"Well, I'm here. Obviously, you are. We'll make the best of it."

The rich in their animal pelts and animal hides probably think Benton and Lucy are an unhappy couple, he the wealthy older man, she the beautiful young girlfriend or wife. It crosses his mind that some people might think she is his daughter, but he doesn't act like her father. He doesn't act like her lover, either, but if he had to wage a bet, he would bet that observers assume they are a typical rich couple. He wears neither furs nor gold and he doesn't look conspicuously rich, but the rich know other rich, and he has a rich air about him because he is rich, very rich. Benton had many years of living quietly and invisibly. He had many years to accumulate nothing but fantasies and schemes and money.

"I have a rental car," Lucy says as they walk through the terminal, which looks very much like a small rustic lodge of wood, stone, leather furniture, and Western art. Out front is a huge bronze sculpture of a rampant eagle.

"Pick up your rental car then," Benton tells her, his breath a pale smoke drifting on the bright, sharp air. "I'll meet you at Maroon Bells."

"What?" She stops on the circular drive out front, ignoring the valets in their long coats and cowboy hats.

Benton's hard, tan, handsome face looks at her. His eyes smile first, then his lips smile a little as if he is amused. He stands on the drive near the huge eagle and looks her up and down. She is dressed in boots, cargo pants, and a ski jacket.

"I've got snowshoes in the car," he says.

His eyes are fixed on hers, and the wind lifts her hair, which is longer than when he saw her last and a deep brown touched by red as if it has been touched by fire. The cold stings color into her cheeks, and he has always thought that looking into her eyes must be something like looking into the core of a nuclear reactor or inside an active volcano or seeing what Icarus saw as he flew toward the sun. Her eyes change with the light and her volatile moods. Right now they are bright green. Kay's are blue. Kay's are just as intense but in different ways. Their varying shades are more subtle and can be as soft as haze or as hard as metal. Right now, he misses her more than he knew he did. Right now Lucy has brought back his pain with a fresh cruelty.

"I thought we'd walk and talk," he tells Lucy, walking toward the parking lot as he announces intentions that are not negotiable. "We need to do that first. So I'll meet you at Maroon Bells, up there where they rent the snowmobiles, where the road's closed off. Can you handle the altitude? The air's thin."

"I know about the air," she says to his back as he walks away from her.

Chapter 49.

On either side of the pass are snow-covered mountains, and the late-afternoon shadows are settling low and wide, and in the high ridges to the right of them it is snowing. There's no use skiing or shoeing past three-thirty, because darkness comes early in the Rockies and by now the road they are on is freezing over and the air is biting.

"We should have headed back sooner," Benton says, stabbing a ski pole ahead of his leading snowshoe. "The two of us are dangerous together. We never know when to quit."

Not content to turn back after the fourth avalanche marker where Benton had suggested they stop, they kept shoeing steadily uphill toward Maroon Lake, only to turn back not even half a mile before they could see it. As it is, they'll barely make it to their cars before it is too dark to see, and they are cold and hungry. Even Lucy is worn out. She won't admit it, but Benton can tell the altitude is getting to her; she has slowed down considerably and is having a hard time talking.

For a few minutes their snowshoes scrape over the crusting snow on Maroon Creek Road, and the only sound is their scraping and crunching and their poles puncturing the glazing rutted snow. Their breathing is quite smoky now but quiet enough, and it is only now and then that Lucy takes in a lot of air and blows it out. The more they talked about Henri, the more they walked, and they've gone too far for their own good.

"I'm sorry," Benton says, the aluminum frame of his shoe clanking ice. "I should have turned us around sooner. I don't have any more protein bars or water."

"I'll make it," says Lucy, who under ordinary conditions can keep up with him just fine, can more than keep up with him. "Those little planes. I didn't eat. I've been running and biking. Doing a lot. I didn't think this would bother me."

"Every time I come here I forget," he replies, looking around at the snowstorm to their right as it sinks lower over the white peaks, slowly moving toward them like fog. It is maybe a mile off and a thousand feet above them, if that. He hopes they make it back to their cars before the snow moves in. The road is easy to follow and there is no way to go except down. They won't die.

