“Think of it this way. A sixteen year old who keeps a diary doesn’t lie to herself in her diary, right?”
“There’s no reason to. She’s writing to herself.”
“Exactly. So when you look at an offender, it’s best to look at his diary, which is the crime scene. He doesn’t lie to himself when he commits the crime. These behaviors, these things the offender has done after he’s killed his victim, are all over the crime scene, and they tell us a lot about him.”
“Like stabbing the eyes.”
“Right. Stabbing the eyes doesn’t prevent him from getting caught, and he doesn’t do it to disable the victim—she’s already dead.”
“So then why does he do it?”
“That’s the key question, Robby. Most of these offenders begin these behaviors when they’re young. For Dead Eyes, stabbing the eyes is part of a fantasy that kept evolving, developing over time. What we find repulsive is normal, even comforting to him. We find out why he finds it comforting, and we’re a step closer to understanding who this guy is. Understand who he is, and we can narrow the suspect pool. See, we don’t catch the bad guys, we give you dicks the information that helps you look at your suspects and say, this one fits, this one doesn’t.” She shivered. “Let’s go in, I’m freezing.”
“So why would a guy stab a woman in the eyes?”
“First of all, you can’t consider all the possibilities of why he did something. It’ll take you in a million different directions and you’ll never be able to focus. Only look at what’s most probable. So for the eyes, think symbolism,” she said as they walked through the hallway. “Maybe he didn’t want her to see what he was doing. Or maybe he’d met her somewhere and made a pass. She rejected him, and this was his way of making her pay for not seeing his true value. Or piercing the eyes may be sexual in nature. Maybe he’s incapable of having an erection.”
“I’d say it was probably rejection.”
“You can’t say it was anything. Not yet, anyway. A profiler has to come into the crime scene with her eyes wide open. No preconceived notions, no trying to attach labels to things. Consider the scene one fact at a time.” They stood at the doorway to the bedroom. “I’ve got some binders back in my office I can give you to read. Notes and research articles. They’ll give you an overview of all this stuff.”
“Cool.”
Vail nodded. “Okay, let’s go in again. And remember, you’re not looking at forensics. Keep an open mind and take what’s there, what the offender has given you. No biases.”
“Okay.”
Vail walked in and saw the other task force members standing at the foot of Melanie’s bed, staring at the wall.
“Those dot painters,” Hancock said.
“What?” Bledsoe asked.
“Those painters from like, a hundred years ago. They had a weird way of painting. See the wall, the paint strokes?”
Vail moved beside Bledsoe to get Hancock’s perspective. “That’s ridiculous,” she said. “It’s blood, not paint.”
“You of all people should appreciate this, Vail.” Hancock looked at her. “These walls are filled with psycho stuff. Rorschachs all over the place.”
“Your mind’s as twisted as the offender’s.”
“Hang on,” Manette said, holding up a hand. She gestured to Hancock. “Tell us what you’re thinking.”
“The painters who used dots to paint their pictures,” he said. “That’s what this looks like.”
Vail studied the blood patterns on the wall. “Pointillism or Impressionism?” she finally asked. “Pointillism involved dot painting. If I had to fit this into a category, I’d say this looks more like Impressionism to me.”
Bledsoe eyed her curiously.
“Art history/psych double major,” she explained.
Hancock tilted his chin ever so slightly toward the ceiling, as if looking down at Vail through reading glasses. “So, Miss Art History Major, still think my mind’s twisted?”
“I do,” Vail said, “but it’s got nothing to do with this case.”
“Let’s get some shots,” Bledsoe said to the forensic technician. “Wide angles, close-ups of all the walls.” He turned to Vail and said, under his breath, “Just in case. I think the guy’s onto something.”
Vail frowned, but she knew Bledsoe—and Hancock—were right. The blood murals were worth reviewing. In rejecting Hancock’s observation due to her prior history with him, she had broken the cardinal rule on which she had just counseled Robby: go in with an open mind and don’t bring any personal biases to the scene. She would discuss it with Robby later, if he didn’t bring it up himself.
