Later that day, they put Miguel on the phone.

"Mama, I'm all right."

"Have they hurt you?"

"Mama, please eat."

"Are they forcing you to make this call?"

"No, Mama."

They take the phone away from him. Jimena's younger son, Julio, asks her, "Mama, are you satisfied now? Please stop."

"Not until they release him."

"Miguel said that they weren't hurting him."

"What else was he going to say?" Jimena asks. "If I give in now, they win."

"It's not a game," Ana says.

"No, it's a war," Jimena answers. "The same war it's always been."

Pablo gets that. It's the war between the haves and the have-nots, the powerful and the powerless. The one has the power to inflict suffering-the other only to endure it.

Their only weapon is shame, if the powerful can even feel it.

The people in the "movement" do their best-there are daily protests now outside the army post, the governor's office; a few allies in Mexico City even picket Los Pinos. The people in the small towns shun the soldiers, who can't buy so much as a candy bar, a beer, a postage stamp in the Jurez Valley.

Pablo hears whispers that some are talking about darker measures. If the army is taking the side of the Sinaloa cartel, why shouldn't we join with the Jurez people? La Familia Michoacana have attacked army posts, the Zetas have attacked prisons and freed convicts. If the army sees us as devils anyway, let's give them true hell. The talk turns from passive resistance to revolution, an old Chihuahua tradition.

Jimena gets wind of the talk and shuts it down.

"We do not beat them by becoming them," she says.

Others aren't so sure.

Marisol uses the weapons she has-her looks and charm-and literally attracts the media. The camera loves her, as they say, and she consciously takes advantage of that to get in front of television cameras in her white coat and with her physician's demeanor describe in graphic yet media-friendly terms what is happening to Jimena Abarca's body.

She knows exactly what she's doing, turning the Abarca ordeal into a soap opera-hoping that it will become a telenovela with a short run and a happy ending.

Marisol becomes "La Medica Hermosa"-the Beautiful Doctor. People turn on the news to see her, and Jimena's case starts to get national attention. It's hateful, Marisol tells Pablo and Ana privately-gross and demeaning-but it might be the way to save Jimena's life.

Then there are Giorgio's photographs.

It was a genius idea, Pablo thinks, Giorgio's concept to run a photo of Jimena's face every day, an increasing strip of them, so that readers could see the progression of her condition.

Day after day, people pick up their paper and see this woman starving to death. And the photos, they are beautiful, carefully, artfully composed in the half-light of the little house, each one a piet of a mother grieving for her son.

The paper's circulation goes up.

It becomes water-cooler conversation-Have you seen Jimena today? Newsboys shout it from traffic islands-Have you seen Jimena today? Housewives talk about it at lunch-Have you seen Jimena today?

An anonymous donor pays for a billboard at the base of the Lincoln International Bridge, so that people coming in from El Paso are asked the question Have you seen Jimena today?

It speaks to the photos' effectiveness that no one has to ask what that means.

The army fights back with a public relations campaign of its own. The commander of the 11th Military Zone holds a press conference and says, "This woman is not Mother Teresa. She's nothing more than a tool of the cartels."

Ana is there to ask the questions. "Do you have information linking Jimena Abarca to drug trafficking? And if so, why haven't you released it?"

"It might compromise ongoing investigations."

"If you have such information," Ana presses, "why haven't you turned it over to prosecuting authorities so that they can file charges?"

"We will in due time."

"What's 'due time'?"

"When we're ready."

"Will you be ready," Ana asks, "before or after Jimena Abarca starves to death?"

"We are not starving Seora Abarca," the general says. "She is starving herself. We will not be bullied or intimidated by these tactics."

The next morning, a photo of the well-fed general in his dress uniform appears next to a picture of the emaciated Jimena with the caption BULLIED AND INTIMIDATED?

The following day, an editorial appears in a major Texas newspaper under the title IS THIS WHAT THE MeRIDA BILLIONS ARE PAYING FOR? A Democratic congressman from California stands up on the House floor and asks the same question. This prompts a call from the West Wing to DEA basically asking what the fuck is going on down there and demanding that whatever it is, DEA get a handle on it.

There's an election coming up, it's going to be close, and the incumbent party's candidate is from a border state with a lot of Hispanics. McCain was in Mexico City just last month, for Chrissakes, praising the Merida Initiative as an important step, and the last thing he needs is the perception that the aid package he touted is being used to torture Mexican mothers.

The DEA director calls a colleague in the Mexican Defense Department, who listens and then says, "We can't let ourselves be beaten by one woman. What kind of message would that send?"

"That you're smart?" the director asks. "I suggest that if you want the helicopters and the aircraft to keep coming, you find a way to back down on this thing."

It's axiomatic that at certain points in any conflict, both sides think they're losing. It's true of wars and battles, lawsuits and strikes. It's true now. Jimena's supporters know nothing about the calls from Washington and don't realize the immense pressure being brought to bear on the army.

