The Werner Herzog film appreciation club of Nairobi usually meets once a month.
The favored location is the home of a German expat who lives in Riverside, in one of those expat homes modeled on a ski chalet.
We meet in the garden over cherry schnapps . Down the sloped lawn, at the edge of the diseased cypress hedges, there is the glint of the river.
If you look carefully, it appears like a band of bright snake scales, shimmering and slithering. Then the wind changes, and you smell the dead snake, an odor of mud and filth.
The house is an iron closet, severe metal bars on the plump, pregnant windows, razor wire and broken glass on the high walls, clamped and protected from thieves.
I am sitting next to the only Kenyan member of the club, a girl from Nanyuki of mixed Maasai and Bavarian parentage. The former has provided her delicate, fragile features - and the latter an insatiable thirst for schnapps.
There is an intriguing tattoo on her arm - only later, when I get a closer look, I notice that they aren't tattoos at all, but braille like needle puncture marks.
The sound of a gardener by the side of the house, standing with a broom shoving aimlessly at a gutter. For a moment he catches my eye, and then abruptly turns, until I can no longer see him. Just the scraping noise of the broom, and the occasional clatter of a tin shovel.
The girl from Nanyuki has large hands, her fingernails bitten and chewed, they look blunt, like garden tools. She tells me about a particularly vivid dream, which convinced her that she had killed a man. The next day it was a shock to find the brutish man of the dream still alive, and still tormenting her. She laughs, a shrill pealing sound, adding to the tyranny of noise. Her hands make a clutching movement as she laughs, like a strangler practicing some secret move.
The film of the evening is called 'Echoes from a Sombre Empire'. Ten people crowd around a television.
The host stands up a bit unsteadily to make an introductory speech. He rambles, forgetting he is at a film appreciation club, and begins to talk about his work of charity.
He seems to speak about the difficulty of being poor, but it is in fact a speech about being rich. And the sheer impossibility of anyone, except the very poor, understanding the meaning of wealth. That understanding is the kinship between the Rich and the Poor.
The highlight of the film is the coronation of Jean-Bedel Bokasa - self proclaimed emperor of the Central African Republic. The coronation finishes, Bokasa is crowned emperor, the background score is a Teutonic melody of Wagner.
Later, when the film ends, Wagner continues playing from somewhere within the depths of the house.
It is dark when the host sees us out. He shows us the immature garden, half dug, a couple of spades sticking out of hacked earth, like the beginnings of a plot for a grave. In the harsh garden lights, his face appears indecisive and full of shadows.
I walk out of the gate, and turn when I hear a scraping sound of the gardener's broom, but its just the stumbling walk of the girl from Nanyuki.