doughnuts and sections of the papers and lingered like they had time to kill. It was Sunday. And the investigation was stalled. That was clear. Reacher recognized the signs. However urgent a thing is, there comes a point where there are no more places to go. The urgency burns out, and you sit there like you’ve got all the time in the world, while the world rages on around you.
AFTER BREAKFAST HARPER took him to a room pretty much the same as he’d imagined while bucketing along in the Cessna. It was aboveground, quiet, filled with light oak tables and comfortable padded chairs faced with leather. There was a wall of windows, and the sun was shining outside. The only negative was one of the tables held a stack of files about a foot high. They were in dark blue folders, with FBI printed on them in yellow letters.
The stack was split into three bundles, each one secured with a thick rubber band. He laid them out on the table, side by side. Amy Callan, Caroline Cooke, Lorraine Stanley. Three victims, three bundles. He checked his watch. Ten twenty-five. A late start. The sun was warming the room. He felt lazy.
“You didn’t try Jodie,” Harper said.
He shook his head and said nothing.
“Why not?”
“No point. She’s obviously not there.”
“Maybe she went to your place. Where her father used to live.”
“Maybe,” he said. “But I doubt it. She doesn’t like it there. Too isolated.”
“Did you try it?”
He shook his head. “No.”
“Worried?”
“I can’t worry about something I can’t change.”
She said nothing. There was silence. He pulled a file toward him.
“You read these?” he asked her.
She nodded. “Every night. I read the files and the summaries.”
“Anything in them?”
She looked at the bundles, each one of them four inches thick. “Plenty in them.”
“Anything significant?”
“That’s your call,” she said.
He nodded reluctantly and stretched the rubber band off the Callan file. Opened up the folder. Harper took her jacket off and sat down opposite. Rolled up her shirtsleeves. The sun was directly behind her and it made her shirt transparent. He could see the outside curve of her breast. It swelled gently past the strap of her shoulder holster and fell away to the flatness of her waist. It moved slightly as she breathed.
“Get to work, Reacher,” she said.
THIS IS THE tense time. You drive by, not fast, not slow, you look carefully, you keep on going up the road a little, and then you stop and you turn around and you drive back. You park at the curb, leaving the car facing the right direction. You switch the engine off. You take the keys out and put them in your pocket. You put your gloves on. It’s cold outside, so the gloves will look OK.
You get out of the car. You stand still for a second, listening hard, and then you turn a complete circle, slowly, looking again. This is the tense time. This is the time when you must decide to abort or proceed. Think, think, think. You keep it dispassionate. It’s just an operational judgment, after all. Your training helps.
You decide to proceed. You close the car door, quietly. You walk into the driveway. You walk to the door. You knock. You stand there. The door opens. She lets you in. She’s glad to see you. Surprised, a little confused at first, then delighted. You talk for a moment. You keep on talking, until the time is right. You’ll know the moment, when it comes. You keep on talking.
The moment comes. You stand still for a second, testing it. You make your move. You explain she has to do exactly what you tell her. She agrees, of course, because she has no choice. You tell her you’d like her to look like she’s having fun while she’s doing it. You explain that’ll make the whole thing more agreeable for you. She nods happily, willing to please. She smiles. The smile is forced and artificial, which spoils it somewhat, but it can’t be helped. Something is better than nothing.
You make her show you the master bathroom. She stands there like a real estate agent, showing it off. The tub is fine. It’s like a lot of tubs you’ve seen. You tell her to bring the paint inside. You supervise her all the way. It takes her five trips, in and out of the house, up and down the stairs. There’s a lot to carry. She’s huffing and puffing. She’s starting to sweat, even though the fall weather is cold. You remind her about the smile. She puts it back in place. It looks more like a grimace.
You tell her to find something to lever the lids off with. She nods happily and tells you about a screwdriver in the kitchen drawer. You walk with her. She opens the drawer and finds the screwdriver. You walk with her, back to the bathroom. You tell her to take the lids off, one by one. She’s calm. She kneels next to the first can. She works the tip of the screwdriver in under the metal flange of the lid and eases it upward. She works around it in a circle. The lid sucks off. The chemical smell of the paint fills the air.
She moves on to the next can. Then the next. She’s working hard. Working quickly. You tell her to be careful. Any mess, she’ll be punished. You tell her to smile. She smiles. She works. The last lid comes off.
You pull the folded refuse sack from your pocket. You tell her to place her clothes in it. She’s confused. Which clothes? The clothes you’re wearing, you tell her. She nods and smiles. Kicks off her shoes. Their weight pulls the folded bag into shape. She’s wearing socks. She tugs them off. Drops them in the bag. She unbuttons her jeans. Hops from foot to foot, taking them off. They go in the bag. She unbuttons her shirt. Shrugs it off. Drops it in the bag. She reaches back and fiddles with the catch on a her bra. Pulls it off. Her breasts are swinging free. She slips her underpants down and balls them with the bra and drops them in the bag. She’s naked. You tell her to smile.
You make her carry the bag down to the front door. You walk behind her. She props the bag against the door. You take her back to the bathroom. You make her empty the cans into the tub, slowly, carefully, one by one. She concentrates hard, tongue between her teeth. The cans are heavy and awkward. The paint is thick. It smells. It runs slowly into the tub. The level creeps up, green and oily.
You tell her she’s done well. You tell her you’re pleased. The paint is in the tub, and there are no drips anywhere. She smiles, delighted at the praise. Then you tell her the next part is harder. She has to take the empty cans back where she got them. But now she’s naked. So she has to make sure nobody can see. And she has to run. She nods. You tell her now the cans are empty they weigh less, so she can carry more each trip. She nods again. She understands. She threads them onto her fingers, five empty cans in each hand. She carries them downstairs. You make her wait. You ease the door open and check. Look and listen. You send her out. She runs all the way there. She replaces the cans. She runs all the way back, breasts bouncing. It’s cold outside.
You tell her to stand still and get her breath. You remind her about the smile. She bobs her head apologetically and comes back with the grimace. You take her up to the bathroom again. The screwdriver is still on the floor. You ask her to pick it up. You tell her to make marks on her face with it. She’s confused. You explain. Deep scratches will do, you tell her. Three or four of them. Deep enough to draw blood. She smiles and nods. Raises the screwdriver. Scrapes it down the left side of her face, with the blade turned so the point is digging in. A livid red line appears, five inches long. Make the next one harder, you say. She nods. The next line bleeds. Good, you say. Do another. She scratches another. And another. Good, you say. Now make the last one really hard. She nods and smiles. Drags the blade down. The skin tears. Blood flows. Good girl, you say.
She’s still holding the screwdriver. You tell her to get into the bath, slowly and carefully. She puts her right foot in. Then her left. She’s standing in the paint, up to her calves. You tell her to sit down, slowly. She sits. The paint is up over her waist. Touching the underside of her breasts. You tell her to lie back, slowly and carefully. She slides down into the paint. The level rises, two inches below the lip of the tub. Now you smile. Just right.
You tell her what to do. She doesn’t understand at first, because it’s a very odd thing to be asked. You explain carefully. She nods. Her hair is thick with paint. She slides down. Now only her face is showing. She tilts her head back. Her hair floats. She uses her fingers to help her. They’re
