"Okay."
"I'll see you later, then," Reardon said. He smiled, and turned away.
The makeup woman moved back in front of her again. "Look up," she said. Casey stared at the ceiling. "He's very nice," the makeup woman said. "A sweet man, underneath it all. Dotes on his children."
She heard Malone call out, "How much more time, guys?"
Someone said, "Five minutes."
"Sound?"
"We're ready. Just give us the bodies."
The makeup woman began to powder Casey's neck. Casey winced, feeling twinges of pain. "You know," the woman said, "I have a number you can call."
"For what?"
"It's a very good organization, very good people. Psychologists mostly. And extremely discreet. They can help you."
"With what?"
"Look left, please. He must have hit you pretty hard."
Casey said, "I fell."
"Sure, I understand. I'll leave my card, in case you change your mind," the makeup woman said, using the powder puff. "Hmm. I better get some base on that, to take the blue out." She turned back to her box, got a piece of sponge with makeup on it. She began to daub it onto Casey's neck. "I can't tell you how much I see, in my line of work, and the woman always denies it. But domestic violence has to be stopped."
Casey said, "I live alone."
"I know, I know," the makeup woman said. "Men count on your silence. My own husband, Jeez, he wouldn't go into counseling. I finally left with the kids."
Casey said, "You don't understand."
"I understand that when this violence is going on, you think there's nothing you can do. That's part of the depression, the hopelessness," the makeup woman said. "But sooner or later, we all face the truth."
Malone came over. "Did Marty tell you? We're mostly doing the accident, and he'll probably start with that. But he may mention the China sale, and the unions. Just take your time. And don't worry if he jumps around from one thing to another. He does that."
"Look right," the makeup woman said, doing the other side of her neck. Casey turned to the right. A man came over and said, "Ma'am? Can I give you this?" and he thrust a plastic box into her hands, with a dangling wire.
"What is it?" Casey said.
"Look right, please," the makeup woman said. "It's the radio mike. I'll help you with it in a minute."
Her cell phone rang, in her purse on the floor beside her chair.
'Turn that off!" someone shouted.
Casey reached for it, flipped it open. "It's mine."
"Oh, sorry."
She brought the phone to her ear. John Marder said, "Did you get the folder from Eileen?"
"Yes."
"Did you look at it?"
"Not yet," she said.
"Just lift your chin a little," the makeup woman said.
On the telephone, Marder said, "The folder documents everything we talked about Parts report on the reverser cowl, everything. It's all there."
"Uh-huh ... Okay ..."
"Just wanted to make sure you're all set."
"I'm all set," she said.
"Good, we're counting on you."
She clicked the phone off, turning the power switch off.
"Chin up," the makeup woman said. 'That's a girl."
When makeup was finished, Casey stood, and the woman brushed her shoulders with a little brush, and put hair spray in her hair. Then she took Casey into the bathroom, and showed her how to thread the mike wire up under her blouse, through her bra, and clip it to her lapel. The wire ran back down inside her skirt, then back up to the radio box. The woman hooked the box to the waistband of Casey's skirt, and turned the power on.
"Remember," she said. "From now on, you're live. They can hear whatever you say."
"Okay," Casey said. She adjusted her clothes. She felt the box pinching at her waist, the wire against the skin of her chest She felt cramped and uncomfortable.
The makeup woman led her back into the War Room, holding her by the elbow. Casey felt like a gladiator being taken into the arena.
Inside the War Room, the lights were glaring. The room was very hot. She was led to her seat at the table, told to watch she didn't trip over the camera cables, and helped to sit down. There were two cameras behind her. There were two cameras facing her. The cameraman behind her asked her to please move her chair an inch to the right. She did. A man came over and adjusted her microphone clip, because he said there was clothing noise.
On the opposite side, Reardon was attaching his own microphone without assistance, chatting with the cameraman. Then he slipped easily into his chair. He looked relaxed, and casual. He faced her, smiled at her.
"Nothing to worry about," he said. "Piece of cake."
Malone said, "Let's go, guys, they're in the chairs. It's hot in here."
"A camera ready."
"B camera ready."
"Sound ready."
"Let's have the lights," Malone said.
Casey had thought the lights were already on, but suddenly, new harsh lights blazed down at her, from all directions. She felt as if she were in the middle of a glaring furnace.
"Camera check," Malone said.
"Fine here."
"We're fine."
"All right," Malone said. "Roll tape."
The interview began.
WAR ROOM
2:33 P.M.
Marty Reardon met her eyes, smiled, and gestured to the room. "So. This is where it all happens."
Casey nodded.
"This is where the Norton specialists meet to analyze aircraft accidents."