The 5th Horseman - James Patterson [6]
As if she were waiting for someone to come.
“Aw, shit,” Jacobi said with disgust. “Beautiful young girl like this. All dressed up and no place to go. Forever.”
Chapter 9
“I DON’T SEE a handbag anywhere,” Clapper was telling me. “I left her clothing intact for the ME. Nice duds,” he said. “Looks like a rich girl. You think?”
I felt a shock of sadness and anger as I looked into the victim’s dreamy face.
She was fair-skinned, a light dusting of powder across her face, a hint of blush on the apples of her cheeks. Her hair was cut in a Meg Ryan-style mop of tousled blond lights, and her nails had been recently manicured.
Everything about this woman spoke of privilege and opportunity, and money. It was as if she’d been just about to step down the runway of life when some psycho had ripped it all away from her.
I pressed the victim’s cheek with the back of my hand. Her skin was tepid to the touch, telling me that she’d been alive last night.
“Larry, Moe, and Curly didn’t whack this little lady,” Jacobi commented.
I nodded my agreement.
When I first got into Homicide, I learned that crime scenes generally come in two types. The kind where the evidence is disorganized: blood spatter, broken objects, shell casings scattered around, bodies sprawled where they fell.
And then there were the scenes like this one.
Organized. Planned out.
Plenty of malice aforethought.
The victim’s clothes were neat, no bunching, no buttonholes missed. She was even wearing a seat belt, which was drawn snug across her lap and shoulder.
Had the killer cared about her?
Or was this tidy scene some kind of message for whoever found her?
“The passenger-side door was opened with a slim jim,” Clapper told us. “The surfaces have all been wiped clean. No prints to be found inside or out. And look over here.”
Clapper pointed up toward the camera mounted on a concrete pylon. It faced down the ramp, away from the Caddy.
He lifted his chin toward another camera that was pointed up the ramp toward the fifth level.
“I don’t think you’re going to catch this bird doing the vic on tape,” Clapper said. “This car is in a perfect blind spot.”
I like this about Charlie. He knows what he’s doing, shows you what he sees, but the guy doesn’t try to take over the scene. He lets you do your job, too.
I directed my flashlight beam into the interior of the car, checking off the relevant details in my mind.
The victim looked healthy, weighed about 110, stood maybe five foot or five one.
No wedding band or engagement ring.
She was wearing a crystal bead necklace, which hung below a ligature mark.
The mark itself was shallow and ropy, as if it had been made with something soft.
I saw no defensive cuts or bruises on her arms and, except for the ligature mark, no signs of violence.
I didn’t know how or why this girl had been killed, but my eyes and my gut told me that she hadn’t died in this car.
She had to have been moved here, then posed in a tableau that somebody was meant to admire.
I doubted that someone had gone to all of this trouble for me.
I hoped not.
Chapter 10
“HAVE YOU GOT your pictures?” I asked Clapper.
There wasn’t much room to work, and I wanted to get in close for a better look at the victim.
“I’ve got more than enough for my collection,” he said. “The camera loves this girl.”
He stowed his digital Olympus in his case, snapped the lid closed.
I reached into the car and gingerly fished out the labels from the back of the victim’s pale-pink coat and then her slim black party dress.
“The coat is Narciso Rodriguez,” I called out to Jacobi. “And the dress is a little Carolina Herrera number. We’re looking at about six grand in threads here. And that’s not counting the shoes.”
Since Sex and the City, when it came to shoes, Manolo Blahnik was the man. I recognized a pair of his trademark sling-backs on the victim’s feet.
“She even smells like money,” said Jacobi.
“You’ve got a good nose, buddy.”
The fragrance the victim wore had a musky undertone