic in. The horrific imaginings. Who he’s with. What they will do. Are doing. How he will never come back.

I saw someone. Looking in the window.

Did you see who it was?

A man. A shadow.

I have already started to run back toward the concession stand when I see it.

A figure disappearing into the stands of corn. As tall as me, if not taller. There. And then not there.

I try to count the rows between where I was and where the figure entered the field. Seven? Eight? No more than ten. When I’ve passed nine I cut right and start in.

The fibrous leaves thrash against my face, the stalks cracking as I punch my way past. It looked like there was more room in the rows from outside, but now that I’m within them there’s not near enough space for a man my size to move without being grabbed at, tripped, cut. Not so much running as swallowed by a constricting throat.

How is whoever I saw going any faster than me? The question makes me stop. I lie down flat and peer through the stalks. Down here, the only light is a grey, celestial dusting. With my open mouth pressed against the earth, it’s as though the moonlight has assumed a taste. The mineral grit of steel shavings.

I teach my body to be still.

The thought occurs to me that I have gone mad between the time I left Sam and now. Sudden-onset insanity. It would explain crashing through a corn field at night. Chasing something that likely wasn’t there in the first place.

And then it’s there.

A pair of boots rushing toward the far end of the field. A hundred feet ahead and a couple rows to the left.

I scramble to my feet. Moaning at my locked knees, the muscles burning in my hips. I use my hands to pull me ahead. Ripping out ears of corn and tossing them to thud like another’s steps behind me.

Every few strides offers a peek at the farmhouse in the distance, and I cut sideways to stay in line with it. As if I know this is where the figure is going. As if I have a plan.

I lift my head again, scanning for the gabled roof, and catch the figure instead. Rushing rightto-left across the gap. A glimpse of motion through the silk-topped ears. Darker than the night stretched tight over the corn.

I launch forward. Blinking my eyes clear to catch another sight of it down the rows. But what was it? Neither identifiably man nor woman, no notable clothing, no hat, no visible hair. No face. A scarecrow hopped off its post.

Now when I shout I’m no longer addressing Sam but whatever it is that’s out here with me.

"Bring him back! Bring him back!"

There’s no threat in it. No promise of vengeance. It’s little more than a father’s winded gasps shaped into words.

All at once I break through into the farmhouse’s yard. The grass grown high around a rusted swing set. Paint chipping on the shutters. Smashed-out windows.

I go around the back of the place. No car parked anywhere. No sign that anyone has come or gone since whatever bad news ushered out the people who lived here last.

I stop for a second to think of what to do next. That’s when my legs give out. I fall to my knees as though moved by a sudden need to pray. Over the pounding of my heart I listen for retreating footfall. Not even the movie voices can reach me. The only sound the electric buzz of crickets.

And the only thing to see is the Mustang’s screen. An ocean of cornstalks away, but still clearly visible. A silent performance of terror so much more fluid and believable than my own.

It’s as I watch that it comes to me. A truth I could never prove to anyone, but no less certain for that.

I know who has done this. Who has taken my son. I know its name.

I kneel in the high grass of the abandoned farmyard, staring at its face. Forty feet high and towering over the harvest fields, lips moving in silence, directly addressing the night like a god. A monstrous enlargement made of light on a whitewashed screen.

The part all actors say is the best to play. The villain.

1

VALENTINE’S DAY, 2003

"Love cards!"

This is Sam, my four-year-old son. Running into my room to jump on the bed and rain crayoned Valentines over my face.

"It’s Love Day,” I confirm. Lift his T-shirt to deliver fart kisses to his belly.

"Who’s your Valentine, Daddy?"

"I suppose that would have to be Mommy."

"But she’s not here."

"That doesn’t matter. You can choose anyone you like."

"Really?"

"Absolutely."

Sam thinks on this. His fingers folding and unfolding a card. The sparkles stirred around in the still wet glue.

"So is Emmie your Valentine?” I ask him. Emmie being our regular nanny. "Maybe someone at daycare?"

And then he surprises me. He often does.

"No,” he says, offering me his paper heart. "It’s you."

Days like these, the unavoidable calendar celebrations—Christmas, New Year’s, Father’s Day, Mother’s Day—are worse than others. They remind me how lonely I am. And how, over time, this loneliness has burrowed deeper, down into tissue and bone. A disease lurking in remission.

