Bad Men: A Thriller

The giant knelt down and watched the gull's beak open and close. The bird's neck was twisted at an unnatural angle and in its single visible eye he saw himself reflected and distorted, his brow shrunken, his nose huge and bulging, his mouth tiny and lost in the folds of his chin. He hung suspended in the blackness of the bird's pupil, a pale moon pendent in a dark, starless sky, and his pain and that of the gull were one. A dry beech leaf fell from a branch above and performed joyful cartwheels across the grass, tumbling tip over stem as the wind carried it away, almost touching the gull's feathers as it passed. The bird, lost in its agony, paid it no heed. Above its head, the giant's hand hovered, the promise of mortality and mercy in its grasp.

"What's wrong with it?" said the boy. He had just turned six, and had been living on the island for almost a year. In all that time, he had yet to see a dying animal, until now.

"Its neck is broken," said the giant.

The wind rolling in off the Atlantic tousled his hair and flattened his jacket against his back. Within sight of where he squatted, the eastern shore of the island began its steep descent to the ocean. There were rocks down there, but no beach. The old painter, Giacomelli, kept a boat in the shelter of a glade close by the shore, although he used it only occasionally. In the summer, when the sea was calmer, he could sometimes be seen out on the water, a line trailing from the boat. The giant wasn't sure if Giacomelli, or Jack, as most islanders called him, ever caught anything, but then he guessed that catching things wasn't the point for Jack. The painter rarely even bothered to bait the hooks, and if a fish was foolish enough to impale itself on a barb, Jack would usually unhook it and cast it back into the sea, assuming he even noticed the tug on the line. Fishing was merely his alibi, an excuse to take the boat out on the waves. The old man was always making sketches while the line dangled unthreateningly, his hand working quickly with charcoals as he added another perspective to his seemingly endless series of representations of the landscape.