In Death 16 - Portrait in Death

through the skin and into the heart.
     
     
"What can you tell me?"
     
     
"That the toast will always fall jelly-side down."
     
     
"I'll put that in my file. The heart wound do the trick?"
     
     
"It did indeed. Very quick, very neat. A stiletto, an old-fashioned ice pick or similar weapon. He wanted no muss, no fuss."
     
     
"He? Was she sexually assaulted?"
     
     
"Using he in the general sense. No sexual assault. A few minor bruises, which may have been caused during transport. No muss, no fuss," he repeated. "He bandaged the wound. I've got traces of adhesive around it. A nice, neat circle. Probably NuSkin, which he removed when he was done. And this." He turned Rachel's hand, palm up. "Small round abrasion. Most likely from a pressure syringe."
     
     
"She doesn't look like the sort to pop illegals, and that'd be a strange place to skin pop. He injected her with something. Tranq, maybe."
     
     
"We'll see when we get the tox screen. No violence to the body but for the puncture. There are, however, very mild ligatures at the wrists, at the left knee, on the right elbow. See here."
     
     
He picked up a second pair of microgoggles.
     
     
"Restraints?" she asked as she took the goggles. "It's a funny way to restrain someone."
     
     
"We'll discuss the fun and games of bondage another time. Take a look first."
     
     
She fit on the goggles, bent over the body. She could see them now, the faint and thin lines that showed blue through the light.
     
     
"Wires of some kind," Morris said. "Not rope."
     
     
"To pose her. He used the wires to pose her. You can see the way the wire wrapped over one wrist, under the other. He folded her hands on her knee. Yeah, crossed her legs, wired her to the chair. You can't see them in the photograph, but he'd have taken that out during imaging."
     
     
She straightened, took one of the printouts from her bag. "This jibe for you with that theory?"
     
     
Morris pushed up his goggles, scanned the image. "The positioning works. So he takes pictures of the dead. That was a custom a couple of centuries ago, and it came back into fashion early this century."
     
     
"What kind of custom?"
     
     
"To pose the dead in an attitude of peace, then take their picture. People kept them in books designed for the purpose."
     
     
"It never fails to amaze me just how sick people are."
     
     
"Oh, I don't know. It was meant to comfort and remember."
     
     
"Maybe he wants to remember her," Eve mused, "but I think more, he wants to be remembered. I want her tox screen."
     
     
"Soon, my pretty. Soon."
     
     
"She didn't fight, or wasn't able to fight. So she knew him and trusted him, or she was incapacitated. Then he transported her to wherever he took this." She slid the image back in her bag. "She was either dead already, or he killed her there-I'm betting he did it there-bandaged her so she didn't bleed through the shirt, then he posed her, took his shots. He transports her again and dumps her in a recycler across the street from where she worked."
     
     
She began to pace. "So maybe her killer's from the neighborhood. Somebody who sees her every day, develops an obsession. Not sexual, but an obsession. He takes pictures of her, follows her around. He comes into the store, and she doesn't think anything of it. She's friendly. Probably knows him by name. Either that or someone from college. Familiar face, trusted face. Maybe he offers her a ride home, or a ride to school. Either way, he's got her.
     
     
"She knew his face," she murmured, looking down at Rachel, "just as well as he knew hers."
     
     
***
     
     
Mildly refreshed by a spin in the detox tube at the morgue, Eve pulled up at the curb in front of Professor Browning's high-dollar building.
     
     
"I thought teachers got paid worse than cops," she commented.
     
     
"I can do a standard run on her financials."
     
     
Eve stepped out of the car, then cocked her head and her hip as the doorman rushed over.
     
     
"I'm afraid you can't leave... that here."
     
     
"That is an official vehicle. This," she added, flipping it out, "is a badge. Since I'm going in there, on police business, that stays out here."
     
     
"There's a parking facility very nearby. I'd be happy to direct you."
     
     
"What you're going to do is open the door, go inside with me, and inform Professor Browning that Lieutenant Dallas, NYPSD, is here to speak with her. After that, you can come out here and direct people to Morocco for all I