Thomas Cook - Red Leaves

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Red Leaves: краткое содержание, описание и аннотация

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From Publishers Weekly
In this affecting, if oddly flat, crime novel from Edgar-winner Cook (The Chatham School Affair), Eric Moore, a prosperous businessman, watches his safe, solid world disintegrate. When eight-year-old Amy Giordano, whom Eric's teenage son, Keith, was babysitting, disappears from her family's house, many believe Keith is an obvious suspect, and not even his parents are completely convinced that he wasn't somehow involved. As time passes without Amy being found, a corrosive suspicion seeps into every aspect of Eric's life. That suspicion is fed by Eric's shaky family history-a father whose failed plans led from moderate wealth to near penury, an alcoholic older brother who's never amounted to much, a younger sister fatally stricken with a brain tumor and a mother driven to suicide. Not even Eric's loving wife, Meredith, is immune from his doubts as he begins to examine and re-examine every aspect of his life. The ongoing police investigation and the anguish of the missing girl's father provide periodic goads as Eric's futile attempts to allay his own misgivings seem only to lead him into more desperate straits. The totally unexpected resolution is both shocking and perfectly apt.
From Booklist
Cook's latest is proof that he is maturing into a gifted storyteller. An eight-year-old girl is missing. The police quickly zero in on her baby-sitter, Keith Moore. Keith's parents proclaim his innocence, but his father, Eric, has his own secret doubts. The way the author tells the story, it really doesn't matter whether Keith is guilty or not; what matters is the way the Moore family slowly disintegrates, as his parents deal in their own ways with the possibility that their son may be a monster. The novel is narrated by Eric; perhaps the story might have been slightly more effective if it were told in the third person, so we could watch Eric fall apart (rather than listen to him tell us about it), but that's nit-picking. In terms of its emotional depth and carefully drawn characters, this is one of Cook's best novels. 

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But the wheels of your mind begin to spin. You can feel them spinning, but there is nothing to do but wait until they find traction. Then, without warning, they do, and you understand that all you can do is go on, start at exactly where you left off.

FOURTEEN

C ome home.

I often repeat the words in my mind. I recall Meredith's caught breath each time I repeat them, hear the icy dread in her voice.

I hear other things, too—a whispery voice, a gunshot—and with those sounds I recognize that I've gone through all of it again, reliving every detail from that first night when Keith and Warren strolled down the walkway and disappeared behind the Japanese maple to the moment when I passed under that same tree for the last time. In retrospect, I suppose, everything seems inevitable, the whole course of events summed up in the grim irony of that line of poetry I read while I waited for Keith to come home from Amy Giordano's house that night— " After the first death, there is no other. "

But there was.

***

I drove home quickly after Meredith's call. The sun was just setting when I pulled into the driveway, the air beneath the spreading limbs of the Japanese maple already a delicate pink. Meredith met me halfway up the walkway.

"I sent Keith into town. Because I needed to concentrate on writing a lecture. That's what I told him. He knows not to come back for a few hours." There were tiny creases at the sides of her eyes, as if she'd aged several years during the brief time between her phone call and my arrival. "I didn't tell him the police were coming over. I was afraid he might do something. Hide something."

I looked at her quizzically.

"It could be anything," she added. "Some dirty magazine, pot, anything he wouldn't want them to see. And if he did that, you know, not even thinking about it, it would still be obstruction of justice."

"I see you've talked to Leo."

"Yes," Meredith said. "I told him I was going to send Keith to the store, keep him out of his room. He thought it was a good idea."

"Because he doesn't trust Keith," I said. "That's why he thought it was a good idea."

Meredith nodded. "Probably."

"Is he coming over?"

"Only if the cops want to question Keith." She looked at me worriedly. "I don't want to talk to them, either. Especially Kraus. On the phone, he sounded hard—like we're the enemy?" She looked at me pleadingly. "Why would he act like that, Eric?"

"Maybe he doesn't think we're exactly ordinary," I said cautiously. "Did Leo mention the hotline? Things people might have said?"

"Said about what?"

"About us," I told her. "He has a source somewhere. With the police, I guess. And this source, whoever it is, told him that the police had gotten the idea that there was something wrong. Those were his words— something wrong. He thought somebody might have called on the hotline, told the cops something about us."

