Eventually I met her in person, and started to figure it out. She’s extremely intelligent – practically a prodigy as a youngster – but, gloriously, she feels absolutely no need to prove it all the time. Which means everything in the books serves the books, not the author. No look at me! No I did lots of research! I know things you don’t! Which gives the books a rare and self-sufficient integrity. For instance, occasionally she’s accused of being ‘bloodthirsty’, to which I say, no, she isn’t. She’s honest. Crimes are usually sordid and disgusting, and to present them otherwise is disingenuous. Everything in the books is there because it needs to be. No other reason, either good or bad. No inhibition, no pandering, no caution.
And, I learned, her upbringing was a little isolated and a little provincial, in much the same way as mine, at much the same time. As a kid I used books as a lifeline. I remember the simple ecstasy of losing myself in stories, living them, being them, and I’m absolutely certain she did the same. I’m certain she remembers the feeling. And I think her deep intellectual self-confidence now allows her to induce that same feeling in her readers. Nothing extraneous gets in the way. An academic analysis of plot or character or setting would miss the point – this is a writer still in love with reading, still in love with story, still in love with the elemental rush of immersion in a different world, and now smart enough and honest enough as an adult to keep making it all happen for others. For which I’m extremely grateful as a reader, and extremely admiring as a colleague.
Lee Child
New York 2015
For Tookie Flystock, my beloved serial insect killer.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
‘The Love Song of J. Alfred Prufrock’
T. S. Eliot
The soul of torture is male
Comment on exhibit card
The Museum of Criminology and Torture,
San Gimignano, Italy.
All chapter epigraphs are taken from
‘On Murder considered as one of the fine arts’
by Thomas De Quincey (1827)
Contents
Copyright
An Introduction by Lee Child
Dedication
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Epilogue
Acknowledgements
FROM 3½″ DISK LABELLED: BACKUP.007; FILE LOVE.001
You always remember the first time. Isn’t that what they say about sex? How much more true it is of murder. I will never forget a single delicious moment of that strange and exotic drama. Even though now, with the benefit of experience and hindsight, I can see it was an amateurish performance, it still has the power to thrill, though not any longer to satisfy.
Although I didn’t realize it before the decision to act was forced upon me, I had been paving the way for murder well in advance. Picture an August day in Tuscany. An air-conditioned coach whisking us from city to city. A bus-load of Northern culture vultures, desperate to fill every moment of our precious fortnight’s package with something memorable to set against Castle Howard and Chatsworth.
I’d enjoyed Florence, the churches and art galleries filled with strangely contradictory images of martyrdom and Madonnas. I had scaled the dizzy heights of Brunelleschi’s dome surmounting the immense cathedral, entranced by the winding stairway that leads up from the gallery to the tiny cupola, the worn stone steps tightly sandwiched between the ceiling of the dome and the roof itself. It was like being inside my computer, a real role-playing adventure, working my way through the maze to daylight. All it lacked were monsters to slay on the way. And then, to emerge into bright day and amazement that up here, at the end of this cramped ascent, there was a postcard and souvenir seller, a small, dark, smiling man stooped from years of lugging his wares aloft. If it had really been a game, I would have been able to purchase some magic from him. As it was, I bought more postcards than I had people to send them to.
After Florence, San Gimignano. The town rose up from the green Tuscan plain, its ruined towers thrusting into the sky like fingers clawing upwards from a grave. The guide burbled on about ‘a medieval Manhattan’, another crass comparison to add to the list we’d been force-fed since Calais.
As we neared the town, my excitement grew. All over Florence, I’d seen the advertisements for the one tourist attraction I really wanted to see. Hanging splendidly from lampposts, gorgeous in rich red and gold, the banners insisted that I visit the Museo Criminologico di San Gimignano. Consulting my phrasebook, I’d confirmed what I’d thought the small print said. A museum of criminology and torture. Needless to say, it wasn’t on our cultural itinerary.
I didn’t have to search for my target; a leaflet about the museum, complete with street plan, was thrust upon me less than a dozen yards inside the massive stone gateway set in the medieval walls. Savouring the pleasure of anticipation, I wandered around for a while, marvelling at the monuments to civic disharmony that the towers represented. Each powerful family had had its own fortified tower which they defended against their neighbours with everything from boiling lead to cannons. At the peak of the city’s prosperity, there were supposedly a couple of hundred towers. Compared to medieval San Gimignano, Saturday night down the docks after closing time seems like kindergarten, the seamen mere amateurs in mayhem.
When I could no longer resist the pull of the museum, I crossed the central piazza, tossing a bicoloured 200-lire coin in the well for luck, and walked a few yards down a side street, where the now familiar red and gold hangings adorned ancient stone walls. Excitement buzzing in me like a blood-crazed mosquito, I walked into the cool foyer