Harlan Coben - Just One Look

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From Publishers Weekly
Just one look at Coben's latest stand-alone thriller (after No Second Chance) highlights the author's customary strengths (swift pacing, strong lead characters) but also his weaknesses, including limited originality and, in this case, a plot so complicated that many final pages are devoted to sorting it out. The premise is simple enough: suburban housewife Grace Lawson collects some pictures at the local Photomat; inexplicably, one is an old print depicting her husband, Jack, with other college students; when Grace shows the photo to Jack, he drives away-and disappears. Grace's hunt for her missing husband, whom we learn has been kidnapped (but why? and Coben fans will note that the author's last novel also hinged on a kidnapped family member), sweeps her back into a nightmare she thought she'd escaped: the evening years ago when she survived a rock concert rampage, occasioned by a shooting that left many dead. Meanwhile, Eric Wu, a-dare we say?-inscrutable martial-arts killer who has snatched Jack for reasons unknown, menaces assorted folk. Eventually Grace, aided by a Gotti-like mobster whose child was killed in the rampage, gloms on to Wu, as well as on to Jack's sister, a high-powered attorney who, it turns out, is representing the guy who started the rampage by firing his gun. Only he didn't start the rampage after all, and then there's the rock star who vanished after the shooting and resultant mayhem-what's he now doing on Grace's doorstep? This is all as complicated as a thousand-piece jigsaw puzzle and about as hard to figure out, although in the midst of the murk there are some wonderful character touches. Coben can write thrillers that lift readers off their seats; this one, alas, will have them slumping.
From Booklist
If the trick of suspense writing is to get readers to identify so passionately with the beleaguered principal character that they disappear into the story, feeling the knife points of tension themselves, then Coben is the Houdini of the form. Coben, who has won the Trifecta of mystery writing-the Edgar, the Anthony, and the Shamus Awards-likes to burst the bubble of suburban security by having his characters' well-ordered, happy lives upended in ways that mirror readers' fears. In his four stand-alone thrillers, the past comes back to bite or haunt the protagonist, or the present vanishes in one fatal moment. In this latest excursion into the dark, a suburban mother finds one picture that does not belong in the pack of family outing photos she's just picked up. The picture, showing a group of college students, seems as if it was taken 20 years ago. One of the group looks like her husband. A girl in the group has an X drawn across her face. When Mrs. Happily Married shows the picture to her husband, he seems shaken, then leaves home. Coben ratchets up the suspense of the wife trying to find her husband with another drama, that of a serial killer in the neighborhood. A tragic accident from the woman's past intersects with her husband's secrets and the movements of the killer in ways that are satisfyingly creepy.

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“Are you saying this case was attorney work product?”

“I’m not saying anything.”

“You want to take another look at that photograph?”

She almost smiled. “You think that will make me talk?” But Indira did take another look. “I don’t see any blood,” she said.

“There wasn’t any.”

“He wasn’t shot?”

“Nope. No gun, no knife.”

She looked confused. “How was he killed?”

“I don’t know yet. He’s on the table. But I have a guess, if you want to hear it?”

She didn’t. But she nodded slowly.

“He suffocated.”

“You mean like he was garroted?”

“Doubtful. There are no ligature marks on the neck.”

She frowned. “Rocky was huge. He was strong as an ox. It had to be poison, something like that.”

“I don’t think so. The M.E. said there was substantial damage to the larynx.”

She looked confused.

“In other words, his throat was crushed like an eggshell.”

“You mean he was strangled by hand?”

“We don’t know.”

“He was too strong for that,” she said again.

“Who was he following?” Perlmutter asked.

“Let me make a call. You can wait in the hall.”

He did. The wait was not long.

When Indira came out, her voice was clipped. “I can’t speak to you,” she said. “I’m sorry.”

“Attorney’s orders?”

“I can’t speak to you.”

“I’ll be back. I’ll get a warrant.”

“Good luck,” she said, turning away. And Perlmutter thought that maybe she meant it.

chapter 27

Grace and Scott Duncan headed back to the Photomat. Her heart sank when they entered and she saw no Fuzz Pellet.

Assistant Manager Bruce was there. He puffed out his chest. When Scott Duncan flashed his badge, the chest deflated. “Josh is out on lunch break,” he said.

“Do you know where?”

“He usually goes to the Taco Bell. It’s right down the block.”

Grace knew it. She hurried out first, afraid to lose his scent again. Scott Duncan followed. As soon as she entered the Taco Bell, the fragrance of lard rising up to assault her, she spotted Josh.

Equally important, Josh spotted her. His eyes widened.

Scott Duncan stood at her side. “That him?”

Grace nodded.

