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  At the same moment a startlingly bright beam of light stabs through the interior, illuminating a desk in the corner of what appears to be a den.

  Kat jerks herself back to one side, but whoever is wielding the flashlight doesn’t appear to be interested in looking her way. She can see him, a male of average height, holding the flashlight and moving the beam to a four-drawer filing cabinet.

  There’s no doubt in her mind what’s happening. He moves quickly toward the cabinet like he’s been there before, and she can see he’s carrying something metallic. He focuses the light on the cabinet lock on the upper left-hand corner and tries to balance the flashlight between chin and shoulder while he uses what looks like a small kitchen knife and perhaps an ice pick to spring the lock.

  The man appears to be alone and she watches his ham-handed fumbling with the lock.

  This is not a professional thief, she concludes, unsurprised. Whoever he is, he’s got a stake in getting rid of the evidence Dawson talked about.

  The man reaches a breaking point and throws the makeshift tools to the floor in disgust, looking back and forth around the room as if the key might be hanging within reach if he could just take the time to spot it.

  The desk catches his eye and he moves to it, flashlight beam on the top drawer as he rummages through it, pulling it out steadily until it suddenly falls to the floor. He’s on his hands and knees now, frantically sorting through the contents, then coming up with a key. He leaps to his feet, racing back to the file cabinet but can’t insert it.

  Wrong key, boy, she thinks, calculating which way he’s likely to leave if he achieves his objective. In the reflected beam of the flashlight when it hits his face every few moments she can see he’s a Caucasian male, perhaps in his fifties, and moderately overweight.

  He’s back on his knees rifling through the contents of the fallen desk drawer, and Kat can see the flashlight beam shaking in his trembling left hand.

  Scared to death. Probably never had more than a traffic ticket, and probably not armed.

  Another key! He’s back up and over to the file cabinet and this time the lock springs open. She can hear his small victory yelp even through the window as he yanks open the drawers successively until finding the one he’s looking for.

  FBI procedures and common sense dictate calling for police backup and intercepting the suspect as he leaves, and she reaches for her cell to dial 911 the same moment a bright light snaps on from behind and an excited male voice orders her to freeze.

  “POLICE! GET THOSE HANDS UP!”

  Kat can see the man inside the den turn, startled, a folder in his hand as he yanks it from the drawer and snaps off his light. She can see him bolting to the rear door in the den, fumbling with the knob and the lock, and she turns quickly, raising her hands as she sidesteps toward the corner of the house.

  “Turn that light out! I’m an FBI agent!”

  “KEEP YOUR HANDS UP!”

  She glances back through the window, aware the intruder is still struggling with security locks and frantic to get out. She has only seconds, she figures, to calm the cop down.

  She looks back at the bright light in her face.

  “There’s a suspect in that house and we don’t have time for this. I’m going to pull out my ID wallet! Keep your trigger finger under control!”

  “KEEP THOSE HANDS WHERE I CAN SEE THEM! DID YOU HEAR ME?”

  She pulls the ID wallet from her jacket pocket with two fingers, bringing it out laterally and flipping it open as she hears the back door being flung wide.

  “Hold it right there!” the cop is saying to Kat, his voice more uncertain now as he gingerly approaches, surprised and unprepared for her to turn around and yell toward the back of the house while still thrusting the ID wallet at him.

  “FEDERAL AGENTS! FREEZE! HANDS IN THE AIR! NOW!”

  “What…what are you doing?” Jimmy Gonzalez asks, his gun still leveled at his suspect as he tries to read the ID at the same time he’s trying to see who she’s yelling at.

  “GET THOSE HANDS IN THE AIR, MISTER! NOW! ON YOUR KNEES OR I’LL SHOOT! DROP THAT FOLDER!”

  Kat looks back to Gonzalez in a lightning move.

  “Satisfied?”

  “I…guess.”

  “Here’s my ID. Toss me your light.”

  “What?”

  “NOW!”