"I won't forget," Lucy says, breathing hard. "Next time I'll eat. Maybe not shoe the first hour I get here either."

"Sorry," he says again. "Sometimes I forget you have limitations. It's easy to forget that."

"I seem to have a lot of them lately."

"If you had asked me, I would have told you it would happen." He reaches his pole ahead and steps. "But you wouldn't have believed me."

"I listen to you."

"I didn't say you don't listen. I said you don't believe. In this case you wouldn't have."

"Maybe so. How much farther? What marker are we on?"

"I hate to tell you, but only three. We've got a few miles to go," Benton replies. He looks up at the thick, smoky storm. In just a few minutes it has moved lower and the top half of the mountains has vanished into it and the wind has picked up. "It's been like this since I got here," he says. "Snows almost every day, usually late in the day, five or six inches. When you become the target you can't be objective. As warriors, we tend to objectify those we pursue the same way they objectify their victims. It's different when we are the ones objectified, when we are the victims, and to Henri you are an object. As much as you hate the word, you are a victim. She objectified you before you even met her. You fascinated her and she wanted to possess you. In a different way, Pogue has objectified you too. But for his own reasons, different ones from Henri's reasons. He didn't want to sleep with you or live your life or be you. He just wants you to hurt."

"You really believe he's after me and not Henri?"

"Yes, I do. You are the intended victim. You are the object." His words are punctuated with stabs of the ski poles and clanks of the shoes. "You mind if we rest for a minute?" He doesn't need to, but he's sure she does.

They stop and lean forward in their snowshoes, leaning on their poles, breathing in big puffs of white air and watching the snowstorm suffocate the mountains to their right about a mile off and close to their own altitude now.

"I give it less than half an hour," Benton says, taking off his sunglasses and tucking them into a pocket of his ski jacket.

"Trouble coming," Lucy says. "Kind of symbolic."

"One of the good things about coming out here or to the ocean.

Nature puts things in perspective and has a few things to say," he replies as he watches the gray foggy storm smothering the mountains, knowing that inside the clouds it is snowing hard and soon enough it will be doing that where they are. "Trouble is coming. I'm afraid you're right. He's going to do something else if he isn't stopped."

"I hope he tries it with me."

"Don't hope that, Lucy."

"I hope it," she says, and she starts walking again. "The nicest thing he could do for me is try it on me. It will be the last thing he tries."

"Henri's pretty capable of taking care of herself," he reminds her as he takes big, sure steps, planting one shoe then the other into the crusting snow.

"Not as capable as I am. Not close. Did she tell you what she did at the training camp?"

"I don't think so."

"Using the Gavin de Becker style of simulated combat, we're pretty savage," she replies. "None of the trainees are told what to expect, appropriately, because in real life we don't know what to expect. So after about the third time of siccing the K-9's on them, they get a little surprise. The dogs come and lunge for them, only this time they don't have the muzzles on. Of course, Henri had on the padding but when she realized the dog wasn't muzzled, she totally freaked out. Screamed, started running, got knocked down. She was crying and half crazy and said she was quitting."

"I'm sorry she didn't. There's the second marker." He holds up a ski pole, pointing at an avalanche marker painted with a large 2.

"She got over it," Lucy says as she steps in tracks made earlier, because it is easier. "She got over the rubber bullets too. But she didn't like that sim com much either."

"You'd have to be crazy to like it."

"I've had a few crazies come through who did. Maybe I'm one of them. They hurt like hell, but it's a rush. Why are you sorry she didn't quit? Do you think she should? I mean, well, I know I should fire her."

"Fire her for being attacked in your house?"

"I know. I can't fire her. She'll sue me."

"Yes," he says. "I think she should quit. Hell yes." He looks at her as he poles ahead. "When you hired her away from LAPD your vision was as covered up as the mountains over there." He indicates the storm. "Maybe she was a good enough cop, but she's not cut out for your level of operation and I hope to hell she quits before something really bad happens."

"Right," she says ruefully in a puff of frozen breath. "Really bad."

