It’s not quite dawn yet as the Anita Blake gang head back to their sex criminal mansion. Olaf would like to know if he could have raped the whipped vampire. He doesn’t usually like girls, but there was just so much blood and it was all going to waste! Anita tries to provoke him again, before being firmly stopped by Edward.
“What aren’t you telling me?”
“Us,” Bernardo said. [proving he still exists] “What isn’t he telling us?”
“All right, what aren’t you telling us?”
“It’s not my secret to tell,” Edward said.
Um, why is everyone thinking Edward’s hiding something?
Look, LKH, I know that you already know the story. You created it, so you know everything that’s going to happen and why it’s going to happen. Unfortunately, it ruins the story when your characters know everything you know. They are not supposed to – they are supposed to develop over the course of the narrative. That’s the point of a story. Suddenly having all your characters know there’s this great secret, with it coming the fuck out of nowhere, spoils your story. I should not have to tell you this. It’s natural to have Edward warn Anita from antagonising Olaf; Olaf is a sadistic rapist, and that should be enough. You’re revealing what’s going to happen with the story before it should naturally come about. This is not how you write a good narrative.
When the gang arrives back, Edward tells Anita that she fits Olaf’s perfect victim profile. He didn’t tell Anita because he thought the rapist would ‘hold his act together’ when allowed to run free in a home with his ideal victim in it.
EDWARD YOU A TERRIBLE PERSON. THAT IS NOT HOW YOU TREAT A FRIEND, SERVING HER UP ON A PLATE TO GET RAPED.
Anita asks why the hell Olaf is even on the case, and Edward says he has a ‘speciality’. What, the perfect method of raping a woman?
Anita skips off to sit in her room. She’s guarded by a set of Russian dolls, who will make a noise if someone opens the door.
why can’t you stay in a hotel?
She then plays with her guns and thinks that her Uzi will chop Olaf in half.