Fuzz Pellet Josh sat alone. His head was tilted down, his hair hanging in front of his face like a curtain. His expression-and Grace guessed that he only had this one-was sullen. He bit into the taco as if it insulted his favorite grunge group. The earphones were jammed into place. The cord fell into the sour cream. Grace hated to sound like an old biddy, but having this kind of music plugged directly into the brain all day could not be good for a person. Grace enjoyed music. When she was alone, she would turn the music up, sing along, dance, whatever. So it wasn’t the music or even the volume. But what did it do to the mental health of a young mind to have music, probably angry and harsh, pounding in the ears all the time? An aural confinement, solitary walls of sound, to paraphrase Elton John, inescapable. No life noises let in. No talking. An artificial soundtrack to your life.

It could not be healthy.

Josh lowered his head, pretending he didn’t see them. She watched him as they approached. He was so young. He looked pitiful, sitting there alone like that. She thought about his hopes and dreams and how he already looked set on the road of life-long disappointments. She thought about Josh’s mother, about how she must have tried and how she must worry. She thought about her own son, her little Max, and about how she’d handle it if he started slipping in this direction.

She and Scott Duncan stopped in front of Josh’s table. He took another bite and then slowly looked up. The music coming from his earphones was so loud that Grace could actually make out the lyrics. Something about bitches and ho’s. Scott Duncan took the lead. She let him.

“Do you recognize this lady?” Scott asked.

Josh shrugged. He lowered the volume.

“Take those off,” Scott said. “Now.”

He did as he was told, but he took his time.

“I asked you if you recognized this lady.”

Josh glanced in her direction. “Yeah, I guess.”

“How do you know her?”

“From where I work.”

“You work at the Photomat, correct?”

“Yeah.”

“And Ms. Lawson here. She’s a customer.”

“That’s what I said.”

“Do you remember the last time she was in the store?”

“No.”

“Think.”

He shrugged.

“Does two days ago sound about right?”

Another shrug. “Could be.”

Scott Duncan had the envelope from the Photomat. “You developed this roll of film, correct?”

“You say so.”

“No, I’m asking you. Look at the envelope.”

He did. Grace stayed still. Josh had not asked Scott Duncan who he was. He had not asked them what they wanted. She wondered about that.

“Yeah, I developed that roll.”

Duncan took out the photograph with his sister in it. He put it on the table. “Did you put this picture in Ms. Lawson’s packet?”

“No,” Josh said.

“You sure?”

“Positive.”

Grace waited a beat. She knew that he was lying. She spoke for the first time. “How do you know?” she asked.

They both looked at her. Josh said, “Huh?”

“How do you develop rolls?”

He said, “Huh?” again.

“You put the roll in that machine,” Grace said. “They come out in a pile. Then you put the pile in an envelope. Isn’t that right?”

“Yeah.”

“Do you look at every picture you develop?”

He said nothing. He looked around as if asking for help.

“I’ve seen you work,” Grace said. “You read your magazines. You listen to your music. You do not check through all the pictures. So my question is, Josh, how do you know what pictures were in that pile?”

Josh glanced at Scott Duncan. No help there. He turned back to her. “It’s weird, that’s all.”

Grace waited.

“That picture looks like it’s a hundred years old or something. It’s the right size, but that ain’t Kodak paper. That’s what I meant. I’d never seen it before.” Josh liked that. His eyes lit up, warming to his lie. “Yeah, see, that’s what I thought he meant. When he said did I put it in. Did I ever see it before?”

Grace just looked at him.

“Look, I don’t know what goes through that machine. But I’ve never seen that print. That’s all I know, okay?”

“Josh?”

It was Scott Duncan. Josh turned toward him.

“That picture ended up in Ms. Lawson’s pack of pictures. Do you have any idea how that happened?”

“Maybe she took the picture.”

“No,” Duncan said.

Josh gave another elaborate shrug. He must have had very powerful shoulders from all the work they got.

“Tell me how it works,” Duncan said. “How you develop the pictures.”

“It’s like she said. I put the film into the machine. It does the rest. I just set the size and the count.”

“Count?”

“You know. One print from each negative, two prints, whatever.”

“And they come out in a pile?”

“Yeah.”

Josh was more relaxed now, on comfortable ground.

“And then you put them in an envelope?”

“Right. Same envelope the customer filled out. Then I file it in alphabetical order. That’s it.”

Scott Duncan looked over at Grace. She said nothing. He took out his badge. “Do you know what this badge means, Josh?”

“No.”

“It means I work for the U.S. attorney’s office. It means I can make your life miserable if you cross me. Do you understand?”

Josh looked a little scared now. He managed a nod.

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