"No one got killed."

"So far," Lucy replies. "God, this is getting to me. You do this every day?"

"Just about. Time permitting."

"Running half-marathons is easier."

"If you run where there's oxygen in the air," Benton says. "There's the number-one marker. One and two are close together, you'll be happy to know."

"Pogue doesn't have a criminal record. He's just some loser. I can't believe it," Lucy says. "Some loser who worked for my aunt. Why? Why me? Maybe it's her he's really after. Maybe he blames Aunt Kay for his health problems and God knows what."

"No," Benton replies. "He blames you."

"Why? That's crazy."

"Yes, more or less, it's crazy. You fit into his delusional thinking, that's all I can tell you, Lucy. He's punishing you. He was probably punishing you when he went after Henri. We can't know what goes through a mind like his. His logic is all his own, nothing like ours. I can tell you he's psychotic, not psychopathic, impulse-driven, not calculating. Delusional with magical thinking. That's about all I can tell you. Here it comes," he says, and tiny flakes of snow suddenly are swirling around them.

Lucy lowers her goggles as gusts of wind rock aspen trees finely stenciled in dark shades of gray against the white mountains. The snow hits fast and is a small dry snow, and the wind is a crosswind that shoves them sideways as they move one snowshoe in front of another, picking their way along the frozen road.

Chapter 50.

Outside, the snow is piled high in the branches of the black spruce and in the crooks of the aspen trees. From her third-story window Lucy hears the crunch of ski boots on the crusty sidewalk below. The St. Regis is a sprawling red brick hotel that reminds her of a dragon crouched at the base of Ajax Mountain. The gondolas have not come to life yet at this early hour but people have. The mountains block the sun, and dawn is a blue-gray shadow with no sound except the cold, crunching steps of skiers on their way to the slopes and the buses.

After their crazy trek up Maroon Creek Road yesterday afternoon, Benton and Lucy got into their separate vehicles and went their separate ways. He did not want her to come to Aspen to begin with, and he certainly never intended for Henri, whom he scarcely knew, to end up here, but that is life. Life brings with it strangeness and surprises and upsets. Henri is here. Now Lucy is here. Benton said Lucy could not stay with him, understandably. He does not want her to cripple the progress he might be making with Henri, what little he might be making, if he has made any progress with her. But today Lucy will see Henri when it suits Henri. Two weeks have passed and Lucy can't stand it anymore, can't stand the guilt and the unanswered questions. Whatever Henri is, Lucy needs to see it for herself.

As the morning becomes lighter, everything Benton did and said is clear. First he wore Lucy out in thin air, where it was hard for her to say too much too soon or give vent to her fear-driven fury. Then, for all practical purposes, he sent her to bed. She isn't a child, even if he seemed to treat her like one yesterday, and she knows he cares. She's always known. He has always been good to her, even when she hated him.

She digs inside a duffel bag for a pair of stretch ski pants, a sweater, long silk underwear, and socks, and lays them on the bed next to her nine-millimeter Glock pistol with tritium sights and magazines that hold seventeen rounds, a gun she chooses when routine indoor self-protection is on her mind, when she wants a close contact gun with firepower, not knockdown power, because she wouldn't want to shoot a .40 or .45 caliber bullet or a high-power rifle round inside a hotel room. She hasn't figured out what she'll say to Henri or how she'll feel at the sight of her.

Don't expect anything good, she thinks. Don't expect her to be happy to see you or to be nice or polite. Lucy sits on the bed and pulls off her sweatpants and grabs her t-shirt, snatching it off over her head. She pauses in front of the full-length mirror, looking at herself and making sure she isn't allowing age and gravity to get the best of her. They haven't and they shouldn't, because she isn't quite thirty.

Her body is muscular and lean but not boyish, and she really has no complaint about her physical self but experiences an odd sensation whenever she studies her reflection. Then her body becomes a stranger, different on the outside from what she is inside. Not less or more attractive, just different from how she feels. And it drifts through her thoughts that no matter how many times she makes love, she will never know how her body feels, how her touch feels to her lover. She wishes she knew and is glad she doesn't.