What they see is no movement from the military.

And Jimena failing.

Ana breaks down one night.

"I can't stand it," she cries to Pablo, who holds her in his arms and rocks her. "I can't stand the thought of her dying."

"She won't," Pablo says, even though he isn't so confident. "They'll break first."

"What if they don't?"

Pablo doesn't have an answer.

- Adn watches La Medica Hermosa on television.

"She's so pretty," Magda says.

"I suppose." Adn is familiar enough with women to steer around the obvious pothole. But the woman on television is stunning. And effective-no wonder she's become a media sensation.

"And effective," Magda adds. They're lying in bed in her flat in Badiraguato, the one she comes to when she feels a need to be with him, less and less frequent now, he's observed.

"Do you think so?" he asks.

"Face it, cario," Magda says. "It's a new world now. Every war you fight, you fight on three fronts: a shooting war; a political war; a media war. And that you can't win one without the others."

She's right, Adn thinks.

She's absolutely right.

- He gets out of bed and phones Nacho. "Who is this Miguel Abarca, anyway? I've never even heard of him. Is he with Fuentes? Los Aztecas? La Lnea?"

"He's a nobody," Nacho says. "A baker's kid."

"He's not a nobody anymore," Adn says. "Neither is the mother. The army has turned them into celebrities."

He's so tired of endless, needless stupidity. How the army could take a simple incident and let it grow out of proportion.

Adn has plans for the Jurez Valley, and they don't include creating a cause celebre. He's winning the war against the Jurez cartel and now a bunch of morons in uniform find a way to screw it up.

"I don't want to read any more articles," Adn says. "I don't want to see this doctor on television. This needs to come to a quick and happy conclusion."

"Agreed."

"And we need better media control," Adn says. "For the money we're paying, you would think-"

"It's being worked on."

Isn't everything? Adn thinks after he hangs up and as he actually gets a chance to take a shower. The media are being "worked on," hunting down Diego is being "worked on," going after the Zetas is being "worked on." Killing Keller is being "worked on." I don't want something "worked on," I want something completed.

- Marisol's phone wakes her in the small hours of the morning.

It frightens her, because at first she thinks that it's about Jimena, that her body has gone into crisis.

It is about Jimena, but it's Colonel Alvarado.

"I have a proposal," he says.

- scar walks out into the city room.

"I just got a call that they released Miguel Abarca."

When Pablo, Ana, and Giorgio get out to the valley, Miguel and Jimena are already home in Valverde, with Marisol carefully easing Jimena back onto some solid food.

"I'm sorry I didn't inform you," Marisol says, "but that was the deal-no press coverage of Miguel's actual release. They didn't want film of him walking out to a triumphant crowd."

"We understand," Ana says.

"I hope you'll also understand this," Marisol says. "We can't let you interview Miguel or take photos."

"Why not?" Giorgio asks.

"He's on a gurney in my clinic," Marisol says. "Broken nose, two fractured ribs, and the soles of his feet have wounds consistent with la chicharra-burning with electrical wires. But he's alive, guys, and so is Jimena."

They drive back to Jurez and file a simple story stating that Miguel Abarca was released without charges, and that Jimena Abarca has ended her hunger strike. The story doesn't mention Miguel's injuries. The next day's edition features a photo of Jimena sipping a protein shake, and La Medica Hermosa makes what she assures reporters is a final appearance on the evening news and describes her patient's condition as stable.

The Abarca story disappears from the headlines because the Zetas throw grenades into an Independence Day celebration in Morelia, Michoacn, and kill eight people.

And in Jurez, the tired war of attrition goes on.

Pablo covers the killing of a police commander shot in a hotel parking lot, eleven gunned down in a bar, six killed at a family party, six more lined up outside a tienda and executed against the wall.

He writes the story about 334 Jurez city cops fired for failing polygraphs and drug tests.

All that is fine with the man who comes and slips him the sobre.

"I told you," Pablo says, "I don't want this."

"And I told you," the man says, "no one's asking you. Give the money to charity if you don't want it, but you're taking it."

Pablo's next call is to a headless body hanging from its feet off the Bridge of Dreams with the narcomensaje reading I, LORENZO FLORES, SERVED MY BOSS, THE DOG-FUCKER BARRERA.

"'Dog-fucker'?" Giorgio asks, trying to figure out his shot. "That's a new one."

"Zetas," Pablo says.

"How do you know?"

"Decapitation. That's their thing."

The head turns up later at the Plaza del Periodista.

Mexico City December 2009 Only Keller knows the identity of the informant code-named "Mara Fernanda."

Through the miserable year of 2009, as violence and bloodshed spread through Mexico like an unstoppable virus, Keller stayed in the Mexico City bunker and, good as his word, focused on bringing down Diego Tapia.

Except you can't kill what you can't find.

It wasn't from lack of trying.

No "search and avoid" missions with the FES. Ordua even has his own satellite surveillance system, purchased from the French and operated by the European Space Agency.