Mortal Fear. Greg Iles

far. This group represents a significant but minority number of total female subscribers, approximately twenty-three percent. Five hundred seventy-eight women.

       Lenz also argues that allowing Brahma to continue on EROS will give the FBI time to track him through the phone lines, which Agent Baxter assures both Jan and myself will be but a matter of a day or two. The local police departments seem to have a lot of faith in this argument and will probably relent. Bureaucratic panic always gives weight to the quick-fix solution. But I don’t share Baxter’s faith in the phone-trace strategy. Brahma has been killing women for some time. He had enough forethought to murder a man for his online identity. Surely he realized that the day would come when the police would attempt to trace him to his lair by phone. N’est-ce pas?

      I have my own theories about Brahma’s modus operandi, but I choose not to share them with Lenz at this point. The time may come when I need bargaining chips with this man.

      Ciao.

      Hearing Miles’s flamboyant email style repeated by a mindless android voice is singularly unsettling. Yet even through the insectile drone, I heard one thing distinctly: Miles Turner is having fun.

      His second message is much briefer.

      The Strobekker account went active under the alias “Shiva” at 7:42 P.M. Baxter’s techs traced the call from our office through a couple of Internet nodes in the Midwest to New Jersey, through a transatlantic satellite to London, then back into New Jersey. By that time he’d dropped off. They’re pulling out the stops, and they’re faster at it than I thought possible, but they don’t know much more than they did before they started. The atmosphere is like Mission Impossible—a bunch of guys in suits and ties playing with gadgets. Do you think Brahma wears a tie?

      Ciao.

      I roll off the bed and sit down at the EROS computer. Feeling more than a little paranoid, I print out hard copies of Miles’s messages, then delete them from the computer’s memory. Part of me wants to log onto Level Three and lurk in the background, searching for traces of Strobekker or Shiva or Brahma or whoever he is. But something has been itching at the back of my brain since I talked to the FBI. Ever since I realized Baxter and Lenz might leave EROS up and running despite the fact that women are in danger. I have friends on EROS. More than friends. And no matter what Miles or Jan or the FBI think is prudent, I have a duty to warn those people.

      My closest friend on EROS is a woman who calls herself Eleanor Rigby. Her choice of alias was probably influenced by one of the stranger informal customs that has developed on EROS. For some reason, wild or obscure code names like “Electric Blue” or “Leather Bitch” or “Phiber Phreak”—so common on other networks—were absent on EROS from the beginning. It wasn’t company policy to discourage them, but somehow a loose convention evolved and was enforced by community consensus, more a matter of style than anything else. Apparently EROS subscribers prefer their correspondents to possess actual names for aliases, rather than surreal quasi-identities. All in all I think this has benefited the network; it has kept things more human.

      The interesting thing is that while outlandish noms de plume are discouraged, the practice of assuming names made famous by literary, musical, or film works is very popular. I frequently see messages addressed from Holden Caulfield to Smilla Jaspersen, from the Marquis de Sade to Oscar Wilde, or from Elvis Presley to Polythene Pam. Moreover, it seems that at least some of the subscribers choose their famous (or infamous) pseudonyms to fit their own personalities. In the case of “Eleanor Rigby”—an alias that belongs to a woman named Eleanor Caine Markham—I’m positive the name was chosen out of a deep affinity for the character in the Beatles song. Eleanor Markham is a moderately successful mystery writer from Los Angeles who, except for a second job, rarely leaves her house. The same melancholy sense of loneliness that pervades the Lennon-McCartney tune shadows more than a few of her messages.

      Yet Eleanor’s second job seems wholly out of character with this first image. To supplement her income, she sometimes works as a body double for major actresses who have reached that exalted status where they do not have to agree to remove their clothes on-screen to win roles. I know it’s sexist, but I always imagined women who had these jobs as airheaded blondes with exquisite bodies but common faces who spent their days at the spa working on their legs and abs or at their plastic surgeon’s getting their boobs reinflated. I have never seen Eleanor Markham’s face—her mystery novels carry no jacket photos—but everything I have learned about her confirms an opposite truth. When Eleanor is not exposing her derriere or breasts or whatever for the camera, she is sitting in her Santa Monica beach house writing very literate, wry whodunits or talking to anonymous friends via her computer.

      Her explanation for these seemingly contradictory lifestyles is that she has a sister who was confined to a wheelchair for life by spinal injuries received in a traffic accident. Eleanor feels her sacred duty is to take care of this sister as her parents would have, were they still alive. I cannot fault her reasoning.

      All that said, let me confess the obvious: Eleanor Rigby is my online lover. My digital squeeze. What do I know about her other than what I’ve already revealed? She is thirty years old. She has never had plastic surgery. She describes her face not as plain but as “real”—more Audrey Hepburn than Michelle Pfeiffer, but not as ethereal as Audrey. She has a wit like a razor and she is uniquely gifted at describing sex in words.

      She is also generous. Eleanor knows that two-way conversations are fine for foreplay but that typing requires the use of at least one hand. Thus, when she is getting me off, she is quite willing to type endless lines of charged erotica until the moment that I signal her with a relieved and heartfelt banality such as: Wow.

      I return the favor in a different way.

      Eleanor does not usually stimulate herself while online. She prefers that I compose lengthy email messages that she can print out and peruse free from any constraints on time or dexterity. I’m sure the proximity of her disabled sister has something to do with this. This is also why Eleanor is registered to EROS on a blind-draft account. She apparently reads many of my printed messages while locked in the bath.

      Tonight I query her the moment I log on. Eleanor frequently lurks in silence, eavesdropping on the conversations of others (searching for material for her novels, she tells me) and so is often present when I send out my usual query. I type:

      HARPER> Father MacKenzie calling.

      Eleanor is the only EROS client with whom I use my real name. There is a delay of thirty seconds or so, then:

      ELEANOR RIGBY> Hello, Harper dear. What are you in the mood for?

      HARPER> I need to talk to you.

      ELEANOR RIGBY> Talk as in _talk_? <g>

      (The <g> symbol stands for “grin.” The lines preceding and following a word indicate emphasis, in place of italics.)

      HARPER> Yes, just talk. Meet me in Room 64.

      ELEANOR RIGBY> Hmm. I guess the little woman talked you into it this week, eh?

      Yes, like a corporeal mistress, Eleanor knows my marital situation. Some of it, anyway. With a twinge of guilt I mouse into the private room designated Room 64 and type:

      HARPER> No present erection, thank you.

      ELEANOR RIGBY> Too bad. Should I sharpen up my pencil?

      HARPER> No. This is serious.

      ELEANOR RIGBY> How ominous. Is this a Dear John letter?

      HARPER> No.

      ELEANOR RIGBY> Well, then?

      HARPER> You must keep what I am about to tell you absolutely between us.

      ELEANOR RIGBY> My lips are sealed. And if you make a horrid male pun I shall disconnect.

      HARPER> You’re in danger, Eleanor.

      She doesn’t respond for several beats.

      ELEANOR RIGBY> What kind of danger?