You look all right, she thinks, walking away from the mirror. You look good enough to get by, she thinks as she steps into the shower. The way you look isn't going to matter today, not one bit. You aren't going to be touching anyone today, she tells herself as she turns on the water. Or tomorrow. Or the next day. God, what am I going to do? she says out loud as hot water blasts against marble and splashes the glass door and drives down hard on her flesh. What have I done, Rudy? What have I done? Please don't quit on me. I promise I'll change. She has secretly cried in showers for almost half her life. When she started out in the FBI she was a teenager who got summer jobs and internships because of her influential aunt, and she had no business living in a dormitory at Quantico and shooting guns and running obstacle courses with agents who did not panic or cry, or at least she never saw them panic or cry. She assumed they never did. She believed many myths back then because she was young and gullible and in awe, and now she may know better but her early programming twisted her in a way that can't be straightened. If she cries, and she rarely does, she cries alone. When she hurts, she hides it.

She is almost dressed when she becomes aware of the silence. Quietly swearing and suddenly frantic, she digs in a pocket of her ski jacket and finds her cell phone. The battery is dead. Last night she was too tired and unhappy to think about her phone and she forgot it and left it in her pocket, and that isn't like her, that is so unlike her. Rudy doesn't know where she is staying. Neither does her aunt. Neither of them knows the alias she is using, so even if they tried the St. Regis, they wouldn't find her. Only Benton knows where and who she is, and for her to cut Rudy off like this is unthinkable and unprofessional and he will be furious. Of all times, now was not the time to push him farther away. If he quits, what then? She trusts no one else she works with the way she trusts him. Finding the charger, she plugs in the phone and turns it on, and she has eleven messages, most of them left since six a.m. Eastern Standard Time, most of them from him.

"I thought you'd dropped off the map," Rudy says the instant he answers. "I've been trying to get you for three hours. What are you doing? Since when don't you answer the phone? Don't tell me it's not working. I don't believe it. That phone works anywhere, and I've been trying you on the radio too. You've had the damn thing turned off, haven't you?"

"Calm down, Rudy," she says. "My battery went dead. The phone, the radio don't work when the battery's dead. I'm sorry."

"You didn't bring a charger?"

"I said I'm sorry, Rudy."

"Well, we have a little bit of intelligence. It would be good if you could get back here ASAP."

"What's going on?" Lucy sits down on the floor near the socket where her phone is plugged in.

"Unfortunately, you're not the only one who got a little present from him. Some poor old woman got one of Pogue's chemical bombs, only she wasn't so lucky."

"Jesus," Lucy says, shutting her eyes.

"A waitress at a sleazy bar in Hollywood that's right across the street from a Shell station where guess what? They sell Big Gulps in Cat in the Hat cups. The victim's burned pretty bad but is going to make it. Apparently he's been coming into the place she works, the Other Way Lounge. Ever heard of it?"

"No," she says almost inaudibly, thinking of the burned woman. "Jesus," she mutters.

"So we're canvassing the area. I've got some of our people out. Not the recruits. They ain't the sharpest knives in the drawer, these ones aren't."

"Jesus," is all she can think to say about it. "Can anything go right?"

"They're going more right than they were. Two other things. Your aunt says Pogue might be wearing a wig. A long black curly wig. A dyed black human-hair wig. I guess the mitochondrial DNA was going to be pretty funny, right? Probably come back to some hooker who sold her hair to a wig company so she could buy crack."

"You just telling me this now? A wig?"

"Edgar Allan Pogue has red hair. Your aunt saw the red hairs in the bed in his house, in the house where he was staying. A wig could explain the long wavy dyed black hairs recovered from Gilly Paulsson's bed linens and from your bedroom and also the duct tape on the chemical bomb left in your mailbox. A wig would explain a lot of things, according to your aunt. We're also looking for his car. Turns out the old woman who died in the house where he's been staying, Mrs. Arnette, had a white 1991 Buick, and no one knows what happened to it after she died. The family never gave it a thought. Sounds like they never gave her a thought either. We think Pogue might be driving the Buick. It's still registered to Mrs. Arnette. It would be good if you come on back here ASAP. Probably not a good idea for you to stay in your house, though."

