Praise for Kill Your Brother

‘Kill Your Brother brings Jack Heath’s unique sense of twisted fun
home to Australia for what could be his best thriller yet. It’s brilliant
from start to finish, boasting an irresistible premise and shocking
twists all the way through. It’s fiendish in its cleverness and
startling in its originality. Don’t miss it.’
GABRIEL BERGMOSER, author of The Hunted

‘Forget the plot twist, Jack Heath’s books are pure

twist from start to finish.’
SARAH BAILEY, author of The Housemate

‘Jack Heath’s latest thriller is like Survivor on steroids . . .

but with real intelligence and a ton of heart. Kill Your Brother
is rural noir at its hottest, grittiest and most claustrophobic . . .
and its most exciting.’
GREG WOODLAND, author of The Night Whistler

‘Keep Kill Your Brother with your passport and children, because
if the house catches fire, you’ll fight to take it with you.’
PAUL CLEAVE, author of The Cleaner

‘Jack Heath’s new novel, Kill Your Brother, is compelling

from its chilling title to the gripping finish. Evil flies
out from where you least expect.’
JOHN M. GREEN, author of Nowhere Man

‘Kill Your Brother is a pacy, tense thriller with memorable characters

and an unpredictable mystery at its core. I gulped the entire thing
down in a single sitting and you’ll want to do the same!’
SAM HAWKE, author of City of Lies

‘A complex and claustrophobic thriller with a hell of a conundrum

at its core, and a truly twisted series of developments along the way.’
ALAN BAXTER, author of Bound

‘Heath’s characters grab you by the throat and drag you

with them—every fight, every defeat, every hope.’
SULARI GENTILL, author of Shanghai Secrets

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 KILL
YOUR
BROTHER
JACK HEATH

Kill Your Brother_TXT.indd 3 10/9/21 1:03 pm

 This is a work of fiction. Names, characters, places and incidents are products
of the author’s imagination or are used fictitiously. Any resemblance to actual
events, locales or persons, living or dead, is entirely coincidental.

First published in 2021

Copyright © Jack Heath 2021

All rights reserved. No part of this book may be reproduced or transmitted in

any form or by any means, electronic or mechanical, including photocopying,
recording or by any information storage and retrieval system, without prior
permission in writing from the publisher. The Australian Copyright Act 1968
(the Act) allows a maximum of one chapter or 10 per cent of this book, whichever
is the greater, to be photocopied by any educational institution for its educational
purposes provided that the educational institution (or body that administers it) has
given a remuneration notice to the Copyright Agency (Australia) under the Act.

Allen & Unwin

83 Alexander Street
Crows Nest NSW 2065
Australia
Phone: (61 2) 8425 0100
Email: info@allenandunwin.com
Web: www.allenandunwin.com

A catalogue record for this

book is available from the
National Library of Australia

ISBN 978 1 76106 539 2

Set in 12.5/17.5 pt Sabon LT by Midland Typesetters, Australia

Printed and bound in Australia by Griffin Press, part of Ovato

10  9  8  7  6  5  4  3  2  1

The paper in this book is FSC® certified.

FSC® promotes environmentally responsible,
socially beneficial and economically viable
management of the world’s forests.

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 AUTHOR’S NOTE

This book is based on the Audible Original Kill Your

Brother. It has been expanded and revised for print and
digital publication. Both versions of the story contain
scenes that some readers may find disturbing. The book is
unsuitable for children and some adults.

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 If somebody whispered to me, ‘You can have your pick’,
If kind fortune came to woo me, when the gold was thick,
I would still, by hill and hollow, round the world away,
Stirring deeds of contest follow, till I’m bent and grey.
—Grantland Rice

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 PROLOGUE

‘I think we got off on the wrong foot,’ the woman says.

Elise keeps her voice even. ‘Right.’
‘Are you hungry?’ The woman’s hair is steely grey, her
arms muscled from years of labour, her right shoulder
bruised from the butt of a rifle. But she sounds gentle,
like someone’s aunt. The illusion is completed by a sleeve-
less linen shirt with mother-of-pearl buttons, and the
plate of homemade biscuits she’s put on the antique coffee
table.
‘I’m fine,’ Elise says.
The woman slides the plate towards her anyway. The
biscuits are topped with raspberry jam and sprinkled
with coconut, but their sweetness might be hiding a more
dangerous ingredient. Elise grips the arms of the recliner,
her fingertips gouging the overstuffed fabric, so she won’t
be tempted to take one.
‘You poor thing.’ The woman is looking at the puncture
wounds on Elise’s hands.
‘They don’t hurt,’ she lies.