  He tosses the SureFire to her, watching as she catches it and tosses him the ID wallet, covering the distance between the corner of the house and the obviously frightened man kneeling by the backdoor in a few heartbeats. She covers the suspect with a 9mm Glock Jimmy never saw her unholster.

  “Officer? Bring your cuffs, please.”

  Jimmy responds as quickly as he can, cuffing the man as he notes the business suit and the balding head.

  “Don’t shoot! I’m a friend of Kip’s! I have a key!”

  “But not to his filing cabinet, it appears,” Kat says. “What’s in the folder?”

  “Ah, private company information.”

  “Right. Half the world read exactly what you read about a particular folder with a rubber band and a red exclamation point in the file cabinet you just broke into.”

  “Kip asked me to protect this if anything ever happened to him.”

  “Sure he did. What’s your name?”

  No answer.

  “NAME! NOW!”

  “Ah…Robert Wilson.”

  “How did you get in the house?”

  “I have a key. I’m authorized.”

  “All right, Mr. Wilson, you’re also under arrest on suspicion of obstruction of justice in a federal case, for starters. Officer?”

  “Yes, ma’am?”

  “Please Mirandize this gentleman after you finish cuffing him, and then get us some backup while the rest of my team gets here.”

  “Okay.”

  She turns to Jimmy Gonzalez now, asking his name, and he responds as he hands her back the ID wallet.

  “Good job, Officer Gonzalez. All the way around.”

  Chapter 30

  COLEMAN TV STUDIOS, WASHINGTON, D.C.,

  MAY 19, 8:00 P.M. PACIFIC/11:00 P.M. EASTERN

  Matt Coleman is aware tonight’s broadcast could be the definitive performance of his career. He checks his appearance, wondering why anyone would think he looks like the late Johnny Carson, although he considers it one hell of a compliment. At age forty-seven, with a full head of prematurely silver hair, a neutral Midwest accent, and a natural smile, there are a few similarities. But he understands that the comparison is the wishful thinking of a vast audience hungry for the more serious approach and occasionally sharp-witted humor he’s made a trademark since he took over from Larry King, building his now-syndicated evening news, comment, and interview show far beyond the confines of CNN to span American broadcast and worldwide broadcast networks, as well as cable and Internet outlets.

  And tonight—broadcasting in high definition to an estimated combined world audience of at least a hundred million people with simultaneous translation in sixteen languages, he can either own the story of Kip Dawson by walking a razor-sharp line between commentary and reportage, or end up as just another conduit for what’s happening.

  And Matt Coleman intends to own the story.

  Tonight the computerized reassembly of his image will have him appearing for all the world as if he’s actually standing in three different world capitals, complete with a shadow where the sun is shining. He takes his place for the opening against a live shot of Intrepid being downlinked from a high-powered NASA camera in orbit.

  Good evening, and right to the point. Seldom has the story of one person dominated our worldwide attention for more than a few moments in this frenetic modern life. When that rare event does happen, however, usually it’s after an event is over. Not so in the case of Kip Dawson. Tonight, I’ll guide you through the significance of what’s been occurring, not only some three hundred and ten miles above us on orbit, but on Earth, too, as an ordinary man—an
ordinary husband and father named Kip Dawson—unknowingly communicates to an amazing number of his fellow humans in real time in ways simultaneously complex, simple, and profound.

  Not even when the President of the United States or the Pope speaks do so many pay such rapt, all-consuming attention. Yes, this has developed into a shared human experience, reading the words of a man who knows he’s going to die in two more days. But what makes this so profound is that Kip Dawson is saying things that ring true in the hearts and minds and unspoken memories of so many…his angst, his remorse over things left undone, his grief and joy over relationships that form the basic sinew of life, and even one amazing instance this afternoon in which his recounting of misconduct by the company that employs him has already sparked law enforcement action that may end in indictments and prison sentences. In many things he’s written, Kip Dawson is giving voice to feelings we’ve dared not reveal, and touching us uncomfortably in the process. Worldwide, he’s sparking debates and focusing attention on ideas, some fairly far out—such as the religious debate Kip’s words ignited when he recommended that marriage be limited to eighteen years past the birth of the last child. If you’ve been glued to your TV or computer reading every word…if you’ve called in sick or been inattentive to your duties because you’re wrapped up in this, that’s okay, because you’re witnessing and living as it happens something we’ve never seen or heard before—a single voice, speaking to mankind, guileless, with no agenda, and with a blinding honesty we all need to understand. Space tends to do that to us. Our fathers and mothers stood transfixed in 1969, knowing what adults know, and watching Neil Armstrong step on the moon. Later the drama of Apollo Thirteen galvanized the planet, to the extent that communications were able to bring the globe together. And today? A planetary audience is reading or listening in dozens of languages to every word Kip Dawson writes. An audience of perhaps two billion—that’s with a “B”—two billion members of the human family. Perhaps it takes something like this to truly remind us how connected we really are.

