"Why would he?"
"Money," Neagley said. "That's all I can think of. Your brother is still at Treasury, right? Maybe there's a financial issue with Kosovo. Got to be warlords and gangsters over there. Maybe Bravo Company is bringing money home for them. You know, laundering it. Or stealing it."
"How would that tie in with a woman named Janice May Chapman, from the armpit of Mississippi?"
"Maybe she found out. Maybe she wanted some for herself. Maybe she was a Bravo Company girlfriend."
I didn't reply.
"Last chance," Neagley said. "Do I stay or do I go?"
"Go," I said. "This is my problem, not yours. Live long and prosper."
"Parting gift," she said. She leaned down and opened her briefcase and came out with a slim green file folder. It was printed on the outside with the words Carter County Sheriff's Department. She laid it on the table and put her hand flat on it, ready to slide it across. She said, "You'll find this interesting."
I asked, "What is it?"
"Photographs of the three dead women. They've all got something in common."
"Deveraux gave this to you?"
"Not exactly. She left it unattended."
"You stole it?"
"Borrowed it. You can return it when you're done. I'm sure you'll find a way." She slid the file across to me, she stood up, and she walked away. No handshake, no kiss, no touch. I watched her push out through the door, watched her turn right on Main Street, and watched her disappear.
The waitress heard the door as Neagley left. Maybe there was a repeater bell in the kitchen. She came out to check if there was a new arrival and saw that there wasn't. She contented herself with refilling my mug for the second time, and then she went back to the kitchen. I squared the green file in front of me and opened it up.
Three women. Three victims. Three photographs, all taken in the last weeks or months of their lives. Nothing sadder. Cops ask for a recent likeness, and distraught relatives scurry to choose from what they have. Usually they come up with joy and smiles, prom pictures or studio portraits or vacation snapshots, because joy and smiles are what they want to remember. They want the long grim record to start with life and energy.
Janice May Chapman had showed plenty of both. Her photograph was a waist-up color shot taken at what looked like a party. She was half-turned toward the camera, looking directly into the lens, smiling in the first seconds of spontaneity. A well-timed click. The photographer had not caught her unawares, but neither had he made her pose too long.
Pellegrino had been wrong. He had called her real pretty, but that was like calling America fairly big. Real pretty was a serious underestimate. In life Chapman had been absolutely spectacular. It was hard to imagine a more beautiful woman. Hair, eyes, face, smile, shoulders, figure, everything. Janice May Chapman had had it all going on, that was for sure.
I shuffled her to the bottom of the pack and looked at the second woman. She had died in November 1996. Four months ago. A note pasted to the bottom corner of the photograph told me so. The photograph was one of those rushed, semi-formal color portraits like you see from a college service at the start of the academic year, or from a hard-worked hack on a cruise ship. A murky canvas background, a stool, a couple of umbrella flashes, three, two, one, pop, thank you. The woman in the picture was black, probably in her middle twenties, and was every bit as spectacular as Janice May Chapman. Maybe even more so. She had flawless skin and the kind of smile that starts the AC running. She had the kind of eyes that start wars. Dark, liquid, radiant. She wasn't looking at the camera. She was looking right through it. Right at me. Like she was sitting across the table.
The third woman had died in June 1996. Nine months ago. She was also black. Also young. Also spectacular. Truly spectacular. She had been photographed outside, in a yard, in the shade, with late-afternoon light coming off a white clapboard wall and bathing her in its glow. She had a short natural hairstyle and a white blouse with three buttons undone. She had liquid eyes and a shy smile. She had magnificent cheekbones. I just stared. If some white-coated lab guy had fed an IBM supercomputer with all we had ever known about beauty, from Cleopatra to the present day, the circuits would have hummed for an hour and then printed this exact image.
I moved my mug and laid all three pictures side by side on the table. They've all got something in common, Neagley had said. They were all roughly the same age. Two or three years might have covered them all. But Chapman was white, and the other two were black. Chapman was at least economically comfortable, judging by her dress and her jewelry, and the first black woman looked less so, and the second looked close to marginal, in a rural way, judging by her clothes and her unadorned neck and ears, and by the yard she was sitting in.
Three lives, lived in close geographic proximity, but separated by vast gulfs. They may never have met or spoken. They may never have even laid eyes on each other. They had absolutely nothing in common.
Except that all three were amazingly beautiful.
23
I repacked the file and tucked it in the back of my pants under my shirt. I paid my bill and left a tip and walked out to the street. I figured I would walk up to the Sheriff's Department. I figured it was time for some reconnaissance. Time for an initial foray. Time for an exploratory penetration. A toe in the water. Not a democracy, but it was a public building. And I had a legitimate reason to be there. I had lost property to return. I figured if Deveraux was out, I could leave the file with the desk clerk. And if Deveraux was in, I could play it by ear.
She was in.
Her old Caprice was in the lot, slotted neatly in the parking bay closest to the door. A privilege of rank, presumably. Office cultures all work the same way. I walked past it and hauled open a heavy glass door and found myself in a dowdy, beat-up lobby. Plastic tile on the floor, scarred paint on the walls, and an inquiry desk facing me, with an old guy behind it. He had no hair and a toothless, caved-in face, and he was wearing a suit vest with no coat, like an old-time newspaperman. As soon as he saw me he picked up a phone and hit a button and said, "He's here." He listened to a reply and then he pointed with the phone, using it like a baton, stretching its cord, and he said, "End of the corridor on the right. She's expecting you."
I walked the corridor and got a glimpse through a half-closed door of a stout woman at a telephone switchboard, and then I arrived at Deveraux's billet. Her door was open. I knocked on it once as a courtesy and went in.
It was a plain square space in no better condition than the lobby. Same tile, same battered paint, same grime. It was full of stuff bought cheap at the end of the last geological era. Desk, chairs, file cabinets, all plain and municipal and well out of date. There were grip-and-grin pictures on the wall, of an old guy in uniform that I took to be Deveraux's father, the previous incumbent. There was a stand-up hat rack with an old cardigan sweater on one of the pegs. It had hung there so long it looked crusted and rigid with age.
At first glance, not a wonderful room.
But it had Deveraux in it. I had pictures of three stunning women digging into my back, but she held her own with any of them. She was right up there. Maybe she even beat them all. A very beautiful woman, Neagley had said, and I was glad my subjectivity had been confirmed by someone else's objectivity. She looked small in the desk chair, slender in the shoulders, lithe and relaxed. As usual, she was smiling.
She asked, "Did you ID the car for me?"