kept moving. There was a bus stop not far ahead, and if she was lucky her arrival there would coincide with a bus. On the bus, if one came, sheâd call Lamb again. If one came.
The streets were far from deserted. People in office clothes, others in T-shirts and shorts; shops were still open, though banks and bookies and so on had darkened their doors. Pubs and bars had theirs propped open, letting heat escape on a tangle of music and voices. The canal wasnât far, and it was the kind of summerâs evening when young people drifted that way, and shared picnics and wine on the benches, or unfolded blankets on grassy patches, where they could lie and text each other in drowsy comfort. And all Catherine had to do was raise her voice, shout for help . . .
And what would that get her? An exclusion zone. A woman having a meltdown in a heatwave: someone to avoid.
She risked a look behind. No bus. And nobody following. The soldier, if heâd been one, wasnât in sight, and Sean Donovan was nowhere.
At the bus stop she paused. The next bus would take her back the way sheâd come; it would drop her opposite Slough House, rewinding the evening to when sheâd emerged from the back lane. None of this would have happened, and in the morning sheâd look back on it as a minor blip; the kind of bump in the road recovering drunks learn to negotiate. Up at the junction the lights changed, and fresh traffic began flowing her way; she was hoping for a bus, but the largest vehicle among them was a black van, the same one that had just gone past in the opposite direction. Catherine left the bus stop, her heart beating faster. One soldier, two soldiers; a recurring black van. Some things were echoes from a drunken past. Others werenât.
Why on earth would anyone be targeting her?
A question for another time. For the moment, she had to go to ground.
Before the approaching traffic reached her, she darted across the road.
On his way to the bar Marcus had called into the gents, for the relief of a few solo minutes, and finding the cubicle free had occupied it to contemplate what had happened to his life. This past whileâsince his exile to Slough House, certainly, but more specifically the past two monthsâit had been heading down the toilet. No wonder he felt calmer in here than out there.
Back when everything was as it should have been, one of Marcusâs combat instructors had laid down a law: control is key. Control the environment, control your opponent. Most of all, control yourself. Marcus got that, or thought he got it, first time of hearing, but had soon discovered it was the large-print version: control didnât just mean keeping a lid on, it meant nailing that lid down tight. Meant making yourself into one of those soldierâs tools, the kind that fold away until theyâre all handle, no blade, and only snap open when needed.
But the thing about trainingâand Marcus wasnât the first to notice thisâwas it filled you with skills that remained unflexed. Lots of stuff heâd had crammed into him, like how to bury himself in woodland for forty-eight hours straight, hadnât been called on since. Heâd kicked some doors down, and not so long ago had placed a nicely tight circle of bullets inside a human being, but by and large his career hadnât made demands. And now Slough House, the slow annihilation of every ambition heâd ever had . . . The control factor was the only thing keeping him sane. Every day he nailed himself down, did what he was told, as if this might prove worthy of reward in the long run. And this despite what heâd been told by Catherine Standish, right at the start; that every slow horse knows thereâs no going back, apart from that small part of every slow horse that thinks: except, maybe, for me . . .
And control, of course, was where the gambling came inâceding control was what gave him the kick. No matter how much he