Lyrebird. Cecelia Ahern

      ‘Wow,’ Bo says as the car crawls towards the church in its stunning surroundings. ‘We’re early. Rachel, can you get your camera set up?’

      Solomon sits up, wide awake now. ‘Bo, we’re not filming the funeral. We can’t.’

      ‘Why not?’ she asks, brown eyes staring into his intently.

      ‘You don’t have permission.’

      She looks around. ‘From who? This isn’t private property.’

      ‘Okay, I’m out,’ Rachel says, getting out of the car to avoid being caught up in another of their arguments. The tumultuous relationship is not just with Solomon, it’s anyone who comes into contact with Bo. She’s so stubborn, she brings the argument out in even the most placid of people, as though the only way she knows to communicate or to learn is by pushing things so far that they spark a debate. She doesn’t do it for the enjoyment of the debate; she needs the discussion to learn how other people think. She’s not wired like most people. Though she’s sensitive, she is more sensitive to people’s stories, not necessarily in the method of discovering them. She’s not always wrong, Solomon has learned plenty from her over time. Sometimes you have to push at awkward or uncomfortable moments, sometimes the world needs people like Bo to push the boundaries in order to encourage people to open up and share the story, but it’s about choosing the right moments and Bo doesn’t always get that right.

      ‘You haven’t asked Joe if you can film,’ Solomon explains.

      ‘I’ll ask him when he arrives.’

      ‘You can’t ask him before his brother’s funeral. It’s insensitive.’

      She looks around at the view and Solomon can see her brain ticking over.

      ‘But maybe some of the funeral attendees will do an interview afterwards, tell us stories about Tom we didn’t know, or get their opinion on how they think Joe’s life will be from now on. Maybe Joe will want to talk to us. I want to get a sense of what his life is like now, or what it’s going to be like.’ She says all this while spinning around, seeing the view from 360 degrees.

      ‘Pretty fucking lonely and miserable, I’d imagine,’ Solomon snaps, losing his temper and getting out of the car.

      She looks at him, taken aback, and calls after him. ‘And after that we’ll get you some food. So that you don’t bite my head off.’

      ‘Show some empathy, Bo.’

      ‘I wouldn’t be here if I didn’t care.’

      He glares at her, then having enough of the argument he senses he will lose he stretches his legs and looks around.

      Gougane Barra lies to the west of Macroom in Co. Cork. Its Irish name, Guagán Barra, meaning ‘The Rock of Barra’, derived from Saint Finbar, who built a monastery on an island in a nearby lake in the sixth century. Its secluded position meant St Finbar’s Oratory was popular during the time of Penal Laws, for celebrating the illegal Catholic Mass. Nowadays, its stunning surroundings makes it popular for weddings. Solomon is unsure as to why Joe chose this chapel; he’s sure Joe doesn’t follow trends, nor does he go for romantic settings. The Toolin farm is as remote as you can imagine, and while it must be part of a parish, he’s not sure which. He knows the Toolin twins were not religious men; unusual for their generation, but they’re unusual men.

      He may not feel it’s right interviewing Joe on the day of his brother’s funeral but he does have some of his own questions he’d like answering. Despite his frustration with Bo for overstepping boundaries, he always benefits from her doing so.

      Solomon takes off on his own to record. Now and then Bo points out an area, an angle, or an item that she would like Rachel to capture, but mostly she leaves them to their own devices. This is what Solomon likes about working with Bo. Not unlike the Toolin twins, Bo, Solomon and Rachel understand how each member of the team prefers to work and they give each other the space to do that. Solomon feels a freedom on these jobs that is lacking in the other work he takes on purely to pay the bills. A winter spent filming unusual body parts for a TV show Grotesque Bodies, followed by summer shooting at a reality fat fit club that sucked the life from him. He is grateful for these documentaries with Bo, for her curiosity. What irritates him about her are the very skill sets that help set him free from his regular day-jobs.

      An hour into their filming, the funeral car arrives, closely followed by Joe, eighty years old, behind the wheel of the Land Rover. Joe climbs out of the jeep, wearing the same dark brown suit, sweater and shirt that they’ve seen on him hundreds of times. Instead of his Wellington boots he wears a pair of shoes. Even on this sunny day he wears what he’d wear in the depths of winter, perhaps a hidden layer less. A tweed cap covers his head.

      Bo goes to him immediately. Rachel and Solomon follow.

      ‘Joe,’ Bo says, reaching out to him and shaking his hand. A hug would have been too much for him, not being comfortable with physical affection. ‘I’m so sorry for your loss.’

      ‘You didn’t have to come,’ he says, surprised, looking around at the three of them. ‘Weren’t you in America when I rang you?’ he asks, as if they were on another planet.

      ‘Yes, but we came home straight away to be here for you. Could we film, Joe? Would that be okay? People who watched your story would like to know how you’re doing.’

      Solomon tenses up at Bo’s nerve but she also amuses him, he finds her gutsiness, her honesty, remarkable and rare.

      ‘Ara go on,’ says Joe, waving his hand dismissively as if it makes no difference to him either way.

      ‘Can we talk to you afterwards, Joe? Is there a gathering planned? Tea, sandwiches, that kind of thing?’

      ‘There’s the graveyard and that’s it. No fuss, no fuss. Back to business, I’m working for two now, aren’t I?’

      Joe’s eyes are sad and tired with dark circles. The coffin is removed from the car and is placed on a trolley by the pallbearers. Including the film crew, there are a total of nine people in the church.

      The funeral is short and to the point, the eulogy read by the priest, who mentions Tom’s work ethic, his love for his land, his long-departed parents and his close relationship with his brother. The only movement the stoic Joe makes is to remove his cap when Tom’s coffin is lowered into the ground at the graveyard. After that, he pops it back on his head, and walks to his jeep. In his head, Solomon can almost hear him say, ‘That’s that.’

      After the burial, Bo interviews Bridget the housekeeper, though it’s a title that’s used loosely as she merely delivers food and dusts the cobwebs from their damp home. She’s afraid to look at the camera in case it explodes in her face, looking defensive as though every question is an accusation. Local garda Jimmy, the Toolin twins’ animal feed supplier and a neighbouring farmer whose sheep share the mountainous land with theirs, all refuse an interview.

      The Toolin farm is a thirty-minute drive, far from anything, deep in the heart of the mountainside.

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