  Okay. First, let’s get to the basics of what’s happened.

  HYATT-REGENCY, LOS ANGELES, CALIFORNIA, 8:30 P.M. Pacific

  With a pedestrian mini-bar scotch in her hand, in a plush Los Angeles hotel room, Diana Ross settles into an easy chair, thinking over the day’s events. The TV is on, the story doing just what she’d predicted now and turning to phase three, the story about what he’s saying and how he’s saying it.

  She shakes her head at the coincidence of Kip going silent just before Coleman’s show hit the air. Intellectually she knows his producer had nothing to do with it. But it gave Matt Coleman an invaluable window of opportunity to feed the void in Kip’s transmission with his own spin, and given the deep public hunger for more, the size of tonight’s audience has to be a record.

  Kip’s last-typed words still hang along the bottom of the screen, the end of a surprisingly introspective tale of his second marriage and how the progressive withdrawal of sexual interest by Sharon Summers Dawson affected him slowly, insidiously, exacerbated by her refusal to admit there was anything wrong between them. He wrote about his frustration and his attempts to ignore it. He talked about trying to tell himself it was okay, that he could survive semi-celibacy as Sharon became sexually colder.

  But she’s been wholly unprepared to read that Kip fantasized about her while in training in Mojave—a revelation written with her name clearly attached that’s led to an instant phone explosion and morning show bookings for tomorrow. She’s gone through a series of rapid responses from shock to embarrassment to anger to a growing, deep sense of connection.

  So I affected him that much!

  For several hours she’s been worried that he’ll say more, take his fantasy into the literary bedroom or something equally tawdry. After all, he could say anything at all with the secure “knowledge” that no one in his time would read it. And when he began describing the feelings their one dinner together had sparked in his love-starved head—thoughts that maybe he should consider ending his marriage and looking for someone like her to love—it was not a welcome accolade. Half the planet has now been invited to think of her as a virtual pinup girl, if not a potential homewrecker.

  How on earth am I going to deal with this tomorrow or even live this down? she wonders. Even Playboy is now trying to reach her. At the same time she feels guilty that she’s irritated over his words when the man has less than forty-eight hours of air left and has absolutely no intention of embarrassing her. And in the end, she decides to deal with the morning show questions by laughing it off. After all, she’s done nothing to encourage him, and these are only the private musings of a dying man.

  Nevertheless, the same questions keep echoing in her head. Why now? Why me?

  She knows the answer, but she’s been avoiding the conclusion: She’s in his head.

  And now, somehow, he’s in hers.

  ABOARD INTREPID, 8:40 P.M. PACIFIC

  Waking from each nap is becoming more and more confusing.

  Somehow Kip has developed the ability to fall almost immediately into REM sleep, something he could never do on Earth. But coming out of REM is a slightly wrenching experience, the dreams left behind so real and visceral that each time he has to think carefully about what is and isn’t real.

  But then the full reality of his situation returns.

  This time the dream was all about sex and lovemaking and he hates to leave it. He wonders if there’s sex in whatever dimension he’ll find himself occupying in two days. If not, he thinks, maybe he’d rather not go—as if he had a choice. It was sex and the lack of making love (or even the lack of opportunity to have raw sex with Sharon), that has all but destroyed his marriage.

