Nora Roberts - High Noon

"Four hostages, three minor children. HT's got them in the living room now." He gestured toward the tidy white bungalow with azaleas blooming pink and white in the front yard. "Curtains closed on all the windows there. We can't get a visual. HT's got a couple of handguns.

No shots fired. First responder's been talking to him off and on. The word I get is the guy's really polite, but isn't doing a lot of communicating at this point. Kid who called it in's over there with his mother."

Phoebe glanced over, saw the gangly teenage boy sitting on the ground, head in his hands. A woman sat beside him, her arm hooked firmly over his shoulder, her face pale as wax.

"Sykes?"

"Yeah, I've got him."

Phoebe moved on toward communications, and the edge of the inner perimeter, as Sykes walked to the boy. "Lieutenant MacNamara, negotiator."

Information came fast now. Tactical had the house surrounded, the near neighbors evacuated. Sharpshooters were moving into positions. "He won't talk much," the first responder told her. "I've been trying to keep the line open with him. He sounds tired. Sad, not angry. He and the wife are separated-her idea, he says. Last time I got him to talk, he thanked me for calling before hanging up."

"Okay, stand by." She studied the log, the situation board, then pulled out her notebook as she picked up the phone. "Let's get him back on."

He answered on the third ring, and his voice was brutally weary. "Please, is this necessary? I want some time with my family. Some quiet, uninterrupted time."

"Mr. Brinker? This is Phoebe MacNamara. I'm a negotiator with the Savannah-Chatham Police Department. I'd like to help. How is everyone in there? Everybody okay?"

"We're fine, thank you. Now please, leave us alone."

"Mr. Brinker, I understand you want to be with your family. You sound as if you love them very much."

"Of course I do. I love my family. Families need to be together."

"You want your family to be together, I understand. Why don't you bring them out now? All of you together. I'd like you to put your weapons down now, Mr. Brinker, and come out with your family."

"I can't do that. I'm very sorry."

"Can you tell me why not?"

"This is my house. This is the only way we can be together. I thought about this carefully."

Planned out, not impulse, she thought as she made notes. Not anger but sorrow. "You sound tired."

"I am. I'm very tired. I've done my best, but it's never quite good enough. It's exhausting to never be quite good enough."

"I'm sure you've done your best. It's hard, don't you think, to make important decisions when you're tired and upset? You sound tired and upset. I'd like to help you, Mr. Brinker. I'd like to help you work this all out so you can make the right decision for your family."

"I painted this living room. Kate picked the color. I didn't like it too yellow-and we argued. Remember, Kate? We fought over the yellow paint right there in the Home Depot, and she won. So I painted it.

And she was right. It's sunny in here. She was right."

Living Room, Phoebe wrote on her pad, circling it. "You did the painting. I'm terrible at painting. Can't get the cutting-in part. Have you and your family lived here long?"

"Ten years. It's a good place to raise children. That's what we thought. Good neighborhood, good schools. We need a bigger house, but…"

"Your family's grown." Family, family, family, Phoebe told herself. Focus on family. "How many children do you have?"

"Three. We have three. We didn't plan on Penny. We couldn't really afford…"

"Penny's your youngest, then? How old is Penny?"

"Two, Penny's two."

Phoebe heard an excited child's voice call: "Daddy!"

"Is that her I hear?" Now she heard a choked sob from Brinker and kept talking. "She sounds very sweet. I have a little girl. She's seven, and I just wonder where the years went. I love her more than anything. She sure keeps me busy, though. I imagine your family keeps you very busy."

"I've done my best. I don't know why it's not enough. If I'd gotten the full professorship, we could afford a bigger house."

"You sound discouraged. It must be hard. You have an older daughter, is that right? Jessie, and then a boy in the middle, Aaron. Your wife, Kate, and you must be very proud. Still, it's a lot of work. I understand that. A lot of worry."

"I needed that professorship. I needed tenure. I needed Kate to understand."

The use of past tense, and the despair, set off alarms. "Tell me what you need Kate to understand, Mr. Brinker."

"That I can't do any more than I can do, or be more than I can be. But it's not enough. I'm the husband, I'm the father. I'm supposed to make it work. But things fall apart; the center cannot hold."

"That's Yeats, isn't it?" She closed her eyes, hoping she hadn't made a mistake.

There was a beat of silence. "Yes. You know Yeats?"

"Some. And I think sometimes that's true, things do fall apart, or seem to. The center can't always hold it all. But I also think things can be rebuilt, or reformed, and the center shored up again to hold it all differently. What do you think?"

"Once it falls, it's not the same."

"Not the same, but still there."

"My family's fallen apart."

"But they're still there, Mr. Brinker, and I hear how much you love them, every one of them. I don't believe you want to hurt them. Or that you want to hurt them by hurting yourself. You're the father."

"Weekend father. Perish instead of publish."

"I hear you're discouraged, and you're sad. But you're not ready to stop trying. You and Kate, eighteen years together, and those beautiful children you've made together. You don't want to stop trying. You love them too much."

"She doesn't want me anymore. What's the point? We made it all together. I thought we should end it all together. Here, in our home. The five of us, going together."

Thought we should. This time his use of past tense told her they might be turning a corner. "The five of you need to come out together, Mr. Brinker. Your children sound frightened. I can hear them crying now. You and your wife are their parents, you and your wife are responsible for keeping them safe and well."

"I don't know what to do anymore."

"Look at your children, Mr. Brinker, look at your wife. I don't believe anything's more precious to you. You don't want to hurt them. You can make the center hold. Look at the yellow walls. You gave them that sunny room, even when you weren't sure it would work. Put the guns down now, Mr. Brinker. Put them down, and bring your family out. You said you'd done your best. I believe you. Now, I believe you'll do your best again, and put the guns down. Bring your wife and your babies out."

"What's going to happen? I don't know what's going to happen."

"We're going to help you. You and your family. Will you come out with your family now? It's the right thing to do for them."

"I don't want to go into the black without them."

"You don't need to go into the black at all. Will you put the guns down, please?"

"I'm sorry. I'm so sorry."

"I know. Can you listen to me now, Mr. Brinker?"

"Yes. Yes."

"Put the guns down. Please put them down and step away from them. Will you do that?"

"Yes. All right. I'm sorry."

She wrote Coming out. Surrendering. Signaled that message to Tactical command. "It's going to be all right. Did you put the guns down?"

"Yes. I put them on the shelf. High, where Penny can't reach them."

"That was the right thing to do. I want you to come to the front door. You and your family. Don't be afraid. No one's going to hurt you. I need you to keep your hands up, just so everyone can see you did the right thing and put the guns down. There'll be police outside, but no one's going to hurt you. Do you understand?"