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 KILL YOUR BROTHER

‘Here.’ The woman crosses the living room and opens a

lacquered pine cupboard.
Her back is turned. Should Elise run? But she’s still
weak from the tranquilliser—and it’s already too late. The
woman is coming back, taking Betadine and bandages
from a plastic box.
‘Really, I’m okay.’ Elise needs antibiotics, not antiseptic.
The woman ignores her, kneeling and dabbing the stinging
fluid on the scratches, then winding stretchy bandages
around her knuckles and wrists.
The woman’s fingers are cold, talon-like. Elise can smell
Lady Grey tea on her breath.
Soon Elise’s knuckles are trussed up. She looks like a
kickboxer about to step into the ring.
‘There. All better?’ The woman sounds as though she’s
talking to a toddler.
Elise nods.
‘I don’t want you to be uncomfortable,’ the woman
presses. ‘No more than is necessary.’
‘Thanks.’
The woman puts the first-aid box back in the cupboard
and settles into the couch opposite. ‘So,’ she says, ‘we have
a problem. I hope we can solve it together.’
Elise doesn’t trust herself to speak.
The woman continues: ‘There’s an American term: beef.
It means to take issue with something someone has done.
Or something someone else has done—a “beef” can be
inherited. You’ve heard of that?’
‘I guess so,’ Elise says cautiously. It’s almost funny. She’s
on a sheep farm, but the sheep are long gone, and the farmer
is explaining the concept of having a beef.

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 JACK HEATH

‘Have we met before?’ the woman asks suddenly,

frowning.
Elise’s pulse goes into overdrive. ‘I, uh, saw you following
me. I wouldn’t say we met.’
‘But before that?’
‘No, I don’t think so.’
The woman gives Elise a thoughtful look. Elise has dyed
her hair red and cut it short, and there’s a phoenix tattoo
on her neck—has she changed enough?
Finally the woman leans back against the couch. ‘Hmm.
Just a moment of déjà vu.’
Elise holds her gaze. ‘Must be.’
‘Anyway, I have no problem with you. My beef is with
him.’ The woman jerks her head towards the back of
the house.
‘What did he do to you?’ Elise tries to sound as though
she doesn’t care one way or the other.
‘To me? Nothing at all.’ The woman clears her throat.
‘The point is, I can’t let you go. Because you know
he’s here.’
Elise licks her lips. ‘I won’t tell anyone about—’
‘Don’t insult me,’ the woman snaps. For a second, the
friendly aunt disappears, replaced by something hard and
sharp. Her deep-set eyes darken in her leathery face. Then
the warmth is back. ‘So I find myself in a pickle—that’s
a good expression, too.’
A grandfather clock ticks softly in the corner.
‘When I captured him, I made sure no one would come
looking, or I thought I had.’ The woman gives Elise a
grudging nod. ‘But I made no such preparations with you.
People must be wondering where you are.’

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 KILL YOUR BROTHER

Elise doubts this. She’s unemployed. She has no friends

left. Anyone who notices her disappearance will be pleased
about it. No help is coming.
‘I think I have a solution.’ The woman stands up again.
There’s a little cardboard box on the mantel. The woman
opens it, and produces a knife.
Elise tries to leap out of the armchair. The woman lunges
at the same moment. Elise makes it only halfway up before
the woman shoves her back down and pins her against the
upholstery, crushing her shoulder. She’s terrifyingly strong.
Elise has no hope of overpowering her. Not with the seda-
tive still swimming through her veins.
The knife trembles in the woman’s grip. It’s a short blade,
just big enough to slice an apple. Through clenched teeth,
she says, ‘Hear me out.’
Elise swallows, her heart thumping in her ears. ‘Okay.
I’m listening.’
The woman releases her. Puts the knife on the coffee
table next to the biscuits, raises her open palms. ‘Here’s
my proposal. I’ll let you go. And you won’t tell the police
where you’ve been.’
‘Deal,’ Elise says quickly.
‘I’m not finished.’ The woman picks up a biscuit. ‘You
won’t tell anyone—because if you do, you’ll be arrested for
murder.’
Sickly dread fills up Elise’s guts. ‘Murder?’
‘That’s right. I promise I’ll set you free.’ The woman
takes a bite, chews, swallows, and brushes some coconut
off her lip. ‘All you have to do,’ she says, ‘is kill him.’