But lately, something has changed. An emerging emptiness. The full, vacant weight of loss. I thought that I’d been grieving over the past three and a half years. But maybe I’m only just now coming out of the shock. Maybe the real grief has yet to arrive.

Sam is everything.

This one rule still helps. But in the months immediately following Tamara’s death, it was more than just a focus. It allowed me to survive. No oneway wants, no me. Not permitting myself to dream had got me halfway to not feeling—easier conditions to manage than feeling and dreaming too much.

But maybe this has been a mistake. Maybe I was wrong to believe you could get along without something of your own. Eventually, if living requires being nothing, then you’re not even living any more.

Tamara’s last days is something I’m not going to get into. I will confess to all manner of poor behaviour and bad judgment and broken laws. And I am prepared to explore the nature of memory (as the cover bumpf on those precious, gazingout-to-sea sort of novels puts it) even when it causes the brightest flashes of regret. But I’m not going to tell you what it was like to watch my wife’s pain. To watch her die.

I will say this, however: losing her opened my eyes. To the thousands of hours spent gnawing on soured ambitions, petty office grievances, the seemingly outrageous everyday injustices. To all the wasted opportunities to not think, but do. Chances to change. To see that I could change.

I had just turned thirty-one when Tamara died. Not even half a life. But when she left, a cruel light was cast on how complete this life could have been. How complete it was, had I only seen it that way.

We bought the house on Euclid just off Queen as newlyweds, before the arrival of the yoga outfitters, the hundred-dollar-haircut salons, the erotic boutiques. Then, the only yoga being practiced was by the drunks folded up in store doorways, and the only erotica was a half-hour with one of the ladies pacing in heels at the corner. I could barely manage the downpayment then, and can’t afford to sell now. Not if I want to live anywhere near downtown.

Which I do. If for no other reason than I like to walk to work. Despite the comforts offered by all the new money washing in, Queen Street West still offers plenty of drama for the pedestrian. Punks cheering on a pair of snarling mastiffs outside the Big Bop. A chorus of self-talkers off their meds. The guy who follows me for a block every morning, asking me to buy him a prosciutto sandwich (he’s very specific about this) and inexplicably calling me Steve-o. Not to mention the ambulances hauling off whoever missed the last bed in the shelter the night before.

It is a time in the city’s history when everyone is pointing out the ways that Toronto is changing. More construction, more new arrivals, more ways to make it and spend it. And more to fear. The stories of random violence, home invasions, drivebys, motiveless attacks. But it’s not just that. It’s not the threat that has always come from the them of our imaginations, but from potentially anyone, even ourselves.

There’s a tension in the streets now, the aggression that comes with insatiable desires. Because there is more on offer than there was before, there is more to want. This kind of change, happening as it’s happening here, fast and unmanageable, makes people see others in ways they hadn’t before. As a market. A demographic. Points of access.

What all of us share is our wishing for more. But wishing has a dark side. It can turn those who were once merely strangers into the competition.

I follow Queen all the way to Spadina, then lakeward to the offices of the National Star—"The New York Times of Toronto” as one especially illconceived ad campaign called it. This is where I started out. An angry young man with no real grounds to be angry, quickly ascending from copyeditor to the paper’s youngest ever in-house book critic. My unforgiving standards buttressed by the conviction that one day all those tall poppies I had scythed to earth would see I had a right to my declarations. One day, I would produce a book of my own.

From as far back as I can remember I felt I had something within me that would find its way out. This was likely the result of a solitary, only-child childhood, throughout which books were often my only friends. Weekends spent avoiding the outof-doors, curled up like a cat on the rug’s sunny squares, ripping into Greene, Leonard, Christie, mulling over the out-of-reach James, Faulkner, Dostoyevsky. Wondering how they did it. The making of worlds.

What was never in doubt was that I would be among them when I grew up. Not their equal necessarily, but participating in the same noble activity. I accepted that I might not be good at it. At first. But I could sense the hard work that had gone into my favourite works, and was prepared to devote myself to slow improvement.

Looking back on it, I must have seen writing as a sort of religious practice. A total commitment to craft and honest disclosure no less holy for its godlessness. There was the promise of salvation, after all. The possibility of creating a story that spoke for me, would be better than me. More compelling, more mysterious, more wise. I suppose, when they were still alive, I believed that writing a book would somehow keep my parents with me. And after they were gone, I simply changed my articles of faith: If I wrote a good enough book, it might bring them back.