"Don't worry," she says. "I won't ever stay in that house again."

Chapter 51.

Edgar Allan Pogue closes his eyes. He sits in his white Buick in a parking lot off A1A, listening to what people call adult rock these days. He keeps his eyes shut and tries not to cough. Whenever he coughs, his lungs burn and he feels dizzy and cold. He doesn't know where the weekend went, but it went all right. The adult rock station says it's rush hour, Monday morning. Pogue coughs, and tears fill his eyes as he tries to breathe deeply.

He has caught a cold. He is certain he caught it from the red-haired waitress at the Other Way Lounge. She came close to his table when he was leaving Friday night. She came close, wiping her nose on a tissue, and she got much too close to him because she wanted to make sure he paid. As usual, he had to push back his chair and stand up before she bothered to check on him. The truth was, he would have liked another Bleeding Sunset and would have ordered one, but the redhaired waitress couldn't be bothered. None of them can be bothered. So she got a Big Orange and that's what she deserved.

The sun comes through the front windshield and is warm on Pogue's face as he sits behind the steering wheel, the seat pushed back, his eyes shut. He hopes the sun will cure his cold. His mother always said that sunlight has vitamins in it and cures just about everything, which was why when people get old they move to Florida. That's what she told him. Someday, Edgar Allan, you'll move to Florida. You're young now, Edgar Allan, but someday you'll be old and worn-out like I am, like most people are, and you'll want to move to Florida. If only you had a respectable job, Edgar Allan. I doubt you'll be able to afford Florida the rate you're going.

His mother nagged him about money. She worried him to death about it. Then she died and left him enough to move to Florida someday if he wanted, and then he retired and started getting a check in the mail every two weeks, and the last check must be sitting in his post office box because he isn't in Richmond to pick it up. He has a little money even without his checks. For now, he has enough. He can still afford his expensive cigars, so he has enough, and if his mother were here she would nag him about smoking with a cold, but he's going to smoke. He thinks about the flu shot he missed, all because he heard that his old building was being torn down and that the Big Fish had opened an office in Hollywood. In Florida.

Virginia hired a new chief medical examiner, and next thing Pogue knew, they were going to tear the old building down so the city could build a parking deck, and Lucy was in Florida, and if Scarpetta hadn't abandoned Pogue and Richmond, there would have been no need for a new chief and therefore the old building would be fine because everything would have stayed the same, and he would not have been late for his flu shot and would have gotten one. Tearing down his old building wasn't right or fair and no one bothered to ask him how he felt about it. It was his building. He still gets a paycheck every two weeks and he still has his key to the back door and he still works in the Anatomical Division, usually at night.

He worked there all he wanted until he heard the building was coming down. He was the only one using the building. No one else cared about it in the least, and now he suddenly had to get his things out of there. All those people he had down there in little dented boxes had to be moved late at night, when no one could see him do it. What an ordeal, going up and down the stairs, in and out of the parking lot, his lungs burning as ashes leaked everywhere. One box slid off the stack he was carrying and spilled on the parking lot, and it was very hard to pick up ashes that seemed lighter than air and blew everywhere. What an awful ordeal. It wasn't fair, and next thing he knew, a month had passed and he was late for his flu shot and there was no more vaccine. He coughs and his chest burns and his eyes tear up, and he sits very still in the sun, soaking in the vitamins, and he thinks of the Big Fish.

He feels depressed and angry when he thinks of her. She knows nothing about him and never even said hello to him, and now he has stiff lungs because of her. He has nothing because of her. She has a mansion and cars that cost more than any house he's ever lived in, and she couldn't bother to say she was sorry the day it happened. In fact, she laughed. She thought it was funny when he jumped and gave out a little yelp like a little dog as he was walking out of the embalming room and she rattled past, riding a gurney. She was standing on a rung of the gurney, rattling past, laughing, and her aunt was standing by an open vat, talking to Dave about something going on with the General Assembly, some problem.