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 CHAPTER 1

The studio looks like a mechanic’s office—white-painted

brick, an unmarked metal door, murky stains on the driveway.
It’s tucked between a takeaway shop and a tile display show-
room in the industrial outskirts of Canberra. Given the prices
Aiden Deere charges for his paintings, Elise had expected
something a bit fancier. A fountain, maybe. A sign, at least.
Despite the wintry morning breeze, she unzips her puffer
jacket. Tugs her tank top down. She’s not above showing
some cleavage, if that’s what it takes. She breathes in and
out, rehearsing the line in her head. Raps her knuckles
against the door. Waits.
No one comes.
After a minute, Elise’s composure slips. He hasn’t even
opened the door yet, and already things aren’t going to
plan. She’s screwed up somehow, like always.
She knocks again, louder. When she presses her ear to
the door, she hears the whirring of an extractor fan.
There’s a small window to the right. Darkness inside.
Elise makes binoculars out of her hands and presses them

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 KILL YOUR BROTHER

against the dirty glass. The studio is cavernous, with

stacks of wooden frames in one corner and cans of paint
in another. A huge orange canvas is veined with abstract
smears of white and yellow. On a battered desk, a laptop
is glowing.
Elise looks around. The only visible car is a white Holden
Barina, parked forty or fifty metres away. A popular model:
the third one she’s seen today. The driver is facing the feed
store on the other side of the street.
Satisfied that she’s not being observed, Elise feels her
way around the window frame. The hinges are visible, so it
must open outwards. But there’s nothing to grab. No way
to pull it. She rummages in her bag for something she can
use to lever it open.
Something moves behind the glass, and she stifles a yelp.
Someone has been standing in front of the canvas this
whole time, camouflaged by his paint-splattered overalls.
A straight razor drips in one gloved hand. Goggles and an
air filter cover his face. He’s looking right at her.
Heart pounding, Elise knocks on the glass, like she
wasn’t trying to break in. The man seems to get bigger as he
approaches. The studio floor is elevated above the ground,
but even so, he’s at least two metres tall and as wide as a
removalist or a wrestler.
He fiddles with a hidden latch, then pushes the window
open a crack. ‘Yes?’
‘No one answered the door,’ Elise says.
‘I’m working.’ The man gestures at his canvas with the
razor, flicking some paint off the blade.
Elise is no art critic. In high school, her visual arts teacher
gently asked her if she was colour blind—twice. But to her,

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 JACK HEATH

the painting doesn’t look great. Just smudges in various

shades of orange. Maybe it’s not going well. Maybe that’s
why the painter looks pissed off.
‘Can I come in?’ she asks, waiting to see if he recognises
her from the news.
‘Who are you?’
She exhales, relieved. ‘My name’s Tina Thatcher—I’m a
private investigator.’ The lie sounds natural. The two-hour
drive from Warrigal gave her plenty of time to practise.
She opens her wallet. An image search showed her what
a real private investigator’s licence looked like, but after
she inserted her own photo, her printer didn’t replicate
the colours properly. Her red hair came out pink, and the
frames of her glasses look grey instead of black. At least
the painter is observing the fake licence through dirty glass.
‘“Commercial and private enquiry agent”,’ he reads.
‘What do you want?’
‘You’re not in any trouble,’ she says, as though she’s in
a position to make some. ‘I just wanted to ask some ques-
tions about one of your clients.’
‘My clients?’ The artist looks wary.
‘The people who buy your paintings. They’re all commis-
sioned, right? I could have waited until my business partner
was back in town, but I thought it might be simpler to just
drop in for a quick chat.’
He stares at her for a long moment, his eyes inscrutable
behind the goggles. She tries to look impatient rather than
nervous.
‘Come in,’ the artist says finally, and shuts the window.
A moment later, the metal door opens. The artist has
removed his mask and goggles. He’s about forty, with a

