hell out of sitting at my desk taking call after call from panicky citizens."
Scott said, "Hey, Andy, you think we might have something here? Maybe this guy is copying old crimes by hunting for look-alike victims?"
"Maybe," Andy said. "But let's not get too excited just yet, okay, guys? One sketch doesn't mean much, except maybe that all of us have—or had—doubles in the world. Just keep digging, and bring me anything you find."
"You bet, Andy. Want us to leave this file for you?"
"Yeah." Andy accepted the file and wished the younger cops a good night. They walked out together, talking, and he wasted a minute or so wondering if they were sleeping together. Not very surprising, if so, and they wouldn't be the first pairing in the department. But he hoped they were smarter than that.
When he was alone again, he stared at the sketch of a young woman long dead and gone. Hell, twice dead and gone, or at least that was how it looked. Pamela Hall, stabbed to death in 1934 after being brutally raped; Laura Hughes, brutally raped and beaten in 2001, blinded, dying days later of her injuries.
The two women didn't just resemble each other—they were virtually identical, right down to the little mole at the left corner of their mouths. But an artist had drawn this sketch with only the battered face of the victim as a guide, and Andy reminded himself that artists were hardly infallible.
Except for Maggie, anyway.
Andy combed through the file, but it held precious little information. From the sound of their notes, the investigating cops had been saddened by the murder of this young woman but not surprised; she had been found in the bad part of town, and it was clear they considered it her own fault that she had placed herself in the path of danger. Still, they had investigated methodically for a while—and then moved on to the next crime demanding their attention.
The postmortem notes were no more helpful. The victim had died of blood loss and shock; there was evidence of forcible sexual activity, and she was beaten and bruised. It was the opinion of the doctor that she had fought her attacker, evidenced by the injuries to her arms and hands, but her strength had, clearly, been no match for his.
Andy went back to studying the sketch. Were Scott and Jennifer right in their speculation? Was their modern-day serial rapist choosing his victims from old unsolved cases?
It was, of course, ridiculous to base an assumption such as that one on a single example, but Andy couldn't help doing a little speculating himself. So far, they hadn't been able to find any pattern in the means or reasoning their rapist had used to choose his victims. Since one of the women had been abducted from a crowded shopping mall and another from her high-security apartment building, they had ruled out simple ease of access, which meant he was picking his victims some other way and quite deliberately.
Could he be using old unsolved investigations? And if he was, had he found the information he sought in books? Or in the actual files themselves?
If he was, Andy hoped it was the former. He really hoped so. Because he was pretty sure that the only people who could have gained access to the old files without attracting notice were cops.
SATURDAY, NOVEMBER 3
Maggie wasn't terribly surprised to find John Garrett at the hospital when she arrived to talk to Hollis Templeton shortly after two o'clock. She also wasn't terribly happy about it.
"The interview will be private," she told him.
"I know that. I just thought we might be able to get a cup of coffee somewhere afterward. Talk."
She didn't bother to explain that interviews such as this one was likely to be usually left her feeling something less than sociable. "I doubt I'll have any new information," she warned him instead. "The first interview with a victim seldom produces anything we can use."
"I understand that. I'd still like to talk. And—there's someone I'd like you to meet."
Maggie was