Back Peter Pan Must Die Save as PDF
Chapters (74)
  1. Other Books by This Author
  2. Title Page
  3. Copyright
  4. Dedication
  5. Contents
  6. Prologue
  7. Part One: An Impossible Murder
  8. Chapter 1
  9. Chapter 2
  10. Chapter 3
  11. Chapter 4
  12. Chapter 5
  13. Chapter 6
  14. Chapter 7
  15. Chapter 8
  16. Chapter 9
  17. Chapter 10
  18. Chapter 11
  19. Chapter 12
  20. Chapter 13
  21. Chapter 14
  22. Chapter 15
  23. Chapter 16
  24. Chapter 17
  25. Chapter 18
  26. Chapter 19
  27. Part Two: Peter Pan
  28. Chapter 20
  29. Chapter 21
  30. Chapter 22
  31. Chapter 23
  32. Chapter 24
  33. Chapter 25
  34. Chapter 26
  35. Chapter 27
  36. Chapter 28
  37. Chapter 29
  38. Chapter 30
  39. Chapter 31
  40. Chapter 32
  41. Chapter 33
  42. Chapter 34
  43. Chapter 35
  44. Chapter 36
  45. Chapter 37
  46. Chapter 38
  47. Chapter 39
  48. Part Three: All the Evil in the World
  49. Chapter 40
  50. Chapter 41
  51. Chapter 42
  52. Chapter 43
  53. Chapter 44
  54. Chapter 45
  55. Chapter 46
  56. Chapter 47
  57. Chapter 48
  58. Chapter 49
  59. Chapter 50
  60. Chapter 51
  61. Chapter 52
  62. Chapter 53
  63. Part Four: Perfect Justice
  64. Prologue
  65. Chapter 54
  66. Chapter 55
  67. Chapter 56
  68. Chapter 57
  69. Chapter 58
  70. Chapter 59
  71. Chapter 60
  72. Chapter 61
  73. Chapter 62
  74. Acknowledgments

“So, what’s this ‘precaution’ thing you mentioned?” No surprise to Gurney, that was the first question Kyle asked when they sat down to eat twenty minutes later.

Instead of downplaying the threat, which would be his natural inclination, Gurney recounted the attack on Hardwick’s house and the atrocity in Cooperstown in straightforward terms. If he was going to have to persuade Kyle to leave—for home or another safe place, at least by the following morning—it would make no sense to soft-pedal the peril now.

As Gurney spoke, his son listened with silent concern—as well as the visible excitement that a hint of danger often arouses in young men.

After they ate, Kyle set up his laptop on the dining table and Gurney gave him the USB drive with the Axton Avenue video files. They located the two short segments Gurney wanted enhanced. The first was the portion of the cemetery sequence beginning with Carl rising from his chair and ending with him sprawled face-down with a bullet in his brain. The second was the portion of the street sequence that showed the diminutive figure Gurney believed to be Petros Panikos entering the building with the gift-wrapped box that presumably contained the rifle later found upstairs in the apartment.

Kyle was studying the images on his computer screen. “You want these blown up for max detail with minimum software interpolation?”

“Say that again?”

“When you blow stuff up, you spread out the actual digital data. The image gets bigger but also fuzzier, because there’s less hard information per square inch. Software can compensate for that by making assumptions, filling in the data gaps, sharpening, smoothing. But that introduces an element of unreliability in the image because not everything in the enhancement is present in the original pixels. In order to de-fuzz the enlargement, the software makes calculated guesses based more on probability than on hard data.”

“So what are you recommending?”

“I’d recommend picking a point of reasonable compromise between the sharpness of the enlargement and the reliability of the data composing it.”

“Fine. Aim for whatever balance you think is right.” Gurney smiled not only at his son’s grasp of the process but also at the excitement in his voice. He seemed the happy archetype of that under-thirty generation born and bred with a natural affinity for all things digital.

“Just give me a little time to mess around with a few test runs. I’ll let you know when I have something worth looking at.” Kyle opened the program’s toolbar, clicked on one of the zoom icons, then stopped. He looked over at Gurney, who was carrying their omelet dishes to the sink island, and asked a question that seemed to come out of nowhere.

“Apart from dealing with sensational murders and things, how’re you guys doing up here?”

“How are we doing? Okay, I guess. Why do you ask?”