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 KILL YOUR BROTHER

heavy brow and a shaved skull. Meaty forearms. One

ear crumpled from a long-ago punch. She had pictured a
moustache, a beret, a smock, a palette. Not this overalled
neanderthal who would look more at home onstage with
Midnight Oil than in an art studio.
‘That’s quite a door,’ Elise says, as she walks through.
It’s tall and thick, with an impressive deadbolt on the
inside.
‘Can’t be too careful.’ He gives her a pointed look. ‘Paint
is expensive.’
Strange that he cited the cost of his supplies rather than
the value of his art. His pieces sell for thousands of dollars,
sometimes tens of thousands. A thief could make a hand-
some profit listing them on the dark web, alongside drugs,
guns and other unsavoury things.
‘I’m Tina, by the way.’
‘You already said that.’
She’ll have to be more direct. ‘You’re Aiden Deere, right?’
His grunt could be a yes or a no.
The studio isn’t as dark as it looked through the
window. Downlights illuminate certain spots on certain
walls, though no finished paintings are on display. Acrylic
fumes fill the air. The floor is sealed concrete, speckled with
a rainbow of old droplets, like a cake covered in hundreds
and thousands.
‘Drink?’ he asks. Generous, since he just caught her
trying to break in.
The etiquette would be to accept, but not anything that
costs money or takes effort to prepare. She should ask for
a glass of water.

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 JACK HEATH

‘I’ll have a beer,’ Elise says instead.

It’s eleven o’clock on a Monday, and she can feel him
judging her. But he takes a bottle of Hahn Light out of a
minifridge under a workbench. He cracks it and hands
it to her. The glass isn’t cold—Elise doesn’t think the
fridge is running. She sips anyway, lets the bubbles fizz on
her tongue.
How long has it been? She couldn’t drink while she was
training, or while she was on call. And after she lost her
job, she couldn’t afford it.
The artist doesn’t take anything out of the fridge for
himself. He tosses a cigarette into his mouth instead, then
flicks open a gold lighter with a crossed swords logo. His
eyes gleam in the flame, watching her.
Avoiding his gaze, Elise turns to the canvas. The seething
mess of orange. ‘This is good.’
‘You like it?’ Deere—or the man she assumes is Deere—
doesn’t sound convinced.
‘Yeah. It’s got so much . . .’ She waves a hand around.
‘. . . you know, texture. What is it?’
‘It’s an old woman in a wheelchair. Can’t you see her?’
Elise studies the swirls and splats. To her it resembles
a roaring fire, though if she tilts her head, she thinks she
can see a person in the flames. But when she looks back at
Deere, he smirks. He’s messing with her.
‘Who’s it for?’ she asks.
‘Can’t tell you. The buyer may choose to announce it
when she takes possession, or she may not. I can’t compro-
mise the privacy of my customers. So, whoever you’re here
to ask me about—’

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 KILL YOUR BROTHER

‘A high school PE teacher from Warrigal. Callum Glyk.

G-L-Y-K.’ Elise can’t tell if Deere recognises the name.
‘It might be pronounced Gleek, or Glike.’
She’s laying it on a little thick, but Deere doesn’t look
suspicious.
‘I can’t tell you anything.’ He blows some smoke from
the corner of his mouth.
‘You must remember him. The painting he bought from
you was light grey, with green splodgy bits.’
She found the canvas leaning against the wall in Callum’s
garage, still bubble-wrapped, the torn box not far away. As
though something had happened to him before he’d had
the chance to hang it.
‘“Green splodgy bits”,’ Deere repeats drily.
He’s not taking her seriously. She injects some more
authority into her voice. ‘I’m investigating his death.’
‘He’s dead?’ Deere looks surprised.
‘You didn’t know?’
‘I don’t keep track of buyers after the transaction is
completed.’
‘So he was a client.’ Elise takes a victory sip from the
bottle. ‘Tell me how you met him.’
‘I didn’t. I hardly ever meet the buyers.’
‘Callum never showed any interest in art. You expect
me to believe he paid thousands of dollars to commission
something like this—’ she gestures at the half-finished
nonsense painting ‘—from someone he’d never met?’
‘I work through an agent.’
‘Yeah, that’s what it says on your website. But your agent
doesn’t appear to represent any other artists.’

