promised Mitch, that would be something to bitch about.
She takes a break from her work with the nail. She lies back on the air mattress in the dark.
Although she is exhausted, she does not expect to sleep. Then she is dreaming about being in a lightless place different from the room in which the kidnappers have imprisoned her.
In the dream, she is not tethered to a ringbolt in the floor. She is walking in darkness, carrying a bundle in her arms.
She is not in a room but in a series of passageways. A maze of tunnels. A labyrinth.
The bundle grows heavy. Her arms ache. She doesn't know what she carries, but something terrible will happen if she puts it down.
A dim glow draws her. She arrives in a chamber brightened by a single candle.
Mitch is here. She's so happy to see him. Her father and mother, whom she has never known except from photographs, are here, too.
The bundle in her arms is a sleeping baby. Her sleeping baby.
Smiling, her mother comes forward to take the baby. Holly's arms ache, but she holds fast to the precious bundle.
Mitch says Give us the baby, sweetheart. He should be with us. You don't belong here.
Her parents are dead, and so is Mitch, and when she lets go of the infant, it will not just be sleeping anymore.
She refuses to give her son to them — and then somehow it is in her mother's arms. Her father blows out the candle.
Holly wakes to a howling beast that is only the wind, but beast enough, hammering the walls, shaking dust down from the roof beams.
A soft glow, not a candle but a small flashlight, brings minimal relief from the darkness in which she has been imprisoned. It reveals the knitted black ski mask, the chapped lips, and the beryl-blue eyes of one of her keepers kneeling before her — the one who worries her.
'I've brought you candy,' he says.
He holds out to her a Mr. Goodbar.
His fingers are long and white. His nails are bitten.
Holly dislikes touching anything that he has touched. Hiding her distaste, she accepts the candy bar.
'They're asleep. This is my shift.' He puts on the floor in front of her a can of cola beaded with icy sweat. 'You like Pepsi?'
'Yes. Thank you.'
'Do you know Chamisal, New Mexico?' he asks.
He has a soft, musical voice. It could almost be a woman's voice, but not quite.
'Chamisal?' she says. 'No. I've never been there.'
'I've had experiences there,' he says. 'My life was changed.'
Wind booms and something rattles on the roof, and she uses the noise as an excuse to look up, hoping to see a memorable detail of her prison for later testimony.
She was brought here in a blindfold. At the end, they came up narrow steps. She thinks she might be in an attic.
Half the lens of the small flashlight has been taped over. The ceiling remains unrevealed in gloom. The light reaches only to the nearest bare-board wall, and all else around her is lost in shadow.
They are careful.
'Have you been to Rio Lucio, New Mexico?' he asks.
'No. Not there, either.'
'In Rio Lucio, there is a small stucco house painted blue with yellow trim. Why don't you eat your chocolate?'
'I'm saving it for later.'
'Who knows how much time any of us has?' he asks. 'Enjoy it now I like to watch you eat.'
Reluctantly, she peels the wrapper off the candy bar.
'A saintly woman named Ermina Lavato lives in the blue-and-yellow stucco house in Rio Lucio. She is seventy-two.'
He believes that statements like this constitute conversation. His pauses suggest that obvious rejoinders are available to Holly.
After swallowing chocolate, she says, 'Is Ermina a relative?'
'No. She's of Hispanic origin. She makes exquisite chicken fajitas in a kitchen that looks like it came from the 1920s.'
'I'm not much of a cook,' Holly says inanely.
His gaze is riveted on her mouth, and she takes a bite from the Mr. Goodbar with the feeling that she's engaged in an obscene act.
'Ermina is very poor. The house is small but very beautiful. Each room is painted a different soothing color.'
As he stares at her mouth, she returns the scrutiny, to the extent his mask allows. His teeth are yellow. The incisors are sharp, the canines unusually pointed.
'Her bedroom walls hold forty-two images of the Holy Mother.'
His lips look as if they are perpetually chapped. Sometimes he chews at the loose shreds of skin when he isn't talking.
'In the living room are thirty-nine images of the Sacred Heart of Jesus, pierced by thorns.'
The cracks in his lips glisten as if they might start seeping.
'In Ermina Lavato's backyard, I buried a treasure.'
'As a gift for her?' Holly asks.
'No. She would not approve of what I buried. Drink your Pepsi.'
She does not want to drink from a can he handled. She opens it anyway, and takes a sip.
'Do you know Penasco, New Mexico?'
'I haven't traveled much in New Mexico.'
He is silent for a moment, and the wind howls into his silence, and his gaze drops to her throat as she swallows Pepsi. Then: 'My life changed in Penasco.'
'I thought that was Chamisal.'
'My life has changed often in New Mexico. It's a place of change and great mystery.'
Having thought of a use for the Pepsi can, Holly sets it aside with the hope he will allow her to keep it if she hasn't finished the cola by the time he leaves.
'You would enjoy Chamisal, Penasco, Rodarte, so many beautiful and mysterious places.'
She considers her words before she speaks. 'Let's hope I live to see them.'
He meets her stare directly. His eyes are the blue of a somber sky that suggests an impending storm even in the absence of clouds.
In a voice still softer than usual, not in a whisper but with a quiet tenderness, he says, 'May I speak to you in confidence?'
If he touches her, she will scream until she wakes the others.
Interpreting her expression as consent, he says, 'There were five of us, and now just three.'
This is not what she has expected. She holds his gaze though it disturbs her.
'To improve the split from five ways to four, we killed Jason.'
She cringes inwardly at the revelation of a name. She doesn't want to know names or see faces.
'Now Johnny Knox has disappeared,' he says. 'Johnny was running surveillance, hasn't called in. The three of us — we didn't agree to improve the split from four. The issue was never raised.'
Mitch, she thinks at once.
Outside, the tenor of the wind changes. Ceasing to shriek, it rushes with a great shush, counseling Holly in the wisdom of silence.
'The other two were out on errands yesterday,' he continues, 'separately, at different times. Either could have killed Johnny.'
