She was smiling, and that worried him. But Commissioner Beale’s little washed-out gray eyes actually sparkled when Mallory walked up the stairs of the dais and took her seat beside him. She looked out over a sea of faces and bright flashes from every quarter of the room. When Beale introduced her, he mentioned that, in the area of computers, Detective Sergeant Kathleen Mallory had no peer. There were other words to the effect that she could turn water into wine. And now the old man gave a terse introduction to the special agent from the FBI, who apparently was not so talented in Beale’s estimation.
Special Agent Cartland shuffled his papers and looked up, smiling for the cameras with the practiced ease of a fashion model. He was the perfect specimen, a walking argument for eugenics, with youthful good looks, light brown hair and strong white teeth.
Coffey stood at the back of the room and watched Mallory seated at the left hand of the commissioner. Coffey suddenly understood why Beale had asked for her. Harry Blakely had underestimated the little man in the gray suit. Commissioner Beale understood image and press and public relations. Mallory, tall and wonderfully made, was more than a match for the FBI agent. If she only sat there and said nothing, Beale would have won the argument that God was on the side of the cops and not the feds. A reporter was rising, hand in the air. “Agent Cartland, what’s the FBI interest in this case? The terrorist line in Bliss’s column?”
The FBI agent leaned into his collection of microphones, each bearing a network logo. “If the case did develop along the lines of terrorism, we would certainly take a very active interest. Terrorism is an area best left to experts.”
Well, this was not part of the deal.
Coffey could see that Beale was not at all happy with that remark. The commissioner’s little head swiveled right, in the manner of a schoolteacher about to pounce on a student who has gotten out of line.
Beale spoke into his own group of microphones. “There is no planned FBI participation in this case. The press is making an unfounded and highly sensational connection to the old murders of Peter Ariel and Aubry Gilette. Special Agent Cartland tells me the FBI has a profile on the perpetrator that puts that speculation to rest. You may proceed, young man.” And the implication was that the young man should proceed with extreme caution.
“The FBI is always willing to help local law enforcement in the art of profiling a suspect,” said the smiling, unflappable Agent Cartland. “Based on the evidence of the crime scene, we can give you a rather detailed portrait of the man.”
“Why do you think it’s a man?” called out a feminine voice in a sniper shot from the back of the room.
“The overwhelming majority of psychopaths are male.”
A reporter stood up in the front row. By the back of his dark-skinned, bullet-shaped head, Coffey knew the man. It was McGrath, a seasoned journalist who had swapped lies with Markowitz for several decades. McGrath was recognized with a nod from Beale.
“So we’re looking for an insane killer?” McGrath addressed his remark to the FBI agent. “Say-oh, shot in the dark-someone like Oren Watt?”
Beale’s right hand wormed around the microphone at the center of his cluster, and his knuckles went white, as though he were choking it. He managed to lock eyes with the agent before the younger man responded to McGrath.
“Well, there are similarities,” said the FBI agent, and Beale covered his face with one hand. The agent continued. “In the old case of the artist and the dancer, the perpetrator used a fire axe he found at the crime scene. The killer of Dean Starr used an ice pick, also a weapon he found at the scene. And the word ‘dead’ was written on the back of one of the gallery’s business cards. Both the old killing and the recent one showed lack of premeditation. Both crimes were the spontaneous acts of disorganized personalities.”
McGrath remained standing, holding the floor. “Oren Watt arranged the body parts as artwork. The killer of Dean Starr arranged the body as performance art. You don’t think that calls for a little planning?”
The agent’s smile was benign. Let me lead you out of ignorance, said his tone of voice. “These things were done after the fact. The act itself was not planned in advance. Neither perpetrator brought weapons or materials to their respective crime scenes. As to the arrangement of the bodies, a psychopath will often indulge himself with ritual mutilation of the victims, or some personal theme in writing or acts performed on the corpse. But the killer in this instance is not Oren Watt. The murder was cleaner, quicker, less violent. The brutality always escalates in the second kill. It never lessens.”
