Creation in Death (In Death #25)(85)

“Death, yes. Passion and strength and life. Everything leads to death, doesn’t it? Who would know that better than you?”

“Murder’s different.”

“Oh, yes, it’s artful and it’s deliberate. It takes it out of the hands of fate and puts the power into the one who creates death. Who makes a gift of it.”

“What gift? How is murder a gift?”

“This…” He gestured to the stage as a woman, brown hair bloody, face and body battered, was borne in on a stretcher. “This is about immortality.”

“Immortality’s for the dead. Who was she when she was alive?”

He only smiled. “Time’s up.” He clicked the stopwatch, and the stage went black.

Eve came rearing up in bed, sucking for air. Caught between the dream and reality, she closed her hands over her ears to muffle the ticking. “Why won’t it stop?”

“Eve. Eve. It’s your ’link.” Roarke curled his fingers over her wrists, gently tugged her hands down. “It’s your ’link.”

“Jesus. Wait.” She shook her head, pulled herself into the now. “Block video,” she ordered, then answered. “Dallas.”

Dispatch, Dallas, Lieutenant Eve. Report to Union Square Park off Park Avenue. Body of unidentified female, evidence of torture.

Eve turned her head, met Roarke’s eyes. “Acknowledged. Notify Peabody, Detective Delia, request Medical Examiner Morris. As per procedure on this matter, relay notification to Commander Whitney and Dr. Mira. I’m on my way. Dallas out.”

“I’ll be going with you. I know,” Roarke said as he rose, “you don’t make prime bait with me along, but that’ll be Gia Rossi left on the ground. And I’m going with you.”

“I’m sorry.”

“Ah, Eve.” His tone changed, softened. “So am I.”

18

AS EVE HAD SEEN THEIR HOME IN ITS SNOWY landscape as a painting, Roarke saw the crime scene as a play. A dark play with constant movement and great noise, all centered around the single focal character.

The white sheet on the white snow, the white body laid over it, with deep brown hair shining in the hard lights. He thought the wounds stood out against the pale flesh like screams.

And there his wife stood in her long black coat, gloveless, of course. They’d both forgotten her gloves this time around. Hatless and hard-eyed. The stage manager, he thought, and a major player as well. Director and author of this final act.

There would be pity in her, this he knew, and there would be anger, a ribbon of guilt to tie them all together. But that complicated emotional package was tucked deep inside, walled in behind that cool, calculating mind.

He watched her speak to the sweepers, to the uniforms, to the others who walked on and off that winter stage. Then Peabody, the dependable, in her turtle-shell of a coat and colorful scarf, crossed the stage on cue. Together, she and Eve lowered to that lifeless focal point that held the dispassionate spotlight of center stage.

“Not close enough,” McNab said from beside him.

Roarke shifted his attention, very briefly, from the scene to McNab. “What?”

“Just couldn’t get close enough.” McNab’s hands were deep in two of the many pockets of his bright green coat, with the long tails of a boldly striped scarf fluttering down his back. “Moving in on a dozen roads from a dozen damn directions. Moving in, you can feel we’re getting closer. But not close enough to help Gia Rossi. It’s hard. This one hits hard.”

“It does.”

Had he really believed, Roarke wondered, a lifetime ago, had he honestly assumed that the nature of the cop was to feel nothing? He’d learned different since Eve. He’d learned very different. And now, he stood silent, listening to the lines as the players played their parts.

“TOD oh-one-thirty. Early Monday morning,” Peabody said. “She’s been dead a little over twenty-six hours.”

“He kept her for a day.” Eve studied the carving in the torso. Thirty-nine hours, eight minutes, forty-five seconds. “Kept her a day after he was finished. She didn’t last for him. The wounds are less severe, less plentiful than on York. Something went wrong for him this time. He wasn’t able to sustain the work.”

Less severe, yes, Peabody could see that was true. And still the cuts, the burns and bruising spoke of terrible suffering. “Maybe he got impatient this time. Maybe he needed to go for the kill.”

“I don’t think so.” With her sealed fingers, Eve picked up the victim’s arm, turned it to study the ligature marks from the binding. Then turned it back to examine more closely the killing wounds on the wrist. “She didn’t fight like York, not as much damage from the ropes, wrists and ankles. And the killing strokes here? Just as clean and precise as all the others. He’s still in control. And he still wants them to last.”

She laid the arm down again, on the white, white sheet. “It’s a matter of pride in his skill—torture, create the pain, but keep them alive. Increasing the level of pain, fear, injury, all while keeping them breathing. But Rossi, she wound down on him ahead of his schedule, ahead of his goal.”

“Before he’d have been able to see the media bulletins with his image,” Peabody pointed out. “It’s not because he panicked, or took his anger out on her.”