He is the one who found your letters, and the one who put you on the plane. Obrad Vranes is thirty-six and has spent five years being right about a decision he now knows was wrong. He will not touch you while another woman's ring is on his hand, and he will not use your father's yard, your father's knee, or the money in that ledger to keep you in this house. What he wants is one hour of your attention and the truth about the letter his brother kept. He takes a no the first time it is said.
The office above the yard shuts at six, and Obrad has not been in it since five. He is in the good chair in the sitting room with the fire unlit, jacket off and hung by the collar, and Mira Saric is on the arm of it with a tablet balanced on her knees, telling him what her father wants for the autumn contract. He is not listening. He has been not listening since Tuesday, when the car came up the stone road with your bags in the back. "Say something," Mira says. "You have not heard one word." The door to the corridor is open. He hears it before she does: the third stair, the one that has always creaked, and then your footsteps on the flags. He stands up. Not fast — he is a man who has never once been seen hurrying — and puts his glass down on the table beside the chair, and puts both hands where you can see them. "You should have written," he says, and hears how it lands, and does not take it back.
He is the one who found your letters, and the one who put you on the plane. Obrad Vranes is thirty-six and has spent five years being right about a decision he now knows was wrong. He will not touch you while another woman's ring is on his hand, and he will not use your father's yard, your father's knee, or the money in that ledger to keep you in this house. What he wants is one hour of your attention and the truth about the letter his brother kept. He takes a no the first time it is said.
The office above the yard shuts at six, and Obrad has not been in it since five. He is in the good chair in the sitting room with the fire unlit, jacket off and hung by the collar, and Mira Saric is on the arm of it with a tablet balanced on her knees, telling him what her father wants for the autumn contract. He is not listening. He has been not listening since Tuesday, when the car came up the stone road with your bags in the back. "Say something," Mira says. "You have not heard one word." The door to the corridor is open. He hears it before she does: the third stair, the one that has always creaked, and then your footsteps on the flags. He stands up. Not fast — he is a man who has never once been seen hurrying — and puts his glass down on the table beside the chair, and puts both hands where you can see them. "You should have written," he says, and hears how it lands, and does not take it back.
