“Well, that’s helpful.”
“Forget it.”
For once, Buchanan chose not to pursue the argument. Beyond the car to their right, Vasquez watched men and women walking past the windows of ground-level businesses, tech stores and clothing stores and a bookstore and an office whose purpose she could not identify. Over their wrought-iron balconies, the windows of the apartments above showed the late-afternoon sky, its blue deeper, as if hardened by a day of the sun’s baking. Because of him, I lost everything that was good in my life. Because of that fucker, I did time in prison—fucking prison. Plowman’s declaration sounded in her ears. Insofar as the passion on his face authenticated his words, and so the purpose of their mission, his brief monologue should have been reassuring. And yet, and yet . . .
In the moment before he drove his fist into a prisoner’s solar plexus, Plowman’s features, distorted and red from the last hour’s interrogation, would relax. The effect was startling, as if a layer of heavy makeup had melted off his skin. In the subsequent stillness of his face, Vasquez initially had read Plowman’s actual emotion, a clinical detachment from the pain he was preparing to inflict that was based in his utter contempt for the man standing in front of him. While his mouth would stretch with his screams to the prisoner to Get up! Get the fuck up! in the second after his blow had dropped the man to the concrete floor, and while his mouth and eyes would continue to express the violence his fists and boots were concentrating on the prisoner’s back, his balls, his throat, there would be other moments, impossible to predict, when, as he was shuffle-stepping away from a kick to the prisoner’s kidney, Plowman’s face would slip into that nonexpression, and Vasquez would think that she had seen through to the real man.
Then, the week after Plowman had brought Vasquez onboard what he had named the White Detail, she’d found herself sitting through a Steven Seagal double feature—not her first or even tenth choice for a way to pass three hours, but it beat lying on her bunk thinking, Why are you so shocked? You knew what Plowman was up to—everyone knows. An hour into The Patriot, the vague sensation that had been nagging at her from Seagal’s first scene crystallized into recognition: that the blank look with which the actor met every ebb and flow in the drama was the same as the one that Vasquez had caught on Plowman’s face—was, she understood, its original. For the remainder of that film and the duration of the next (Belly of the Beast), Vasquez had stared at the undersized screen in a kind of horrified fascination, unable to decide which was worse: to be serving under a man whose affect suggested a sociopath, or to be serving under a man who was playing the lead role in a private movie.
How many days after that had Just-Call-Me-Bill arrived? No more than two, she was reasonably sure. He had come, he told the White Detail, because their efforts with particularly recalcitrant prisoners had not gone unnoticed, and his superiors judged it would be beneficial for him to share his knowledge of enhanced interrogation techniques with them—and no doubt, they had some things to teach him. His back ramrod straight, his face alight, Plowman had barked his enthusiasm for their collaboration.
After that, it had been learning the restraints that would cause the prisoner maximum discomfort, expose him (or occasionally, her) to optimum harm. It was hoisting the prisoner off the ground first without dislocating his shoulders, then with. Waterboarding, yes, together with the repurposing of all manner of daily objects, from nail files to pliers to dental floss. Each case was different. Of course you couldn’t believe any of the things the prisoners said when they were turned over to you, their protestations of innocence. But even after it appeared you’d broken them, you couldn’t be sure they weren’t engaged in a more subtle deception, acting as if you’d succeeded in order to preserve the truly valuable information. For this reason, it was necessary to keep the interrogation open, to continue to revisit those prisoners who swore they’d told you everything they knew. These people are not like you and me, Just-Call-Me-Bill had said, confirming the impression that had dogged Vasquez when she’d walked patrol, past women draped in white or slate burqas, men whose pokool proclaimed their loyalty to the mujahideen. These are not a reasonable people, Bill went on. You cannot sit down and talk to them, come to an understanding with them. They would rather fly an airplane into a building full of innocent women and men. They would rather strap a bomb to their daughter and send her to give you a hug. They get their hands on a nuke, and there’ll be a mushroom cloud where Manhattan used to be. What they understand is pain. Enough suffering, and their tongues will loosen.
Vasquez could not pin down the exact moment Mr. White had joined their group. When he had shouldered his way past Lavalle and Maxwell, his left hand up to stop Plowman from tilting the prisoner backward, Just-Call-Me-Bill from pouring the water onto the man’s hooded face, she had thought, Who the hell? And, as quickly, Oh—Mr. White. He must have been with them for some time for Plowman to upright the prisoner, Bill to lower the bucket and step back. The flint knife in his right hand, its edge so fine you could feel it pressing against your bare skin, had not been unexpected. Nor had what had followed.
It was Mr. White who had suggested they transfer their operations to the Closet, a recommendation Just-Call-Me-Bill had been happy to embrace. Plowman, at first, had been noncommittal. Mr. White’s . . . call it his taking a more active hand in their interrogations . . . had led to him and Bill spending increased time together. Ruiz had asked the CIA man what he was doing with the man whose suit, while seemingly filthy, was never touched by any of the blood that slicked his knife, his hands. Education, Just-Call-Me-Bill had answered. Our friend is teaching me all manner of things.
As he was instructing the rest of them, albeit in more indirect fashion. Vasquez had learned that her father’s stories of the Villa Grimaldi, which he had withheld from her until she was fifteen, when over the course of the evening after her birthday she had been first incredulous, then horrified, then filled with righteous fury on his behalf, had little bearing on her duties in the Closet. Her father had been an innocent man, a poet, for God’s sake, picked up by Pinochet’s Caravana de la Muerte because they were engaged in a program of terrorizing their own populace. The men (and occasional women) at whose interrogations she assisted were terrorists themselves, spiritual kin to the officers who had scarred her father’s arms, his chest, his back, his thighs, who had scored his mind with nightmares from which he still fled screaming, decades later. They were not like you and me, and that difference authorized and legitimized whatever was required to start them talking.
By the time Mahbub Ali was hauled into the Closet, Vasquez had learned other things, too. She had learned that it was possible to concentrate pain on a single part of the body, to the point that the prisoner grew to hate that part of himself for the agony focused there. She had learned that it was preferable to work slowly, methodically—religiously, was how she thought of it, though this was no religion to which she’d ever been exposed. This was a faith rooted in the most fundamental truth Mr. White taught her, taught all of them—namely, that the flesh yearns for the knife, aches for the cut that will open it, relieve it of its quivering anticipation of harm. As junior member of the detail, she had not yet progressed to being allowed to work on the prisoners directly, but it didn’t matter. While she and Buchanan sliced away a prisoner’s clothes, exposed bare skin, what she saw there, a fragility, a vulnerability whose thick, salty taste filled her mouth, confirmed all of Mr. White’s lessons, every last one.
Nor was she his best student. That had been Plowman, the only one of them to whom Mr. White had entrusted his flint knife. With Just-Call-Me-Bill, Mr. White had maintained the air of a senior colleague; with the rest of them, he acted as if they were mannequins, placeholders. With Plowman, though, Mr. White was the mentor, the last practitioner of an otherwise-dead art passing his knowledge on to his chosen successor. It might have been the plot of a Steven Seagal film. And no Hollywood star could have played the eager apprentice with more enthusiasm than Plowman. While the official cause of Mahbub Ali’s death was sepsis resulting from improperly tended wounds, those missing pieces of the man had been parted from him on the edge of Mr. White’s stone blade, gripped in Plowman’s steady hand.