David ed. - Face Off (2014) Anthology

“I not only want one, it’ll give me something to do while I’m watching,” Lucas said. “Some reason to be sitting there.”

Lucas ambled back around the block, carrying his brown-paper sandwich bag, and found a stoop fifty yards down the block from the entrance to Verlaine’s studio. He sat down, took Thom’s ham-and-cheese out of the sack, took a bite, and said, aloud, “That’s a great ham-and-cheese.”

He was thinking about the fact that you almost couldn’t buy a great ham-and-cheese in the Twin Cities, and why that might be, but that you could get a great one in Des Moines or Chicago, and then thought about Chicago being the “hog butcher to the world,” when a man stuck his head out of the door behind him and said, “This look like a fuckin’ cafeteria? Hit the road, asshole.”

Lucas chewed and swallowed, then shook his cell phone out of his pocket and dialed Lily, ostentatiously pushed the speakerphone button, and, when she answered, said, “I’m being hassled by a guy across the street from the target, at 219—how long would it take to get, say, a half dozen building inspectors here? The place doesn’t look so sturdy.”

“I could have them there in an hour,” Lily said.

Lucas looked at the guy in the doorway. “An hour good for you?”

“Stay as long as you want,” the guy said, and eased the door shut.

Five minutes after that, a white van drove by Verlaine’s building, and the guy in the passenger’s seat took a close look at Lucas, and then nodded to him. Lucas nodded back. The van reappeared another five minutes later, going in the opposite direction, and this time the driver nodded to him.

Ten minutes after that, Amelia called: “We got the blocking squad here. Lincoln and I are coming around.”

And Lily: “One minute.”

The entry team arrived in two white, unmarked vans, closely followed by Lily in an unmarked car, another unmarked car, Amelia’s car, and two patrol cars. Behind them all, Lincoln’s van turned the corner. Lucas jogged down the street toward them as the vans stopped directly in front of Verlaine’s stoop and two guys carrying an entry ram hustled up to the door; four cops in armor were right behind them, and as Lucas came up, the ram handlers smashed the door open, and the armored cops went in.

Lucas was right there with Lily, and as they piled into the entryway, the team suddenly stopped, there was some milling, and the team leader called, “We got a body.”

Lily and Lucas shouldered their way from behind through the crowd, with Amelia a step behind, and they turned the corner at the door that went into the studio.

Verlaine was there, staring sightlessly at one of his sculptures. His head was a bloody mess, and a semiauto pistol lay on the floor by his fingertips.

“Got some brass,” Amelia said; she sounded like a professor of murder, her voice cool and analytical. Lucas saw the shell sitting by Verlaine’s foot. Then Amelia turned to the entry-team leader and said, “We’ve got to clear the building. But just two guys on this floor, and stay out on the perimeter, away from the kill site.”

The team leader nodded, and started calling names.

Lincoln pushed through the crowd in his chair, saw the body. Lily said to him, “This could solve a lot of problems.”

“Yes, it could,” he said. “But the statistics say that it probably won’t.”

“What do you mean?”

“Serial killers don’t often commit suicide. They like the attention they get from us. The spree killers, who are going through a psychotic break. They’ll kill themselves almost every time, if you give them a chance. It’s either a problem or an opportunity,” Lincoln said.

“Opportunity?”

“If he didn’t kill himself, it’s a problem,” Lincoln said. “If he did, I might get a nice paper out of it.”

“HOW BAD IS IT, SACHS?”

Looking over Verlaine’s apartment, she said, “Seen worse.” She was speaking to Lincoln, who was outside on the street in front of the place. They were connected via a headset and stalk mic.

Her judgment had nothing to do with the unpleasant detritus of gore and bits of bone littering the sculptor’s floor near the body (in fact, head wounds produce minimal blood flow). What she meant was that the place was relatively uncontaminated. If scenes were left virgin after the crime, forensic teams would have a much easier time processing the evidence. But that rarely happened. Bystanders, souvenir hunters, looters, grieving family members would pollute the scene with trace evidence, smear fingerprints, and walk off with everything from telltale epidermal cells to the murder weapon itself. And some of the worst offenders were the first-responders. Understandably, of course; saving lives and clearing a scene of the bad guys take priority. But leads have been destroyed and suspects found not guilty because otherwise solid evidence was destroyed by tactical teams and EMTs.

Here, though, once it looked like Verlaine had offed himself, the entry team backed out and let Lily and Amelia, armed with their Glocks, clear the place. They were careful not to disturb anything.

Then Lily backed away and let the expert do her thing. Now in her crime scene unit overalls, booties, and hood, Amelia was walking carefully through the fifty-by-fifty open space.

“It’s like a junkyard, Rhyme.”

Workbenches were littered with tools and slabs of metal and stone and instruments, welding masks, gloves, and leather jackets so thick they seemed bulletproof. The floor was equally cluttered. Rough-hewn wooden boxes holding ingots of metal. Pallets loaded with stone and more scrap. Gas tanks filled one wall. Hand trucks and jacks. Electric saws and drill presses. Overhead, a series of rails and tracks ran throughout the space at ceiling height, about fifteen feet up. These held electric pulleys and winches for transporting loads of metal and the finished sculptures throughout the space. Rusty chains and hooks dangled.

How homey, Amelia thought.

And everywhere: Verlaine’s sculptures, made of metal sheets and bars and rods, welded or soldered or bolted together. Bronze mostly, but some iron and steel and copper. It was as if he couldn’t bear to have a space in his studio not presided over by one of his ladies.

And ladies in extremis.

Though the works were impressionistic, there was no doubt what each one depicted, a woman in pain, just as horrific as Lucas Davenport had described. Bent over backward, on all fours, tied down on their backs, crying in agony, pleading. Some were pierced by lengths of rebar reinforcing rods.

She forced herself to look past the disturbing sculptures and get to work. Just because Verlaine apparently killed himself, Amelia didn’t search any less carefully. After all, suicide is technically a homicide. That the perp and the vic are the same simply means the investigators don’t have to hump as hard as in murder. But they still have to hump.

And in this case, of course, there was a lot at stake, even after Verlaine’s death. She was well aware that the sculptor might’ve kidnapped and stashed another victim somewhere else, chained underground, with only a few days to live before she died of thirst or bled out—if he’d been having some of his sick fun with her.

Amelia searched the hell out of the scene.

First, she processed the body, photographing and filming, then clearing and bagging the Glock he’d used, collecting the one spent nine-millimeter shell, swabbing his hands for gunshot residue and wrapping them in plastic bags as well.

She bagged his Dell laptop, along with the phone and iPad, noting that there’d been no hard copy or e-version suicide notes. She’d just run a case where a man’s farewell before leaping off the Fifty-ninth Street Bridge had been tweeted.