10

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 JACK HEATH

Deere says nothing. Tension fills the air, crowding out

the paint fumes.
‘It’s a good strategy,’ Elise continues. ‘People don’t try to
screw you if you have an agent. And customers trust you
to deliver, if they think the agent won’t release the funds
until you do. On the phone, I’m guessing your agent sounds
a lot like you.’
Deere’s right eye twitches. ‘You said Callum didn’t care
about art. According to who?’
‘People that knew him,’ Elise says cautiously. ‘Friends,
family.’
‘The family hired you?’ She can see the cogs turning.
‘Because the police don’t think his death is suspicious.’
Elise opens her mouth, then shuts it.
‘Let me guess.’ Deere rubs the back of his stubbly head.
‘He was found hanging from the rafters, or with a gut
full of pills, and the family doesn’t want to believe that
he—’
‘It’s not like that. He just vanished.’
‘Vanished?’
‘He left work one day, told his colleagues he’d see them
tomorrow, then never came back. When the police searched
his house, his stuff was there, but he wasn’t.’
‘What makes you think he’s dead? He might have just
abandoned his job and gone on a holiday.’
‘He hasn’t touched any of his accounts. He hasn’t
contacted his father, or his sister.’ It’s this last part that
makes her so certain. Callum used to text Elise all the time.
‘One of the last things he did before he disappeared was
transfer seven thousand dollars to your account.’

11

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 KILL YOUR BROTHER

That’s a lie. Callum paid the money in February, almost

four months before he vanished. But Elise has run down
every other lead. This is her last hope.
‘You think I somehow conned him into buying a paint­
ing,’ Deere says slowly, ‘and then what? Slit his throat?’
He holds up the razor.
Elise is suddenly conscious of the space between them,
and how quiet the studio is. The walls are thick, the
windows double-glazed. If she screamed, would anyone
hear her? Probably not.
Deere takes a step towards her. He’s huge, like a golem.
She reaches into the back pocket of her jeans with one
hand, gripping the can of pepper spray. She bought it years
ago and has never used it. Will it work? What if there’s an
extra tab she needs to pull to activate it?
But Deere comes at her with something she can’t fight:
pity. ‘I wish I could help you.’ He takes a business card out
of his pocket. He looks tired. ‘But I’m just a guy who makes
paintings. I never met the man you’re looking for. And,
as you correctly guessed, that means my agent never met
him either.’
‘You must know something.’ Elise wishes it didn’t sound
like a plea.
Deere gives her the card. ‘For if you turn up any other clues.’
He’s trying to get rid of her. The card is black on both
sides, but when Elise tilts it, an embossed phone number
shines in the light.
‘Is there a number I can contact you on?’ he asks.
‘No.’ She keeps her phone switched off. No matter how
many times she changes her number, people always find the
new one.

12

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 JACK HEATH

There’s no table. Elise puts the bottle on the concrete

floor so she won’t be tempted to finish it. The last thing she
needs is a drink driving charge.
‘Thanks for your time,’ she says.
‘No worries,’ Deere replies.
She can feel his gaze on her back as she walks out.

13

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 CHAPTER 2

Elise can’t face the long drive back to Warrigal. Even

walking to her Suzuki Swift feels like too much. She goes
to the takeaway shop next door instead and plonks into
one of the spindly metal chairs out the front.
When she and Callum were kids, one of the houses they
lived in backed onto dense bushland, with anthills and
wombat holes and gum boughs thick enough to climb on.
They played hide-and-seek out there for hours. He was
always better at it, always guessing where she was imme-
diately, and then patiently explaining how he’d known she
would choose the spot behind this log, or in that ditch.
It was fun until it wasn’t. One evening she was doing
really well—she’d been hiding up a eucalyptus tree for
ages. Then, just as the sun crawled behind the horizon, she
had the sudden feeling she was alone. Callum wasn’t going
to emerge from the shrubbery. He was gone.
She has that same sensation now. But this time, she won’t
wander back to the house and find him playing Halo on
the couch. This time she’s lost him for good.

