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Chapters (92)
  1. Cover
  2. Also by Jeffery Deaver
  3. THE SKIN COLLECTOR
  4. Dedication
  5. Epigraph
  6. ITHE OUT-OF-PRINT BOOK
  7. CHAPTER 1
  8. CHAPTER 2
  9. CHAPTER 3
  10. CHAPTER 4
  11. CHAPTER 5
  12. CHAPTER 6
  13. CHAPTER 7
  14. CHAPTER 8
  15. CHAPTER 9
  16. CHAPTER 10
  17. CHAPTER 11
  18. CHAPTER 12
  19. CHAPTER 13
  20. CHAPTER 14
  21. CHAPTER 15
  22. CHAPTER 16
  23. IITHE UNDERGROUND MAN
  24. CHAPTER 17
  25. CHAPTER 18
  26. CHAPTER 19
  27. CHAPTER 20
  28. CHAPTER 21
  29. CHAPTER 22
  30. CHAPTER 23
  31. CHAPTER 24
  32. CHAPTER 25
  33. CHAPTER 26
  34. CHAPTER 27
  35. CHAPTER 28
  36. CHAPTER 29
  37. CHAPTER 30
  38. CHAPTER 31
  39. IIITHE RED CENTIPEDE
  40. CHAPTER 32
  41. CHAPTER 33
  42. CHAPTER 34
  43. CHAPTER 35
  44. CHAPTER 36
  45. CHAPTER 37
  46. CHAPTER 38
  47. CHAPTER 39
  48. CHAPTER 40
  49. CHAPTER 41
  50. CHAPTER 42
  51. CHAPTER 43
  52. CHAPTER 44
  53. CHAPTER 45
  54. CHAPTER 46
  55. CHAPTER 47
  56. CHAPTER 48
  57. CHAPTER 49
  58. CHAPTER 50
  59. IVTHE UNDERGROUND WOMAN
  60. CHAPTER 51
  61. CHAPTER 52
  62. CHAPTER 53
  63. CHAPTER 54
  64. CHAPTER 55
  65. CHAPTER 56
  66. CHAPTER 57
  67. CHAPTER 58
  68. CHAPTER 59
  69. CHAPTER 60
  70. CHAPTER 61
  71. CHAPTER 62
  72. CHAPTER 63
  73. CHAPTER 64
  74. CHAPTER 65
  75. CHAPTER 66
  76. CHAPTER 67
  77. CHAPTER 68
  78. CHAPTER 69
  79. CHAPTER 70
  80. CHAPTER 71
  81. CHAPTER 72
  82. CHAPTER 73
  83. CHAPTER 74
  84. VREUNION
  85. CHAPTER 75
  86. CHAPTER 76
  87. CHAPTER 77
  88. CHAPTER 78
  89. VISKIN AND BONE
  90. CHAPTER 79
  91. Acknowledgments
  92. About the Author

Sachs had a thought. ‘And if it took awhile, that meant she was in pain for a long time.’

‘Well, yes, you can see the pain reaction but I have a feeling that was later. She couldn’t have been conscious while he was writing his message. Even if she wasn’t trying to get away, the involuntary movement would’ve ruined his handiwork. No, he subdued her somehow. Any trauma to the head?’

She examined the woman’s scalp carefully and looked under her blouse, front and back. ‘No. And I don’t see any signs of Taser barbs. No stun gun welts … Ah but, Rhyme, see that?’ She pointed out a tiny red dot on her neck.

‘Injection site?’

‘I think so. I’m guessing sedative, not poison. There’s no sign of any swelling or other irritation that toxin would cause.’

‘The blood work will tell us.’

Sachs took pictures of the wound and then bent down and swabbed the area carefully, lifting trace. Then the rest of her body too and the ground around her. It was likely that a perp this diligent would have worn gloves – it certainly appeared that way. Yet valuable evidence from even a gloved-and-gowned perp could still easily be transferred to the victim or crime scene.

Edmond Locard, the French criminalist who lived a century before, formulated the Exchange Principle: that every time a crime occurs there is a transfer of evidence between criminal and scene, or criminal and victim. That evidence (which he referred to as ‘dust’) might be very, very difficult to detect and collect but it exists, for the diligent and innovative forensic scientist.

‘There’s something odd, Rhyme.’

‘Odd?’ A splinter of disdain for the artless word. ‘Go ahead, Sachs.’

‘I’m using only one of the first responders’ spotlights – the other’s pointed up the tunnel. But there’re two shadows on the ground.’ She looked up and walked in a slow circle to get a clear view. ‘Ah, there’s another light near the ceiling, between those two pipes. It looks like a flashlight.’

‘Not left by the first responders?’

‘What cop or medic is going to give up his Maglite?’

The big black tubed flashlights that all cops and firemen carried around were invaluable – great sources of illumination and they doubled as bone-breaking weapons in a clutch.

But she noted it wasn’t one of those expensive models. This was cheap, plastic.

‘It’s taped to the pipe. Duct tape. Why would he leave a light here, Rhyme?’

‘That explains it.’

‘What?’ she asked.

‘How the store manager found the body. The flashlight. Our perp wanted to make sure we found the message from our sponsor.’

The words seemed a little flippant to Sachs but she’d always suspected that much of Rhyme’s gruff façade and sardonic delivery were defense mechanisms. Still, she wondered if he raised the barricade of protection higher than he needed to.