“So you think our guy is a young Oren Watt in training.”
“He fits the same profile as Watt. He acted spontaneously, with no fear of discovery. The trigger for the act was probably a recent traumatic event in his life. For example, he may have recently lost his job. We’re looking for a white male between twenty-five and thirty-five, no close friends, no stable relationships with women, no social graces. His father died or left the home when he was very young. He lives alone, or with his mother. He doesn’t take proper care of himself, he’s badly dressed. Now, about the shabby clothing-in SoHo that would not be a standout feature. It would even have helped him to blend in with the crowd at the opening.”
“Hey, Mallory,” sang out a veteran cophouse reporter in the back. “You goin‘ along with this line?”
Commissioner Beale was staring at Mallory, hope in his eyes as she spoke into her own cluster of microphones. “No, but all the FBI errors are understandable.”
The FBI agent was frozen in his best public-relations smile, and Commissioner Beale was grinning with joy and real malice.
“The FBI only asked for the crime-scene photographs and the preliminary ME report,” said Mallory. “They specifically asked us not to send our own conclusions. They said it would taint their profile.” Now she picked up a document and scanned it, as though she did not know it by heart. “According to this preliminary report, the wound was consistent with the ice pick found at the scene. Apparently, the FBI was satisfied with this.”
She crumpled this document into a ball and tossed it back over her shoulder. Then she leaned back in her chair to look at the FBI agent behind Beale’s back, and she gave him that special smile which women reserve for addled children. She was all business again when she turned back to the reporter.
“But NYPD had a major problem with a four-inch pick penetrating six and a half inches of fat and muscle to rupture the heart from the back. So we asked for a more extensive autopsy. Now we know that the weapon is much longer. No such weapon was found at the scene, so we assume the killer brought it to the gallery and took it away when he left.”
In his rush to contradict her, Agent Cartland leaned too far into his microphones, brushing his teeth against the soft cover of one. “It might be a mistake-” The microphone squealed with feedback as it was dislodged from the cluster.
Mallory rose gracefully to pass behind Commissioner Beale’s chair. She adjusted the FBI agent’s microphones. And now a crowd of reporters grinned as Mallory gave Agent Cartland lessons in the proper distance from the mike.
When she was seated again, the agent, dignity shot to hell, continued. “It would be a mistake to assume that because the weapon wasn’t found at-”
“Oh, it’s no mistake.” Mallory smiled at him to say, You lose, sucker. “Further evidence of premeditation is the card found on the body. True, it doesn’t take long to write the word ‘dead,’ but the letters were printed with a straight edge-like a ruler-to avoid handwriting analysis. And there were no fingerprints on the card. The perp either wore gloves or handled the card by the edges. So we assume he brought it to the gallery. The card was used to disguise the act and allow the murderer time to escape unmolested. The killer chose a perfect weapon for a crowded room-no blood splatters. A lot of thought and planning went into this crime.”
“You think it was a man?” asked McGrath.
“A woman could have done it,” said Mallory.
“It does take some force-”‘ the agent began.
“I could have done it,” said Mallory. “The weapon only had to penetrate one layer of light material, and more fat than muscle. It was a clean thrust between the ribs, and it cleared the vertebrae. The weapon was much thinner than the average pick, and probably needle sharp at the point.” She nodded to a reporter in the back row.
“Mallory, are you going to ask the FBI for a revised profile?”
“What for? When we know why it was done, we’ll know who did it.”
“So you don’t like the crazed-killer line, Mallory?”
“I suppose it could have been a more organized psychopath, or it could be a money motive. Revenge is good-I’ve always liked that one. We found evidence of habitual drug use in the second autopsy, so it could also be drug-related.”
If Beale smiled any wider, he would hurt himself.
“What about Oren Watt?” yelled another reporter.
“He didn’t do it.”
“You sure about that, Mallory?” asked McGrath.
