Running Blind (23 page)

"So you think the profile is worthless?"

He nodded. "I know it is. It's internally flawed. It makes two statements that are incompatible."

"What two statements?"

He shook his head. "No deal, Harper. Not until Blake apologizes for threatening Jodie and pulls Julia Lamarr off the case."

"Why would he do that? She's his best profiler."

"Exactly."

The motor pool guy was at the National Airport in D.C. to pick them up. It was late when they arrived back at Quantico. Julia Lamarr met them, alone. Blake was in a budget meeting, and Poulton had signed out and gone home.

"How was she?" Lamarr asked.

"Your sister?"

"My stepsister."

"She was OK," Reacher said.

"What's her house like?"

"Secure," he said. "Locked up tight as Fort Knox."

"But isolated, right?"

"Very isolated," he said.

She nodded. He waited.

"So she's OK?" she said again.

"She wants you to visit," he said.

She shook her head. "I can't. It would take me a week to get there."

"Your father is dying."

"My stepfather."

"Whatever. She thinks you should go out there."

"I can't," she said again. "She still the same?"

Reacher shrugged. "I don't know what she was like before. I only just met her today."

"Dressed like a cowboy, tanned and pretty and sporty?"

He nodded. "You got it."

She nodded again, vaguely. "Different from me."

He looked her over. Her cheap black city suit was dusty and creased, and she was pale and thin and hard. Her mouth was turned down. Her eyes were blank.

"Yes, different from you," he said.

"I told you," she said. "I'm the ugly sister."

She walked away without speaking again. Harper took him to the cafeteria and they ate a late supper together. Then she escorted him up to his room. Locked him inside without a word. He listened to her footsteps fade away in the corridor and undressed and showered. Then he lay down on the bed, thinking, and hoping. And waiting. Above all, waiting. Waiting for the morning.

Morning came, but it was the wrong morning. He knew it as soon as he reached the cafeteria. He had been awake and waiting thirty minutes before Harper showed up. She unlocked his door and breezed in, looking elegant and refreshed, wearing the same suit as the first day. Clearly she had three suits and wore them in strict rotation. Three suits was about right, he figured, given her likely salary. It was three suits more than he had, because it was a whole salary more than he had.

They rode down in the elevator together and walked between buildings. The whole campus was very quiet. It had a weekend feel. He realized it was Sunday. The weather was better. No warmer, but the sun was out and it wasn't raining. He hoped for a moment it was a sign that this was his day. But it wasn't. He knew that as soon as he walked into the cafeteria.

Blake was at the table by the window, alone. There was a jug of coffee, three upturned mugs, a basket of cream and sugar, a basket of Danish and doughnuts. The bad news was the pile of Sunday newspapers, opened and read and scattered, with the Washington Post and USA Today and worst of all the New York Times just sitting right there in plain view. Which meant there was no news from New York. Which meant it hadn't worked yet, which meant he was going to have to keep on waiting until it did.

With three people at the table instead of five, there was more elbow room. Harper sat down opposite Blake and Reacher sat opposite nobody. Blake looked old and tired and very strained. He looked ill. The guy was a heart attack waiting to happen. But Reacher felt no sympathy for him. Blake had broken the rules.

"Today you work the files," Blake said.

"Whatever," Reacher said.

"They're updated with the Lorraine Stanley material. So you need to spend today reviewing them and you can give us your conclusions at the breakfast meeting tomorrow. Clear?"

Reacher nodded. "Crystal."

"Any preliminaries I should know about?"

"Preliminary what?"

"Conclusions. You got any thoughts yet?"

Reacher glanced at Harper. This was the point where a loyal agent would inform her boss about his objections. But she said nothing. Just looked down and concentrated on stirring her coffee.

"Let me read the files," he said. "Too early to say anything right now."

Blake nodded. "We've got sixteen days. We need to start making some real progress real soon."

Reacher nodded back. "I get the message. Maybe tomorrow we'll get some good news."

Blake and Harper looked at him like it was an odd thing to say. Then they took coffee and Danish and 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.

Before 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 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 pan 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.