Dolores shuts her eyes halfway and grips your wrist with surprising force.
“Blue envelope,” she breathes again. “Not the office. The chapel.”
You want to ask what chapel. You want to ask who did it. You want to ask whether she can move, whether she needs an ambulance, whether she has been conscious this whole time listening to the men who stood over her bed and discussed her body as if she were already furniture. But before you can speak, her grip loosens. Her eyes cloud. Her face goes slack. It is so abrupt you would swear the woman who whispered to you a second ago never existed.
You spend the next ten minutes shaking.
Not crying. Shaking. You pace the kitchen, then the hall, then stand under the vent with cold air blowing onto your face while you watch the feed from the hallway camera on the security tablet Michael left behind. No movement. No cars. No one at the gate. Yet the house no longer feels empty. It feels occupied by information, and information is its own kind of predator.