Sinclair was standing at the edge of the bedroom with his forearms folded across his chest. “Anybody find the left hand?”
Everyone glanced around. Blank faces stared at each other. Bledsoe turned to the head forensic technician. “Chuck, you guys locate the severed hand?”
Chuck scanned the clipboarded list of identified and photographed items. “No left hand.”
Vail thought she knew why the hand was missing, but for the moment decided to keep her theory to herself until she could be more certain. “Let us know if there are any other . . . anatomical parts missing,” she said to Chuck.
“Why’d he bother to cut her hair?” Robby asked.
Vail nodded at the victim’s right hand. “Goes with the fingernails. For some reason, he’s trying to make her ugly. Butcher the hair, cut the nails down so short they bleed. It holds some meaning to him. Nothing can be overlooked.”
VAIL REMAINED ANOTHER FIFTEEN MINUTES, then left the forensic crew and task force to finish their work and headed to her office to gather materials for a class she was teaching at the Academy. While on the interstate, she pulled out her PDA and dictated her impressions on the Melanie Hoffman crime scene. She arrived earlier than expected, so she decided to grab a coffee at Gargoyle’s, the café across the road from the BAU, or Behavioral Analysis Unit, housed in the Aquia Commerce Center.
The downtime would allow her to collect her thoughts and transition between the crime scene and her office. She needed to become a person again, even if for only half an hour, before plunging back into the underworld of serial killers. Over the years, she’d found she needed that time, or risk losing herself in the dark abyss of the offenders’ twisted minds. If she entered that world, it would be harder to separate herself from the killer, harder to maintain her touch with reality.
If Thomas Gifford, her boss, ever found out she needed this “downtime,” he’d probably transfer her to a resident agency in a quiet town in the middle of nowhere. Because a profiler sees so much violent death—the worst offenses humanity has to offer—the Bureau has to be careful who it exposes to these atrocities on a daily basis. Gifford, the man who owned the desk where the profiling buck stopped, maintained a hawk-like vigilance over the people in his command. If there was a hint someone in the unit was not handling it well, he was gone. No questions asked and no chances for reinstatement. A suicide in the profiling unit would be a slight . . . kink in the old FBI shield of public opinion. Profilers had been known to tip the glass a bit too much, and suffer from heart disease and other stress-induced maladies, but none had committed suicide. Yet.
The commerce center was a grouping of modern two-story brick buildings in Aquia, Virginia, fifteen minutes south of the FBI Academy. The BAU, colloquially the “Profiling Unit,” having undergone myriad name changes and reorganizations over the years, underwent its most sweeping transformation of all when it moved out of the Academy’s subbasement. The brain trust realized that sitting sixty feet underground in an old bunker while analyzing grotesque photos of mutilated women was too much to ask the human mind to endure.
Divorcing itself from a shared existence with the BSU, or Behavioral Science Unit, its research and academic arm, the BAU moved down the road into the Aquia Commerce Center buildings. The new buildings’ large windows provided the antitoxin to death’s depressing cloak of subbasement bleaknes
s: sunlight.
When Vail returned to her nine-by-nine office to retrieve her voice mail, she found a FedEx box on her desk with five pink “While you were out” messages sitting on her chair. She grabbed up the notes and sat down heavily. Her office had a cluttered feel to it, but though there were books and files and reports stacked atop every level surface, nothing was out of place. Two incandescent lights were clamped to opposite ends of her desk, reminder notes clipped to the rippled lampshades. Lining the metal bookshelves were black FBI binders with computer-printed titles peeking through the windowed spines: SEXUAL HOMICIDE, STALKING, BLOODSTAIN PATTERN INTERPRETATION, and SEXUAL SADISM. A handwritten sign taped to the shelf served as a warning: Do not “borrow” ANY of these binders.
Vail pressed a button on her phone and found three voice mails waiting for her. One was from the Office of Professional Responsibility about the shooting this morning at the bank. The second message was from her attorney, informing her the divorce was almost final. She closed her eyes and sighed relief.
