“The fact is we don’t know,” he says. “Doug has her own opinion, but it’s not necessarily mine.”
“Tell me yours.”
“I’ll tell you who.”
“Do you have a suspect in mind?”
“I know who he is, in his late twenties at least but probably older.” Benton scans where we are on the dark rainy street. “Intelligent, accomplished, blends in but is isolated emotionally. Doesn’t get close. Those who think they know him don’t.”
“‘Him’?”
“Yes.” Benton looks at cars; he looks at houses. “Familiar with boating. Likely has a boat or access to one.”
I think about Marino’s obsession with the CFC getting a boat, and I wonder who else he’s said this to.
“Needs no help operating it, is skillful enough to pilot it alone.”
Benton rolls down his window and stares out at the dark.
“A smooth talker, glib, completely confident he can convince anyone of anything, including police, the Coast Guard.”
He’s unmindful of the rain blowing in.
“If his boat broke down or he got stopped while he had a dead body on board, he would be certain he could charm and convince and no one would know. Someone fearless. Someone with financial means.”
Marino has a captain’s license issued by the Coast Guard.
“A narcissistic sociopath,” Benton says, to the rain and the night. “A sexual sadist whose arousal comes from causing fear, from tormenting, from degrading, from controlling.”
“So far I’ve found no evidence of sexual assault,” I let him know.
“He doesn’t sexually assault them. He has a physical aversion to his victims because they’re beneath him. He makes sure they know how beneath him they are. Your description of a booby trap is correct, the more I think about it.”
“A booby trap intended to pull her apart, to decapitate her, and maybe some or all of the body is lost. Why?” I ask. “Because he doesn’t want her identified?”
“Because killing her wasn’t enough. He could kill her every day and it wouldn’t be enough to fill the void in him that was left by some terrible devastation he suffered earlier in life.”
“A devastation you know about?”
“I know because they’re all different and the same. A monster no one recognizes. Goes about his normal business while he keeps a dead body in a refrigerator or a freezer because he can’t let it go, can’t let go of the fantasy. He has to relive what he did to her constantly. And even when he finally decided to dispose of her, he had to destroy her one last time. He wanted her ripped apart and wanted it witnessed, and intended whoever witnessed it to be shocked and made a fool of. Someone who mocks.”
Benton rolls his window up.
“Did he know her?” I ask.
He wipes rainwater off his face with his hands.
“He knows who he was killing,” he answers. “Peggy Stanton was just the stand-in. All of his victims are stand-ins. He’s killed before, and he’ll kill again or possibly already has, and he’ll play his games with those involved because it gives him pleasure.”
Wipers sweep water off the glass as I slowly move forward toward the unmarked cars parked just ahead.
“The same victim each time. A woman.” Benton zips up his coat. “Most likely an older woman, older than himself. An established, accomplished mature woman. It could be his mother or some other woman who played an overwhelmingly powerful role in his life.”
“What you’re describing certainly isn’t an impulse crime.” I notice curtains moving in the houses we pass.
Neighbors are aware of our SUV stopping and then creeping slowly on their street.
“You don’t abduct someone or get into a struggle or do much of anything around here without being seen,” I say. “You don’t carry a dead or unconscious body out of the house and load it into a car, doesn’t matter how dark it is. The risk would be enormous.”
“What happened to her was calculated.”
“Meticulously,” I agree.
“There was an encounter, maybe more than one. But they didn’t know each other,” Benton says. “Or at least she didn’t know him.”
twenty-three
THE TWO-STORY WHITE COLONIAL IS TUCKED IN ON three sides by homes almost on top of it, the narrow yard in front overgrown with shrubs that obscure first-floor windows and crowd a brick driveway leading to the detached garage. Rain pelts our faces and soaks our hair as we follow a slate walk slick with dead leaves and overgrown with weeds.
“The yard work certainly hasn’t been done in recent memory.” I raise my voice over the smacking rain. “I’m surprised if nobody complained, and it’s important to determine which lights have been on all this time and those that haven’t,” I add, because many of the windows are dark.
We hurry up steps to a covered front porch illuminated by a pair of ceiling-mounted glass lanterns, and we take off our dripping coats as the door opens wide. Douglas Burke looks monastic in white hooded coveralls, as if she’s part of some higher order, and she lets us into a small but elegant entryway, a dining room and living room on either side, a staircase curving up to the second floor.
An antique gold pendant chandelier that looks French is lighted over a Persian rug protected by heavy clear plastic, and on top are the suede lace-ups that Burke had on earlier and oxfords that I assume are Machado’s, and boxes and stacks of protective clothing. The air is stagnant and tastes like dust.
“If someone grabbed her from this place or killed her here, they didn’t leave any sign of it that I can see.” Burke hands out towels. “But I’m not that kind of expert.”
The way she says it catches my attention.
“Did you turn the porch lights on?” Benton dries his face, his hair.
“Everything on we turned on. When we got here the house was in a complete blackout. A lot of burned-out bulbs. What a night.” She closes the door. “Hope Noah’s building another ark.”
Drying off my crime scene case, I set it down next to a box of boot covers with PVC soles that one can wear without shoes, and I towel off my dripping hair. I feel clammy and wilted and vaguely self-conscious, sensing something I can’t define that I don’t trust.
“Nothing was on when you got here?” Benton is making sure.
“The only thing on is me. On Sudafed, and it’s hardly putting a dent. Just the kind of place to make my allergies go wild.” Her eyes are watery, and she sounds congested.
“And the neighbors didn’t notice and wonder why her house would be pitch dark?” Benton asks.
“Lights burn out gradually and not at the same time? Maybe the neighbors mind their own business or weren’t into minding hers?” Burke supposes, and she’s talking fast, hyped up.
“We got a lot of neighbors to interview, but I’m guessing the assumption was she’d left town like she often did. One of these people typical for around here, doesn’t have to work for a living, dabbles in volunteer work and intellectual pursuits. You know the type,” she says to Benton, as if he’s that type, and it’s hard to tell if she’s teasing or flirting or means nothing by it.
“Most people leave at least a few lights on.” He continues assessing how much Peggy Stanton kept to herself or encouraged her neighbors to mind their own business, or if she might have been liked or resented or avoided.
Predators pick their victims for a reason.
“We’ve been through every room,” Burke lets us know. “Sil’s still roaming around in the basement, says he wants to point out something electrical to you.” She directs this to Benton. “Don’t ask me. I can barely plug in a toaster. Nothing interesting so far, except it’s obvious the place has been empty for several weeks at least.”