Quieter, Larkin said, “The fact is, Marco Garcia was killed during Regmore’s golden years, when he was hyperfocused on women on the fringes of society and creating ‘art’ that is unlike the methodology of photography. This perpetrator stalks a different environment and victim type entirely, with the only similarities being time period of activity and its general relation to outdated Western mourning practices. And even if this was not the case, if this was some kind of attempt at having Regmore’s art continue from behind bars, he would seek a submissive personality—someone he could control, treat like an apprentice—to ensure his vision is what survived. What we’re dealing with is another master. For lack of better description.”

Doyle’s voice was subdued as he asked, “You’re confident Marco’s case is tied to yesterday’s John Doe?”

Larkin pointed at the evidence bags and asked, “In your professional opinion, are these the works of the same person.”

Doyle reluctantly turned his gaze downward and studied the two photos side-by-side in his hold. He said, on a gentle exhale of breath, “Both appear to exclusively utilize the ambient light of the subway. Harsh highlights and saturated shadows. The compositions are distinctly that of portraits—full face and what would essentially be direct eye contact, if the subjects were alive, that is.”

“Is that typical of mourning photography,” Larkin asked.

“So little could be controlled by photographers at the time, what with bulky equipment and a time-consuming process, but one element they strived to use artistically was the composition of the deceased. The images were meant to be sympathetic, after all. But I’ve seen a few, mostly of young children propped in chairs, that are comparable to this raw… almost aggressive emotion felt in the framing.” Doyle looked up before finishing, “I’d consider the style in both of these photographs to be exceptional enough that it could be one artist’s signature.”

Larkin’s thoughts immediately spiraled outward, like from the hub of a spider’s web. He could confirm both photographs were developed prior to Marco’s death, could even confirm Marco’s tenuous connection to yesterday’s DB through the existence of the pictures themselves, but what Larkin wasn’t yet confident in was the motive for Marco’s death. The photographs were relevant, of that he was absolutely certain, but to what degree? Had Marco stumbled across someone’s dark, vile secret and so had to be killed to keep the truth from coming out? Or had Marco somehow been more intimately involved in the creation of these photos? Because as much as Larkin didn’t want to even consider it, the truth was, Marco had worked with children and taught them a number of different artistic disciplines—including photography. But that sat in Larkin’s gut like bad takeout.