Her euphoria lasted only until she heard the third message, which was from Jonathan, her fourteen year old, who was staying with his father this week. The message said he needed to talk. A teenager needing to talk is like a volcano erupting: it doesn’t happen often, and when it does, one never knows which way the lava is going to flow. Vail figured the topic of conversation was going to be his father, and she had spent the better part of the past eighteen months trying to get away from that man. Like it or not, her son was doing his best to unintentionally draw them back together.
She picked up the phone. At least it would buy her another five minutes of sanity before leaving for class. She’d had enough blood and guts today. She was in no hurry to wade through more.
five
He moved amongst his various creations, vases and large containers, fired hard and slick. All standing on pedestals of varying heights, lit by overhead spots that showcased them as the works of art that they were. The potter’s wheels and bisque kilns were in the rear of his studio, in another room and out of sight, visible only to his students. An artiste never left his tools of creation in plain view for the unindoctrinated to see. Only the finished products, the masterpieces, were worthy of display.
He stored the boxes of wet clay off to the side of his studio, behind a movable wall. Every month he loaded and unloaded a half ton of clay—literally a thousand pounds—from the distributor to his Audi’s trailer and from the trailer to his studio. At first, whenever he’d go buy the stuff, the damn boxes were so heavy he’d need a student to help carry them. But after a few months of hauling the cases to and from his car and kneading the stuff with his hands, he could maneuver them around the loft pretty easily without any help.
But the best part of being a ceramicist was the feel of the cold, wet, firm clay as he squeezed it between his fingers. It kind of felt like a liver, heavy and dense. Holding someone’s liver in your hands was a tremendous feeling of power.
He closed up the plastic bag so the clay would stay fresh, rinsed off his hands, and headed into the adjacent loft to change into his dark suit. After slipping on the jacket, he stepped into the old walk-in closet to pick out a tie and something—the musty smell? the darkness? the brush of clothing against his cheek? Something set off the old memories. It was dizzying, almost disorienting. He shut the door and sat down at his nearby desk, thoughts and emotions flooding into his mind. He just wanted it to stop, but realized it may be best to embrace it, confront it. Shape it.
He lifted the screen to his laptop and woke it from sleep. The words, the feelings, the memories just flowed out of him like some kind of rushing river that kept surging no matter what stood in its path.
The hiding place smells like some musty box I once opened when I was looking for his cigarettes. It’s strong and kind of burns my nose. It’s small and dark, but it’s mine. He doesn’t know I have it, which means he can’t find me here. And if he can’t find me, he can’t hurt me. I can think here, I can breathe here (well, except for the smell) without him yelling. I sit in the darkness, alone with myself, where no one can hurt me. Where HE can’t hurt me.
But I watch him. I watch everything he does through little holes in the walls. I watch him bring home the whores, I watch what he does to them before dragging them upstairs to his bedroom. Sometimes I even hear what they’re saying, but most of the time I just see. I see what he does.
But I really don’t have to see. I already know. I know because he does the same things to me.
He shook his head, as if trying to dislodge the childhood memories from his mind. He’d have to do more of this. It was very liberating, and very . . . stimulating. He glanced at the clock on his screen and realized he was late. He closed the laptop’s lid, grabbed the tie, and ran down the steps to his car. He was at the evil bitch’s house pretty fast, but then again he was daydreaming about what he’d written and wasn’t paying attention to the time.
He’d only been here once, a drive-by to see if the site was a suitable location for his work. An artist must survey his setting to make sure it can inspire him, bring the creative juices to boil at just the right moment. Timing was so crucial. But for this type of art, the creative part came only after the evil was purged. Only then could the brilliance be fully expressed.
He parked a block away, down a side street, and huffed it toward the house. In suit and tie, he wouldn’t attract attention walking around the neighborhood. And if anyone did question him, he’d pull out his FBI shield and they’d slink away, properly silenced.