Meredith looked stricken, helpless, a small creature caught in a vast web.

"Leo has no idea what might have been said," I added. "But with the police under all this pressure, he's worried they'll believe just about anything they hear about us."

Meredith remained locked in grim silence, but I could see her mind working.

"Maybe someone saw that car pull into our driveway."

"Maybe," Meredith muttered.

"And there's something else they might have seen," I told her. "Remember when Leo asked Keith if he'd ever been around the water tower? I'm not sure Keith told the truth when he said no."

"What makes you think he didn't tell the truth?"

"Just the look in his eyes," I said. "It was the same one he had when he told the cops he came home alone." I shrugged. "Anyway, the water tower, it's sort of a meeting place ... for men and ... prostitutes—or at least I think they're prostitutes. She was putting something in her bag. My guess is it was money."

Meredith looked dazed.

"I went there," I said. "To the water tower. Leo brought it up, and then the way Keith looked when he said he'd never been there, I just got curious."

"And you saw all this?" Meredith asked. "These men and—"

"Yes," I answered. "I don't know why Keith goes there. I mean, if he does. Maybe he just watches. Maybe that's his ... outlet."

For a moment. Meredith seemed unable to deal with the tawdriness of what I'd just told her. "Okay, so there's this place and people go there. But why are you so quick to believe that Keith goes there ... to watch ... or for any other reason?"

I had no answer, and she saw that I had no answer. "Oh, Eric," she said exhaustedly. "What's happening to us?"

Meredith had put on her tightly controlled, professorial face by the time Peak and Kraus arrived. They brushed past the limbs of the maple and strode down the walkway at a leisurely pace, chatting to each other like two men on their way to the local tavern.

I met them at the door, and the instant I opened it, I noticed that their easy manner changed to one of cool professionalism. Now they stood erect, with somber faces, hands folded in front of them.

"Sorry to trouble you again, Mr. Moore," Peak said.

Kraus nodded to me, but said nothing.

"How do we do this?" I asked. "I've never had my house searched."

"We have a warrant for the house and grounds," Peak explained. "We'll try not to disturb anything unnecessarily."

"So I just let you in, is that it?"

"Yes."

I stepped back, swung the door open, and let them pass into the living room where Meredith stood, her body completely rigid, eyes not so much hostile as wary.

"Keith isn't home," she said. "We haven't told him about this."

"We won't be long," Peak said with a weak smile.

"Where do you want to start?" I asked.

"Keith's room," Peak said.

I nodded toward the stairs. "Second door on your left."

Meredith and I walked into the kitchen while Peak and Kraus searched Keith's room. Meredith made a pot of coffee, and we sat at the table and drank it silently. For that brief interval, we merely waited, held in suspension, staring at each other briefly, then drawing our gazes away. We might have been figures in a pantomime of a couple who'd been together too long, knew each other too well, and so had fallen into a final muteness.

Over the next few minutes, other officers arrived, all of them in uniform.

From our place in the kitchen, we watched as they poked about the yard, as well as the conservation forest that stretched for several acres behind our house. Two hours passed before Peak and Kraus came back down the stairs. Two young uniformed officers trailed behind them, carrying sealed bags stenciled in black letters: EVIDENCE.

I had no idea what the bags contained until Peak handed me a slip of paper on the way out. "That's the inventory of what we took from Keith's room," he said. "And of course we'll bring back anything that has no evidentiary value."

Evidentiary value, I thought. Evidence against Keith.

I glanced up the stairs and saw a uniformed officer coming down, carrying my son's computer.

"The computer in Keith's room," Peak said. "Is that the only one in the house?"

"No," I said.

"I'm afraid we'll have to look at them all," Peak said.

"There's one down the hall, in my office," Meredith said. "And I have a computer at college. Do you want to seize that, too?"

"Nothing is being seized, Mrs. Moore," Peak answered mildly. "But to answer your question, no, we have no need to take your computer." He paused, then added significantly, "At least, for now."

The police left a few minutes later, just as Keith was coming down the drive on his bike. He pulled over to the side, got off the bike, and watched the cars go by.

"What did the cops want this time?" he asked as he came into the house.

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