14

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 JACK HEATH

‘Are you going to order something?’ A girl with acne and

a nose stud has emerged from the shop. ‘Otherwise you
can’t sit here.’
Elise forces a smile. ‘Right. I’ll have a fish fillet and two
dollars of chips.’ She’s allowed to eat whatever she wants
for lunch, these days.
‘We don’t do chips that way anymore. You want Small,
Medium or Large?’
‘Small, then.’
‘That’s three fifty.’
‘Okay.’
‘Plus five for the fish.’
‘Fine.’
The girl sighs, annoyed at having to do her job. She tears
a ticket off a pad, as though there are other customers.
‘You’re order eighteen,’ she says, and disappears back into
the shop.
Elise has never liked teenage girls. Even when she was
one, the others avoided her, sensing she was different long
before she knew for herself. At the peak of her career,
she was invited back to her old school to give a speech.
Slumped on their plastic chairs, the students glared at her
when she made jokes and laughed at her when she tried to
be serious. No one asks her to make speeches anymore, and
she’s glad. She doesn’t know how her brother survived as a
teacher there—
But of course, he didn’t. Maybe it was one of his students
who killed him.
The Barina is still parked on the other side of the street.
The driver—white, forties, greying hair mostly hidden

15

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 KILL YOUR BROTHER

by a floppy sunhat—keeps her head turned towards the

feed store, as though waiting for someone. Except the store
looks closed. And if the woman were actually waiting, she’d
be reading a book or fiddling with her phone. Instead, she’s
just staring through her sunglasses at the store. The angle
makes it hard for Elise to see her face clearly.
Maybe that’s the point.
Elise thinks about the three white Holden Barinas she’s
seen today. It could have been the same one each time,
following her since she left her house.
The hairs on her arms stand up. Even as she tells herself
she’s being paranoid, the woman glances over, sees her
watching and quickly turns back to the feed store.
Elise stands up and walks towards the Barina. ‘Excuse me.’
The woman starts her engine.
‘Hey!’ Elise breaks into a jog. ‘I need to talk to you.’
The handbrake crunches, and the car launches forward.
Elise runs after it.
Once upon a time she could have kept up with a car
doing thirty-five, at least for a while. Her friends would
sometimes get in a ute and drive away without her, just to
watch her close the distance. She’d pound the asphalt then
throw herself into the tray, laughing.
Not today. She almost gets close enough to knock on
the rear windscreen, but the Barina keeps accelerating, and
soon it’s well out of reach. It zooms away, bitumen crack-
ling under the wheels, leaving Elise bent over and wheezing.
She’s not the athlete she used to be.
She squints at the numberplate as the car disap-
pears around a corner. YMK4-something-something. She

16

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 JACK HEATH

makes it into a song in her head, to help her remember.

YMK4-something-something.
It’s not so suspicious to drive away when a stranger
crosses the street towards you, yelling. But the more Elise
thinks about it, the more certain she is that the car has been
following her all day.
She’s used to being stared at. But this woman pursued
her the whole way from Warrigal to Canberra and didn’t
even stick around to have a go at her. Who is she?
Elise walks back to her Suzuki, wondering what to do
next. A real private investigator would know. She’ll hire
one, if Dad comes through with the money.
‘Hey.’
She turns. The teenager is holding a paper parcel, already
going transparent from the oil inside.
‘Order eighteen,’ she says, like a challenge.
‘Oh. Thanks.’ Elise reaches for the parcel.
The girl withholds it. ‘Ten dollars.’
‘You said eight fifty.’
‘Plus GST.’
Elise is pretty sure that eight dollars fifty plus ten per
cent doesn’t equal ten dollars. ‘In that case, I don’t want it.’
‘You can’t just not take it.’
‘I don’t have ten dollars.’ Elise wishes this was more of
an exaggeration. She starts walking back to the car.
The girl follows. ‘I know who you are. I’ll call the cops
on you.’
Elise flinches. The dye job, the glasses and the tattoo fool
most people, but not everyone. She can’t think of a clever
retort, so she climbs into her car and slams the door.

17

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 KILL YOUR BROTHER

As Elise starts the engine, the girl flings the parcel at

the driver’s side window. It explodes against the glass, a
shower of overcooked chips. Elise drives away, refusing
even to look in the rear-view mirror.

18

Kill Your Brother_TXT.indd 18 10/9/21 1:03 pm