Excerpts

Chapter One Suicide bombers are easy to spot. They give out all kinds of tell-tale signs. Mostly because they're nervous. By definition they're all first-timers. Israeli counterintelligence wrote the defensive playbook. They told us what to look for. They used pragmatic observation and psychological insight and came up with a list of behavioral indicators. I learned the list from an Israeli amy captain twenty years ago. He swore by it. Therefore I swore by it too, because at the time I was on three weeks' detached duty mostly about a yard from his shoulder, in Israel itself, in Jerusalem, on the West Bank, in Leb anon, sometimes in Syria, sometimes in Jordan, on buses, in stores, on crowded sidewalks. I kept my eyes moving and my mind running free down the bullet points. Twenty years later I still know the list. And my eyes still move. Pure habit. From another bunch of guys I learned another mantra: Look, don't see, listen, don't hear. The more you engage, the longer you survive. The list is twelve points long if you're looking at a male suspect. Eleven, if you're looking at a woman. The difference is a fresh shave. Male bombers take off their beards. It helps them blend in. Makes them less suspicious. The result is paler skin on the lower half of the face. No recent exposure to the sun. But I wasn't interested in shaves. I was working on the eleven-point list. I was looking at a woman. I was riding the subway, in New York City. The 6 train, the Lexington Avenue local, heading uptown, two o'clock in the morning. I had gotten on at Bleecker Street from the south end of the platform into a car that was empty except for five people. Subway cars feel small and intimate when they're full. When they're empty they feel vast and cavernous and lonely. At night their lights feel hotter and brighter, even though they're the same lights they use in the day. They're all the lights there are. I was sprawled on a two-person bench north of the end doors on the track side of the car. The other five passengers were all south of me on the long bench seats, in profile, side on, far from each other, staring blankly across the width of the car, three on the left and two on the right. The car's number was 7622. I once rode eight stops on the 6 train next to a crazy person who talked about the car we were in with the same kind of enthusiasm that most men reserve for sports or women. Therefore I knew that car number 7622 was an R142A model, the newest on the New York system, built by Kawasaki in Kobe, Japan, shipped over, trucked to the 207th Street yards, craned onto the tracks, towed down to 180th Street and tested. I knew it could run two hundred thousand miles without major attention. I knew its automated announcement system gave instructions in a man's voice and information in a woman's, which was claimed to be a coincidence but was really because the transportation chiefs believed such a division of labor was psychologically compelling. I knew the voices came from Bloomberg TV, but years before Mike became mayor. I knew there were six hundred R142As on the tracks and that each one was a fraction over fifty-one feet long and a little more than eight feet wide. I knew that the no-cab unit like we had been in then and I was in now had been designed to carry a maximum of forty people seated and up to 148 standing. The crazy person had been clear on all that data. I could see for myself that the car's seats were blue plastic, the same shade as a late summer sky or a British Air Force uniform. I could see that its wall panels were molded from graffiti-resistant fiberglass. I could see its twin strips of advertisements running away from me where the wall panels met the roof. I could see small cheerful posters touting television shows and language instruction and easy college degrees and major earning opportunities. I could see a police notice advising me: If you see someth Excerpted from Gone Tomorrow by Lee Child All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.