Cruel and Unusual - Cornwell Patricia - Страница 59
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Vander had edited the scene videocassette tapes to a VCR and turned copies over to me late that afternoon. For the better part of the early evening, Wesley and I had been stationed in front of my television, taking notes and making diagrams as we slowly went through the footage. Lucy, meanwhile, was working on dinner, and came into the living room only briefly from time to time to catch a glimpse. The luminescent images on the dark screen did not seem to disturb her. At a glance, the uninitiated could not possibly know what they meant.
By eight-thirty, Wesley and I had gone through the tapes and completed our notes. We believed we had charted the course of Robyn Naismith's killer from the moment she walked into her house to Waddell's exit through the kitchen door. It was the first time in my career I had retrospectively worked the scene of a homicide that had been solved for years. But the scenario that emerged was important for one very good reason. It demonstrated, at least to our satisfaction, that what Wesley had told me at the Homestead was correct. Ronnie Joe Waddell did not fit the profile of the monster we were now tracking.
The latent smudges, smears, spatters, and spurts that we had followed were as dose to an instant replay as I had ever seen in the reconstruction of a crime. Though the courts might consider much of what we determined was opinion, it did not matter. Waddell's personality did, and we felt pretty certain that we had captured it.
Because the blood we had found in other areas of the house clearly had been tracked and transferred by Waddell, it was realistic to say that his assault of Robyn Naismith was restricted to the living room, where she died. The kitchen and front doors were equipped with deadbolt locks that could not be opened without a key. Since Waddell had entered the house through a window and left through the kitchen door, it had been surmised that when Robyn returned from the store, she had come in through the kitchen. Perhaps she had not bothered to relock the door, but more likely she had not had time. It had been conjectured that while Waddell was ransacking her belongings, he heard her drive up and park behind the house. He went into the kitchen and got a steak knife from the stainless steel set hanging on a wall. When she unlocked the door, he was waiting. Chances are, he simply grabbed her first and forced her through the open doorway that led into the living room. He may have talked to her for a while. He may have demanded money. He may have been with her only moments before the confrontation became physical.
Robyn had been dressed and sitting or supine on the end of the couch near the ficus tree when Waddell struck the first blow with the knife. The blood spatters that had appeared on the backrest of the couch, the planter, and the dark paneling nearby were consistent with an arterial spurt, caused when an artery is severed. The resulting spatter pattern is reminiscent of an electrocardiogram tracing due to fluctuations of arterial blood pressure, and one has no blood pressure unless he or she is alive.
So we knew that Robyn was alive and on the couch when she was first assaulted. But it was unlikely she was still breathing when Waddell removed her clothing, which upon later examination revealed a single three-quarters-of-an-inch cut in the front of the bloodstained blouse where the knife had been plunged into her chest and moved back and forth to completely transect her aorta. Since she was stabbed many more times than that, and bitten, it was safe to conclude that most of Waddell's frenzied, piqueristic attack on her had occurred postmortem.
Then this man, who later would claim he did not remember killing “the lady on TV,” suddenly woke up, in a sense. He got off her body and had second thoughts about what he had done. The absence of drag marks near the couch suggested that Waddell carried the body from the couch and laid it on the floor on the other side of the room. He dragged it into an upright position and propped it against the TV. Then he set about to clean up. The ring marks that glowed on the floor, I believed, were left by the bottom of a bucket that he carried back and forth from the body to the bathtub down the hall. Each time he returned to the living room to mop up more blood with towels, or perhaps to check on his victim as he continued raiding her belongings and drinking her booze, he again bloodied the bottom of his shoes. This explained the profusion of shoe prints wandering peripatetically throughout her house. The activities themselves explained something else. Waddell's post-offense behavior was inconsistent with that of someone who felt no remorse.
“Here he is, this uneducated farm boy who's living in the big city,” Wesley explained. “He's stealing to support a drug habit that's rotting his brain. First marijuana, then heroin, coke, and finally PCP. And one morning he suddenly comes to and finds himself brutalizing the corpse of a stranger.”
Logs shifted in the fire as we stared at big handprints glowing as white as chalk on the dark television screen.
“The police never found vomit in the toilet or around it,” I said.
“He probably cleaned that up, too. Thank God he didn't wipe down the wall above the john. You don't lean against a wall like that unless you're commode-hugging sick.”
“The prints are fairly high above the back of the toilet,” I observed. “I think he vomited, and when he stood up got dizzy, lurched forward, and raised his hands just in time to prevent his head from slamming into the wall. What do you think? Remorse or was he just stoned out of his mind?”
Wesley looked at me. “Let's consider what he did with the body. He sat it upright, tried to dean it with towels, and left the clothes in a moderately neat stack on the floor near her ankles. Now, you can look at that two ways. He was lewdly displaying the body and thereby showing contempt. Or he was demonstrating what he considered caring. Personally, I think it was the latter.”
“And the way Eddie Heath's body was displayed?”
“That feels different. The positioning of the boy mirrors the positioning of the woman, but something's missing.”
Even as he spoke, I suddenly realized what it was. “A mirror image,” I said to Wesley in amazement. “A mirror reflects things backward or in reverse.”
He looked curiously at me.
“Remember when we were comparing Robyn Naisznith's scene photographs with the diagram depicting the position of Eddie Heath's body?”
“I remember vividly.”
“You said that what was done to the boy - from the bite marks to the way his body was propped against a boxy object to his clothing being left in a tidy pile nearby - was a mirror image of what had been done to Robyn. But the bite marks on Robyn's inner thigh and above her breast were on the left side of her body. While Eddie's injuries - what we believe are eradicated bite marks - were on the right. His right shoulder and right inner thigh.”
“Okay.” Wesley still looked perplexed.
“The photograph that Eddie's scene most closely resembles is the one of her nude body propped against the console TV.”
“True.”
“What I'm suggesting is that maybe Eddie's killer saw the same photograph of Robyn that we did. But his perspective is based on his own body's left and right. And his right would have been Robyn's left, and his left would have been her right, because in the photograph she's facing whoever is looking on.”
“That's not a pleasant thought,” Wesley said as the telephone rang.
“Aunt Kay?”
Lucy called out from the kitchen. “It's Mr. Vander.”
“We got a confirmation,” Vander's voice came over the line.
“Waddell did leave the print in Jennifer Deighton's house?”
I asked.
“No, that's just it. He definitely did not.”
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