“Let’s be honest. You’re onto something because you’re looking for something,” Berger said, as if to imply that Lucy wasn’t honest. “You’re trying to find evidence of what you perceive is the crime.”

“I’m finding evidence because he’s leaving it,” Lucy said. They had been arguing about Hap Judd for weeks. “I don’t know why you’re so reticent. Do you think I’m making this stuff up?”

“I want to talk to him about Hannah Starr, and you want to crucify him.”

“You need to scare the hell out of him if you want him to talk. Especially without a damn lawyer present. And I’ve managed to make that happen, to get you what you want.”

“If we ever get out of here and he shows up.” Berger moved away from the computer screen and decided, “Maybe he’s playing an anthropologist, an archaeologist, an explorer in his next film. Some Raiders of the Lost Ark or another one of those mummy movies with tombs and ancient curses.”

“Right,” Lucy said. “Method acting, total immersion in his next twisted character, writing another one of his piss-poor screenplays. That will be his alibi when we go after him about Park General and his unusual interests.”

“We won’t be going after him. I will. You’re not going to do anything but show him what you’ve found in your computer searches. Marino and I will do the talking.”

Lucy would check with Pete Marino later, when there was no threat that Berger could overhear their conversation. He didn’t have any respect for Hap Judd and sure as hell wasn’t afraid of him. Marino had no qualms about investigating someone famous or locking him up. Berger seemed intimidated by Judd, and Lucy didn’t understand it. She had never known Berger to be intimidated by anyone.