“Dead sure.”
“Because the murder was neater and cleaner! ”
“No, nothing that cute, McGrath. You and I both know it would be impossible for Oren Watt to go anywhere unnoticed. He’s more famous than a rock star. The room was crowded that night. Not one of those people could place him at the scene of Dean Starr’s murder.”
“Can you tell us anything about the killer?”
“The killer was reasonably well dressed. This wasn’t the typical art show. The opening was black tie, invitation only, and it was a money crowd. Mr. Koozeman tells us that at least ten percent of the gathering crashed the party, but a shabby dresser would’ve been stopped at the door. So we have very little interest in the unemployed, badly dressed psycho in the FBI profile.”
“You think the killer was an artist?”
“Well the idea was just creative as hell, wasn’t it? It’s someone with a background in art, but it could just as easily be a collector.”
Another hand went up, and Coffey noted that all requests for time were going through Mallory now. With a curt nod, she recognized a woman in the front row.
“What about this art terrorist angle, Mallory?”
“That’s a joke. Only the lunatic on the roof of Bloomingdale’s has made that connection so far. Oh, and I believe Agent Cartland mentioned it.”
“So the FBI is dead wrong on almost all counts, is that what you’re saying?”
“But we certainly appreciate all their help,” said Mallory.
The reporters politely restricted themselves to sniggers and other sounds muffled by tight lips. When the FBI agent had lost his ramrod posture to sink down in his chair, and Beale’s eyes were glistening with emotion, a small sprinkling of applause followed Mallory as she left her chair on the dais and walked toward Coffey at the back of the room.
Coffey put one hand on her shoulder and walked beside her through the wide door and down the quiet hallway. “I’ve never seen Beale look so happy. After that performance, you could commit murder and not wind up on Beale’s shit list.”
“Really?”
Coffey only had one bad moment, when it crossed his mind that she might translate that into a free kill. The moment passed in confidence that Markowitz had raised her to repress any grossly antisocial acts. But he wondered what the FBI profilers might have done with Mallory’s psych evaluation. He made a mental note to hunt down all her records, and to destroy the most damning lines. He was a good political animal, and if this case should go wrong, he would not like to find himself in front of the Civilian Review Board explaining why NYPD had a sociopath on the payroll.
A tall man was blocking the hallway. As they drew nearer, he recognized him, though he had only seen J. L. Quinn on two or three occasions. The man’s remarkable blue eyes drew Coffey in with fascination and then repelled him with their coldness. The art critic was a handsome man, and ageless. His ice-blue eyes were fixed on Mallory now, and Coffey felt suddenly protective. He wondered if Mallory understood how politically well connected Quinn’s family was. Would she even care?
Quinn dismissed Coffey from the immediate universe with a nod of recognition. He focussed all his attention on Mallory, as though they were alone. “I stopped by Special Crimes Section. They told me I could find you here. I thought we might have lunch. Perhaps we could discuss what else I might do to help you with your investigation.”
“I think we’ve covered that, Quinn.” She started to walk past him.
He put his hand on her arm to detain her. She looked down at his hand, and he drew it back as though she had burned him.
Coffey willed her to be careful. This man was money, influence and power.
“There must be some other way I could help,” said Quinn with insistence and the confidence that came from background, wealth and the sure knowledge that he could crush her if he wanted to. He would not be put off by her, yet she seemed determined to do just that.
Jack Coffey was suddenly very alert. There was something not right about this man. All his instincts told him a likely suspect was the one who tried to insinuate himself into the investigation. Well, maybe the attraction to the case was something as simple as Mallory’s pretty face.
She was staring at the man as though he had just crawled out of a sewer. “Quinn, I’m sure you told me everything you knew.”
The implication was What use are you to me?
“Well, I expect you’ll be taking the case in new directions. You may have new questions,” said Quinn. “I’m at your disposal. Ask whatever you want of me.”
