pounds in the mix, but moving your foot 20 per cent faster is better. It does you 400 per cent of a favour. Because it gets squared. Which means multiplied by itself. Money for nothing. Like in baseball. You can swing a heavy bat slow or a light bat fast, and the slow heavy bat gets you a high fly to the warning track, and the light fast bat puts the ball in the bleachers. A principle too often forgotten. People treat doors with too much respect. They eye them warily and shuffle close and then do little more than press their soles against the wood.
Not me. We chose the rear door over the front, because it looked one category down in certain respects, like the thickness and the hinges and the lock, and the run-up would be longer back there. I needed three clear strides. Which I took at a comfortable walk. Nothing dramatic was required. As long as I was moving, then my upper leg could move faster, and my lower leg faster still, and my foot even faster, and then my heel could punch through the lock like it wasn’t even there.
Which is what happened. I caught the door on the bounce and Casey Nice stepped in ahead of me. To a kitchen. I stepped in behind her and saw countertops and cabinets, and a metal sink, and a refrigerator the colour of an avocado pear, and a range made of pressed metal, all curved and swooping, like a 1950s car. The countertops were dull, and the cabinets were painted a miserable colour that might have been green or brown or anywhere in between.
The air was still, and it smelled dry, and there were no real kitchen odours. No onions, no garbage. Just a kind of neutral, inorganic nothing.
The air smelled old.
Casey Nice moved towards the hallway door and said, ‘Ready?’
‘Wait,’ I said. I wanted to listen, for the low vibration any living thing gives out. But I heard none. The house was silent and empty. Forlorn, even, as if it had been empty for a good long time.
I said, ‘I’ll check the living room. You check the bedrooms.’
She went first, out into a hallway, which was panelled with plywood stained a dark sludge colour, and she glanced around and headed left, so I went right, and found a living room with an L-shaped dining nook. It was a well-built room, and graceful in its proportions, but it was heavy with dark wood, and what wasn’t dark wood was covered in bland vinyl wallpaper, like a mid-priced hotel. The furniture was a sofa and an ottoman and two armchairs, all in brown corduroy, all well used. There were two side tables, and no television. No newspapers, either, or magazines. Or books. There was no telephone. No old sweater dumped over the arm of a chair, no dried-up beer glass, no half-full ashtray. Nothing personal at all. No real sign of life, except the wear and tear and the permanent slumped impressions in the sofa.
From the far end of the house Casey Nice called out, ‘Reacher?’
I called back, ‘What?’
‘You really need to see this.’
Something in her voice.
I said, ‘What is it?’
‘You need to see it.’
So I headed for the sound of her voice, and stepped into a room, and came face to face with myself.
ELEVEN
IT WAS A photograph, obviously. Black and white, of my face. But it had been blown up life size. In a commercial photocopier, probably. Almost to the edges of a sheet of letter-size paper. Which had been pinned to the wall with thumbtacks. Six feet five inches from the floor. Below it more sheets of paper had been pinned to the wall, like tiles, overlapping in places, shaping a neck, shoulders, a torso, arms, legs, and on them the rest of me had been sketched in by hand, with a black permanent marker, to match the sooty tone of the Xerox of my face. A life-size human, right there, standing still, head up, thumbs forward, solidly planted in shoes drawn to the last detail, even the laces.
It was a pretty good impression, overall. Wouldn’t have fooled my mother, but it was close enough.
It had a knife in the chest. About where my heart would be.
Not me. We chose the rear door over the front, because it looked one category down in certain respects, like the thickness and the hinges and the lock, and the run-up would be longer back there. I needed three clear strides. Which I took at a comfortable walk. Nothing dramatic was required. As long as I was moving, then my upper leg could move faster, and my lower leg faster still, and my foot even faster, and then my heel could punch through the lock like it wasn’t even there.
Which is what happened. I caught the door on the bounce and Casey Nice stepped in ahead of me. To a kitchen. I stepped in behind her and saw countertops and cabinets, and a metal sink, and a refrigerator the colour of an avocado pear, and a range made of pressed metal, all curved and swooping, like a 1950s car. The countertops were dull, and the cabinets were painted a miserable colour that might have been green or brown or anywhere in between.
The air was still, and it smelled dry, and there were no real kitchen odours. No onions, no garbage. Just a kind of neutral, inorganic nothing.
The air smelled old.
Casey Nice moved towards the hallway door and said, ‘Ready?’
‘Wait,’ I said. I wanted to listen, for the low vibration any living thing gives out. But I heard none. The house was silent and empty. Forlorn, even, as if it had been empty for a good long time.
I said, ‘I’ll check the living room. You check the bedrooms.’
She went first, out into a hallway, which was panelled with plywood stained a dark sludge colour, and she glanced around and headed left, so I went right, and found a living room with an L-shaped dining nook. It was a well-built room, and graceful in its proportions, but it was heavy with dark wood, and what wasn’t dark wood was covered in bland vinyl wallpaper, like a mid-priced hotel. The furniture was a sofa and an ottoman and two armchairs, all in brown corduroy, all well used. There were two side tables, and no television. No newspapers, either, or magazines. Or books. There was no telephone. No old sweater dumped over the arm of a chair, no dried-up beer glass, no half-full ashtray. Nothing personal at all. No real sign of life, except the wear and tear and the permanent slumped impressions in the sofa.
From the far end of the house Casey Nice called out, ‘Reacher?’
I called back, ‘What?’
‘You really need to see this.’
Something in her voice.
I said, ‘What is it?’
‘You need to see it.’
So I headed for the sound of her voice, and stepped into a room, and came face to face with myself.
ELEVEN
IT WAS A photograph, obviously. Black and white, of my face. But it had been blown up life size. In a commercial photocopier, probably. Almost to the edges of a sheet of letter-size paper. Which had been pinned to the wall with thumbtacks. Six feet five inches from the floor. Below it more sheets of paper had been pinned to the wall, like tiles, overlapping in places, shaping a neck, shoulders, a torso, arms, legs, and on them the rest of me had been sketched in by hand, with a black permanent marker, to match the sooty tone of the Xerox of my face. A life-size human, right there, standing still, head up, thumbs forward, solidly planted in shoes drawn to the last detail, even the laces.
It was a pretty good impression, overall. Wouldn’t have fooled my mother, but it was close enough.
It had a knife in the chest. About where my heart would be.
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