ago. Now—why is Angel’s brain blue?”
“You’ll see.”
Sunil opens the aluminium carry boxes and arranges what look like sixteen small satellite dishes on work surfaces on either side of the slabs and across the room. He fixes a UK to Continental electric-socket adapter to the plug on the power lead from a heavy black control console and connects it to the mains supply. The console has a flat matte-black square surface on its top, but when he flicks the on-switch the surface glows a deep ultramarine, pales, and rises up to make a translucent sixteen-inch cube of light aqua, as though the colour has stretched and attenuated.
“You have agreed,” Sunil says, “that the video remains confidential.”
“It must be available to the inquest. That’s the law.”
“Selina,” Sunil says, “I’ll share everything with you. There is nothing else like this anywhere in the world. But what happens to the evidence is out of our control. There are many things I can’t tell you yet. But I promise you, we will work together and we will share things that may perhaps not reach the final report. There will be no lies, but some things will remain obscure. Do we have that agreement?”
“I will make my decision later,” Selina says.
The mortuary assistant brings the bodies in their body bags with a trolley one by one and lays them on the dissection slabs. He opens the bags and slides the bodies onto the tables. Sunil feels a flush cover his face. His heart is beating very fast. Amber’s body is a wreck. Every bone is broken. She’s strangely short—truncated by the impact with the ground. Her skull is split open diagonally from above her left ear down to the bottom of the right jaw. Much of her brain is missing. What is left is discoloured—hints of green and turquoise amongst the pink and grey.
Selina puts her arm around Sunil. “This is my science,” she says. “Now you do yours and you’ll feel better. We do it for them. I don’t know if they’re on their way to an afterlife or nothing. But we will find the truth of their last seconds. I’m going to start recording now.” She gestures to the assistant to leave the room and presses the record button on the console.
“This is the continuing investigation into of the death of Julia Jane Simpson, a British National found dead in Paleokastritsa. I will continue this narrative in English and Greek for the benefit of Doctor Sunil Gupta, who is also present.”
Spiros and Danny Edwards have reached an unspoken agreement. Spiros drives at seventy miles per hour along spiralling mountain roads and Danny doesn’t shit himself, even when Spiros leans heavily on the brakes of his BMW to avoid massacring a herd of goats which has meandered across the tarmac.
“We’re off the record. Agreed?” Spiros asks, having softened Danny up with a constantly-changing array of G-forces. Danny agrees that they’re off the record.
“On any one day a tourist drives off a cliff,” Spiros continues. “On any one day somebody takes an overdose. Holidays can be emotional. We have established that Amber and Angel—to use their public names—were lesbian lovers. They had an argument that morning at breakfast. Amber went off to Paleo, on her own, and drove off the cliff. Angel took an overdose, which is what lovers often do when things go wrong. Would I be wrong to assume the simple explanation?”
“No,” says Danny. “But when six people who work for us die within hours of each other, would I be wrong to assume that we’re looking at murder?”
“You’re not ex-military, I think. You’re not ex-police. Your manner tells me you’re almost certainly ex-security, probably MI5. Are my instincts wrong?”
“No.”
The road to The Golden Fox high above Paleokastritsa is cordoned off. A policeman moves the no entry sign aside and Spiros drives slowly to a point where burnt rubber marks the road. A camera is set up on a tripod and the operator is leaning against the rocks away from the cliff edge, smoking. He stubs it out quickly when he sees Spiros and Danny get out of the car. Danny paces on the road—walks up twenty yards, then thirty, walks back, shading his eyes from the fierce July sun that’s high over the sea. Spiros says nothing. He gestures to the cameraman, who takes out a packet of Karelia cigarettes and offers one to Spiros. Smoke curls into the air as Danny paces and paces again. Danny’s fair-haired and his skin is rapidly turning pink in the intense light. Finally he walks up to Spiros.
“She was a careful, timid driver. She wasn’t going fast—maximum twenty-five miles an hour. She steers into the bend towards the cliff, brakes hard, veers to the left, hits the rocks, bounces off, and loses control. She floors the brakes as she heads to the cliff edge. She goes over.”
The cameraman nods and says, “Ne!” Yes. Spiros holds his hand up and says, “Shh. I want to hear Mr. Edwards’s conclusions.”
“May I have a cigarette?” Danny asks. The cameraman throws the pack of Karelias to Danny, and then the lighter. Danny draws deeply on the cigarette. “Two weeks,” he says. “Two miserable fucking weeks without a cigarette and then this happens. Anyway—looks to me like she was shunted.”
Spiros leads Danny up the road towards The Golden Fox, where Amber had her last swim. “All these deaths,” he says. “I have to be objective, obviously. When the top executives of a film company fly in overnight and start spending big money, I have to think that they’ve got something to hide. I was at the postmortem and the pathologist said there were some anomalies in the brains of the dead girls. So an alternative hypothesis might be that you did something to them which went terribly wrong.”
Spiros’s mobile phone rings. He listens for a few seconds, says, “Endaxi,” and snaps the phone shut.
Danny is standing by the roadside looking down at the pale wakes of the little boats weaving their way between the rocky bays far below. “A beautiful place to die,” he says.
Spiros comes and stands beside him and asks, “Did Clytemnestra really stab Agamemnon to death in his bath? Maybe he slipped and hit his head, but that was too dull a story. It sounds stupid, but that’s why I became a policeman. Old stories. Anyway, I’ve had the dune buggy thoroughly examined and there are traces of black paint on the left-hand rear side.”
Danny takes a last drag on his cigarette and grinds the stub with his foot.
“So,” Spiros says, “let’s see if we can find any traces of a black car at the taverna.”
“CCTV?” Danny asks.
Spiros laughs.
Selina has dissected the remains of Amber’s brain, weighed them, but before she slices the tissue she places them on a glass plate away from the body. Sunil adjusts the array of dishes, checking frequently with readouts on his control console.
She comes and stands beside him, speaking quietly. “You must explain, for the record. If you don’t, I will never work again.”
“You can come and work for us,” Sunil says.
“Your film company has a lot of opportunities for part-time pathologists? I don’t think so.”
“Unfortunately, this week it does.” He moves away from the console and stands carefully facing away from the bodies and the pile of brain tissue.
“Okay,” he says. “Background. Cinema is the only art that totally depends on technology. That’s its greatest strength and also a curse. People drifted away from actual cinemas when TV took off. The big studios are closely tied in with the distributors and theatre owners. They want people back in the cinemas. They want to sell seats and popcorn. That’s why 3D got so heavily sold at the end of the first decade of the century.
“The technology isn’t that good. People who don’t wear spectacles don’t like wearing them, and people who do don’t like having to fix another set over the top of their prescription lenses. Ten percent of people can’t see the effect anyway. Still, whizz bang, latest thing.
“We’re a small production company. We don’t like being at the beck and call of some inflated ego talking poolside in Malibu. Particularly Lynne. Her ancestors were so scary the Romans built a ten metre wall to keep them in. So, to cut to the chase, we invested—well, she invested—in technology. We are miles ahead of the game. We can now deliver a better experience in your sitting room than you’ll ever get in a cinema.”
Selina paces. “So how does that relate to these poor dead women?” she asks.
“We can generate direct brain stimulation to the audience. You can live it, feel it, and experience it emotionally. So we can create this, we borrow the brains of our actors—with their full agreement. We inject them