  And of everything in this life, he thinks he’ll miss sex the most.

  If that’s how I measure my existence, in terms of how much I’ve been getting, he thinks, I was already near death.

  The thought makes him chuckle and he considers writing something really steamy in the computer, just to show his future reader who he really is, the lusty Kip Dawson, a lover devoted to the female of the species who didn’t get much practice.

  He poises his fingers over the keyboard, visualizing Diana Ross, wondering how tastefully yet graphically he could describe how he’d like a night with her to unfold, a menu of delights with her pleasure at the center while Conway Twitty sings “Slow Hand” in the background. “Bolero,” he thinks, was never his style.

  Of course he could substitute any pretty female in such a narrative, but then it would be no more than mental masturbation. No, if he’s going to fantasize in writing, it should be Diana, whom he can see so clearly.

  Why shouldn’t I try my hand at erotic narrative? No one in her time will see it, and I’ve already said I was thinking about her that way.

  But then he feels a twinge of Puritanical alarm, as if even his demons will be straight-laced enough to be embarrassed at his prurient thoughts. But he needs a more practical reason to stay his hand, and he finds it in chivalrous concern for Diana. Even if his words weren’t found until she was a much older woman, such self-indulgent X-rated musings could embarrass her, and he would never want that.

  He laughs again at how different the mental wiring is between male and female, and how abysmally unaware most women are of the simplicity of the male mind on the subject of sex.

  Think driving force of life! Think the most beautiful element of life. Think I’d rather die without it.

  He’s had no hope of getting that through to Sharon, or getting her to understand how destructive her disinterest in making love has been, and how it’s essentially doomed them.

  So many things he should have changed. So many times he played it safe.

  Oh, great! he chuckles. I find the true meaning of life with less than two days of it left. Impeccable timing!

  He can see a lot of things more clearly now, having chronicled his entire life and come to the conclusion that at best he would give it a C minus. />
  No. Not even that good, Kip thinks. As an adult, I give myself an F.

  Then again, what sense does it make to spend the remaining hours whining and crying and carrying on? Nothing will change as a result, except that he’ll lose the chance to add to his narrative. Besides, death will be a new beginning. He believes that, doesn’t he?

  Kip feels a shudder ripple through him, a primal fear of what’s on the other side of that one-way door he’s facing. He remembers the adage that there are no atheists in a foxhole, and there are certainly none in Intrepid, but somehow all his philosophical thoughts about this existence and what happens next and why are being spread out on a table for some future universe to look at, and perhaps judge.

  Or not.

  In any event, he’ll know in two days how right or wrong he was, but suddenly all those musings seem infantile and untrustworthy.

  Kip closes his eyes and forces his mind back to his narrative. It’s safer there, like a warm and familiar room with four walls and window shades he can pull against reality. Intrepid itself has begun to feel a little like that, and for two days he’s been able to stay uniquely focused, living his life over again.

  Amazing, that focus, he thinks. Like Samuel Johnson said, “The prospect of being hanged in a fortnight most wonderously concentrates the mind.”

  He shakes his head. Johnson was talking about two weeks. He has two days.

  But he also has the keyboard in front of him and a hard drive that doesn’t know the difference between the real life he’s been writing about and the life he wishes he’d had and all the things he should have done.

  Virtual reality, virtual life. What is it they say in Hollywood? Do a rewrite? Good. I’ll rewrite my life the way it should have been.

  The idea begins to take hold, bringing a faint smile. It would be like taking control, having the power to determine his own destiny, rather than just being along for the ride. He can get just as crazy about it as he wants. He can replace his parents with a keystroke, have the brother he always wanted—maybe even an identical twin—and when it comes to girls, the possibilities are unlimited. The cutest gals in school will be his. The homecoming queen, the sexiest siren in town. Forget Lucy, he’ll marry a drop-dead gorgeous Ph.D. with a stand-up comedienne’s sense of humor and a Julia Child’s skill at cooking. Superwoman! Chef in the kitchen, lady in the parlor, and wild woman in the bedroom.