“All right,” said Mallory. “I want to know who your sister’s friends are. I want to know all the places where Sabra hung out before she disappeared.”
Now Coffey saw regret in Quinn’s eyes. The man had not foreseen this. Twelve years ago, he had gone to a great deal of trouble to keep the police away from his family. And now that he had given Mallory carte blanche, how would he get out of this?
He wouldn’t.
Suddenly, Coffey understood that Mallory had spent the last few minutes digging a deep hole for Quinn and covering it over with twigs and branches. And now she had him. It was the old man’s style. Markowitz would have been proud.
And what’s this? Plaid trousers? Flared? Andrew Bliss leaned over the wall, bullhorn at the ready, target in his sights.
“You down there, the man with the plaid clown suit!”
The man stopped.
“Yes, you! The sixties are done. Get yourself a life. Men’s-on the first floor-and hurry, for God’s sake.”
It was afternoon when he saw Annie on the sidewalk. She was smiling up at him and making the round “okay” with thumb and forefinger. Bless Annie, she had worn black pumps for the occasion. Now she gestured to the mobile news unit pulling up to the curb. More publicity, and hallelujah. Annie was motioning with a sweeping gesture which encompassed the small crowd massing at the foot of the building, and then she blew him a kiss.
Throughout the day, crowds gathered and dispersed, as he periodically retired into a bottle to rest his voice and kill the pain of the previous night’s bottles.
There was one small horror, realized on his second day out: he had no shampoo, deodorant, soap, none of the little niceties. And today, he was down to his last bottle of designer water for his morning espresso. He had thought to cart up two potted trees, but no toothbrush or paste. Though he had many changes of clothing, his body had begun to stink. His hair had become greasy and matted. Experimental bathing in champagne had only brought down a plague of flies. And then there was nothing for it but to get drunk and drunker, until he could no longer feel the flies running barefoot through his hair.
A fat dollop of water splashed the bridge of his nose, calling his attention to the sky and the coming rain. He began picking through the mounds of material, sheets, towels and silk pajamas, searching for the rope with which to make his canopy of raincoats. Now he uncovered a woman’s
hand, and he drew back too quickly, losing his footing and landing on his rear end with a look of dumb surprise. On all fours, he crept close to the hand protruding from the pile of cloth. It was a mannequin, of course, but why had he brought it up to the roof?
He uncovered the mannequin woman with raven hair, a silver dress and dancing shoes. He dragged it off to a far corner of the roof and put a sheet over it. He retreated and sat down with his back against the opposite retaining wall, arms hugging his knees. He began to rock from side to side. Now that the mannequin was laid out and draped like the dead, it frightened him even more.
A small bell tinkled over the door as Mallory and Quinn passed under the amber light of the old Tiffany lamp. “That lamp was purchased in the early fifties,” said Quinn. “Every stick of furniture can be dated to that era. This place was Sabra’s favorite hangout.”
They settled at one end of the bar. There were patrons up and down the length of mahogany. Mallory picked up a cocktail napkin and stared at the logo for the Hilda-Godd Bar. “I thought it was called Godd’s Bar?”
“Well, Mike Godd died twenty years ago. Hilda Winkler is still alive, but she might as well be a ghost. Her name just dropped out of use. See that old woman over there? Even the bartender doesn’t know this, but that’s Hilda, the owner.”
An old woman sat in the far corner of the room, and tipped back a sherry glass. In the way of a specter, she kept to the darkest shadows of the place.
“Regulars of ten years’ standing have no idea who she is. The bartender only knows that the old lady drinks sherry and never pays a tab. She’s there when he comes to work in the afternoon, and still there when he leaves at closing time.”
The phone was ringing, and the bartender moved up the length of the bar to answer it.
“Watch the old woman now,” said Quinn.
The bartender picked up the phone and said, “This is Godd, whaddaya want?” and the old woman shuddered when he did this, as though she might be wondering if she was the ghost, and not her long-dead partner, whose name lived on.
Killing Critics Page 10