Look Closer(12)

“No way our creeper peeper was lurking outside her window before seven,” says Jane. “Trick-or-treaters would walk right past him. Everyone would see him.”

“But once seven o’clock hit . . .”

“Once seven o’clock hits, it’s the darkest night of the year in the Village. He could’ve stood there without notice for as long as he wanted.”

“Okay, what’s next?”

“Our creeper peeper goes to the front door,” she says. “We don’t see his boot prints on the walkway or the driveway. He goes from the window to the front door.”

The front door is enclosed within a small A-frame brick canopy with stone trim. The welcome mat bears the family name Betancourt. The outside light is turned off. The front door frame is intact. The floor on this porch is stone. And quite dirty, from the activity last night, all the shoes, dirty or otherwise, of trick-or-treaters.

“We see his boot impressions on the front porch,” she says. “They’re far more prominent than the other scuff marks and prints from the trick-or-treaters. The most recent, I’d guess. And we see them on the door, Chief.”

“The door. Meaning he was kicking the front door.”

“Right. The impressions are at a slight angle. We’re thinking he reared back and kicked hard.”

“Is that how he got in? He kicked in the door?”

“No. There’s no forced entry, no splintering, no damage to the door whatsoever.”

“So she let him in.”

“She let him in.”

“She let in someone who was kicking at her front door?”

“I know, right? So we’re thinking they must have known each other.”

“Huh. All right, all right, I hear you, you piece of shit!”

That sounds like the chief, the way he drives, drawing angry horns from fellow drivers. Cops think they can drive like cops even when they aren’t being cops.

“Sorry. Anyway, yeah, seems pretty obvious that she knew the guy and let him in.”

“Maybe he was making a scene outside,” says Jane, “and she didn’t want that.”

“That’s a theory. That’s a very specific theory. Don’t get locked in too quickly, Janey.”

“I’m not locked in on anything, Chief. But there’s almost no doubt that the guy standing by the bushes, peeping through her window, went to her front door and started kicking it, and she let him in voluntarily.”

“Okay, then what?”

Jane and Andy put back on their shoe covers. Jane opens the front door carefully, ushers Andy in, and closes it quickly behind her. The last thing she needs is for the neighbors to see a body hanging from the second-floor railing.

“Inside,” she says. “A glass bowl of Halloween candy, shattered in the foyer. Maybe he knocks it out of her hand, maybe she throws it at him. Hard to say.”

“Okay.”

“She runs for the stairs.”

“The stairs. Not the kitchen, for a knife?”

“Nope. There’s no sign they were in the kitchen, and every sign he chased her up the stairs.” She follows the same boot impressions along the marble floor, then onto the wooden staircase. “Lauren was running in heels, which couldn’t have been easy, although on stairs, it’s easier than on flat ground.”

“Is that true?”

“Stairs, you run on the balls of your feet, even in heels. Flat ground, you can’t.”

She follows the boot impressions, and a few scuff marks where the heels did manage to strike down, all the way up the wraparound staircase.

“They reach the top of the stairs. This, we think, is where he subdues her.” She stops before walking any further on the landing. “There’s blood up here, right by the landing, the second-floor hallway. Forensics hasn’t been through yet, so we’re just eyeballing. But he hits her up here on the second floor, on the back of the head.”

Jane looks down on Lauren’s dead body, in particular her scalp, bearing a bloody gash.

“Hits her with what?”

“We don’t know yet. But he hits her hard enough to draw blood. We figure it stuns her enough, at least momentarily, so he can get the noose around her neck.”

“How’d he tie off the rope?”

“Well, it was kind of clever,” she says, squatting down. “This is a thick, knotted rope, knotted every foot or so. The wrought iron bannister—well, you saw the photos.”

“I saw them but didn’t focus on the bannister.”

“Sure. It’s one of these ornate spiral patterns, right? It looks like some Gothic design, like some old family coat of arms.”

“Or a series of Rorschach tests,” says Andy.

“Right, or like Rorschach tests. A bunch of intricate spirals and whirls and shapes.”

“Okay, so . . .”

“He shoved one end of the rope into the curves of the pattern and wrapped it around once or twice. It held firm.”

“And then what?”

Jane shrugs. “Then he chucked her over the railing.”

“Ugh.”

Yeah, ugh. But the most likely way this happened.

“Why not just strangle her?”

“He probably couldn’t,” says Jane. “Or not easily, at least. She put up a struggle. He’s behind her, with the slipknot around her neck and tugging, but she doesn’t go down easily. We have some broken painted fingernails up here. She was struggling against the noose around her throat. And if she were able to kick with those heels—well, they’d be sharp as knives. It might have been easier to keep the noose taut around her neck with one hand, stuff one end of the rope into the bannister curves with the other, then pick her up and throw her over.”