He approached the side yard, looking for signs of a security system: magnetic trips on the window sill, wire tape, or even the obnoxious “Protected by” placard stuck in the dirt by the front door. As if a stupid alarm is really going to protect them from someone who wanted to do something evil. Evil—they don’t know what evil is!
He stood by the back door and knocked lightly. Listened for a barking dog. Nothing. Very good. He did another walk-around of the perimeter, then stopped at the front door, which was shielded from the street by a dense shrub that stretched ten feet high toward the eave. He gave one last knock and a ring of the doorbell, then decided no one was home. He slipped on latex gloves, removed a lock-pick kit from his pocket, chose the proper tools.
A couple minutes later, he was standing in the hallway, taking in the décor. Not bad, but not as elaborate as the last bitch’s place. Couple of fabric sofas with a horrid floral print, an old GE television in the corner in a melamine entertainment cabinet, and an area rug on the wood floor. House must’ve been about thirty, forty years old. Bad taste was a lot older than that.
He made his way into the master bedroom and looked around, in the dresser and night table drawers. No condoms, no thick, heavy watches, no Sports Illustrated magazines. No aftershave or musky cologne. Only women’s clothing in the closet. Bottom line: no boyfriend or male figure to worry about.
On the way out of the room, he pressed on the mattress. New and firm, perfect for his work. An artist required the proper media, or the result would be unacceptable. But first things first. Purge the evil.
He moved into the kitchen and checked the drawers: four steak knives. He removed one and examined it. Sufficiently sharp. It would do nicely. He replaced it and turned his attention to the refrigerator . . . always a valuable resource. It told so much about people. Not just what’s inside, but what’s outside. Mounted with magnets were a series of snapshots, all showing the bitch of the house in various poses: standing with a set of snow skis in the winter, barreling through a plume of water on jet skis in the summer, and flexing with her personal trainer at a health club.
Off the main hallway that stretched the length of the house sat another two bedrooms. No furniture in one, an old twin bed and matching oak dresser that were angling for the distressed look in the other. No personal effects. In sum, no roommate.
As he headed back toward the front door, he saw an unopened bill on the credenza. Addressed to Sandra Ann Fra
nks. The bitch’s name. He was sure he already knew more about her than her gynecologist. Sandra Ann Franks. Well, it wouldn’t be Franks for long. “I’ll have to be frank with you, Miss Franks. No, no, let me be blunt as I drive this knife through your eyes!”
Sometimes you get so focused you forget to see the humor in the situation.
But evil was no laughing matter. This was serious business. And Sandra Ann Franks had passed the final test. Like moist clay right out of the box, she was ready to be molded and shaped. And cut into pieces.
He glanced at his stopwatch: he’d been in the house nearly four minutes . . . time to go. He clicked the door shut behind him, made sure it was locked. He didn’t want anything happening to the bitch before he returned.
six
Karen Vail stood in the back of an Academy classroom waiting her turn to speak. For each new agent class, she taught an overview of behavioral analysis so the recruits didn’t end up like those cops who thought she could hold a piece of the victim’s clothing and describe the face of the killer.
“So without further ado, I’d like to have Special Agent Vail come to the podium.”
All heads swiveled in Vail’s direction, but there was no clapping. Usually, the instructor gave her such a buildup that the new agents felt compelled to stand and bow as if she were some demigod. Or at least welcome her with a warm round of applause. But this instructor was new, and he didn’t seem to go into her background as much as the others had. At least, she didn’t think he did. Her mind was on Melanie Hoffman, and she wasn’t really listening.
She made her way to the front, opened her laptop, and gazed at the inclined classroom—at the eager faces staring at her. She remembered that look, that feeling of excitement at beginning something new. She still loved her work—in an odd sort of way given what she did—and still felt challenged. But it was no longer fresh, and like the exhilaration one feels at the start of a budding romantic relationship, the magic had faded with time. The challenge, instead of only coming from the job, morphed into a struggle to keep it interesting.
The 7th Victim kv-1 Page 4
