Federalbrief

Chapter 5: The Investigator Switches Sides

Edward Marsh arrived forty minutes later.

He was sixty-one, grey-haired, and had the unhurried manner of a man who had seen most things and been surprised by very few of them.

He came in, set his briefcase on the study table, looked at Maya and Daniel without comment, and then looked at Arthur.

"Start from the beginning," he said.

Arthur did.

Edward did not interrupt.

He made notes in a small leather notebook with a pen that looked older than the notebook.

When Arthur finished, Edward read through the documents from Claire's folder without speaking.

Then he set them down.

"The email chain is usable," he said.

"The bank transfers are better.

Do you know who the investigator is?"

"No name.

Just the transfers."

"We can trace those." Edward made another note.

"What about the photograph?

The one from the drawer?"

"I have it."

"I'll need it.

And I'll need a written account from both children of exactly what happened today — what was said to them, by whom, in what order.

While it's fresh." He looked at Maya.

"Can you do that tonight?"

"Yes," Maya said.

"Good." He turned back to Arthur.

"The text.

The unknown number.

R."

Arthur slid his phone across the desk.

Edward looked at the message.

He didn't touch the phone.

"Have you replied?"

"No."

"Don't.

Not yet." He pushed the phone back.

"If this is the investigator, and they're reaching out independently, it means they're nervous.

Nervous people either run or they talk.

We want them to talk.

But we choose the terms."

Arthur nodded.

Edward closed his notebook.

"Here is where you are tonight.

You have documentary evidence of deliberate interference with a child placement process.

That is serious.

Depending on how it was done and what was communicated to the placement agency, it may constitute fraud.

It may constitute something worse." He paused.

"Victoria's father's lawyers will try to characterize this as a domestic dispute.

A bitter separation.

A mentally unstable woman making allegations." He looked at Arthur steadily.

"Which means we need to move before they do."

"How long do we have?"

"Victoria left this house tonight knowing you had found the photograph.

She will have called her father within the hour.

He will have called his lawyers within the hour after that." Edward glanced at his watch.

"It is now eleven forty.

I would estimate you have until morning before they begin constructing a counter-narrative."

Maya looked at Arthur.

"What does that mean for us?"

Edward answered before Arthur could.

"It means that tonight, you are safe here.

Tomorrow, we begin making sure that stays true." He said it without softness, but also without alarm.

The way a doctor names a condition — clearly, so the patient can act.

Daniel had been sitting quietly in the corner chair.

He spoke without looking up.

"She blocked four families," he said.

"Four families who wanted us."

Edward looked at him.

"Yes.

That's what the documents suggest."

"For two years."

"Yes."

Daniel looked up.

His expression was not angry.

It was something older than anger.

"I want that in the record," he said.

"Whatever happens.

I want that written down somewhere official."

Edward held the boy's gaze for a moment.

"It will be," he said.

"I'll make sure of it personally."

A knock at the front door.

Everyone in the room went still.

Arthur moved to the hallway.

He checked the window beside the door before opening it.

A man stood on the step.

Mid-forties.

Overcoat.

He was holding an envelope and looking at the ground, not at the door — the posture of someone who had rehearsed coming here and was now less certain than when they started.

Arthur opened the door.

The man looked up.

"Mr.

Calloway?"

"Yes."

"My name is Raymond Holt." He held out the envelope.

"I think you got my text."

Arthur looked at the envelope.

Then at the man.

"Come in," he said.

Raymond Holt stepped inside.

He saw Edward in the study doorway and stopped.

"I didn't know you'd have a lawyer here."

"Is that a problem?" Arthur asked.

Raymond looked at the envelope in his hand.

Then at Maya, who had appeared in the hallway.

Something shifted in his face when he saw her.

"No," he said quietly.

"It's not a problem." He held the envelope out to Arthur.

"I want to give you this before I say anything else.

So you know I'm not here to negotiate.

I'm here because what I did — what I was paid to do — I should have stopped it a long time ago."

Arthur took the envelope.

Inside: a full written report.

Dates, names, actions taken.

Every placement inquiry that had come through.

Every one that Raymond Holt had been paid to quietly derail.

The name of the agency contact Victoria had used.

The amounts.

The dates.

His own signature at the bottom of each page.

"I kept copies," Raymond said.

"Everything.

I kept copies of everything from the beginning because I knew — I knew the day she first called me — that this wasn't something I could walk away from clean." He looked at Maya again.

"I told myself it was just information.

Just research.

That I wasn't really hurting anyone." He stopped.

"I was wrong."

Edward stepped forward and took the report from Arthur.

He read the first page.

Then the second.

"Mr.

Holt," he said, without looking up.

"Are you willing to make a formal statement?"

"Yes."

"Are you willing to testify, if it comes to that?"

Raymond looked at the children.

"Yes," he said.

"Whatever it takes."

Arthur closed the front door.

Outside, somewhere across the city, Victoria was in her father's house.

She was telling her story.

She was building her case.

She was certain, the way she had always been certain, that her family's name and her father's money would absorb whatever came next.

She did not know that Raymond Holt was sitting in Arthur's study.

May you like

She did not know that Edward Marsh was already reading a document that carried her name on every page.

And she did not know that upstairs, Maya was writing down everything — every word, every moment, every year — in careful, steady handwriting that did not shake once.

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