Prey: Night Prey Part 30

Then a flash: the woman had taken a picture of him. Koop panicked, turned to run. The woman on the sidewalk looked at him, still screaming, pulling away.

Christ: she'd seen him close, from two inches.

Another flash.

Man's voice: "Get away from that woman, police are coming, get away."

And another light, steady this time: somebody was making movies.

The rage roared out of him, like fire; the knife with a mind of its own.

Koop grabbed the woman by the throat, lifted her off the sidewalk, the woman kicking like a chicken.

And the knife took her. She slipped away from him, onto the sidewalk, almost as though she had fainted.

Koop looked down. His hands were covered with blood; blood ran down the sidewalk, black in the streetlight. . . .

"Get away from that woman, get away. . . ."

No need to be told. Panic was on him, and he ran to the truck, climbed in, gunned it.

Around the corner, around another.

Two minutes, up the interstate ramp. Cop cars everywhere, down below lights flas.h.i.+ng, sirens screeching. Koop took the truck off the interstate, back into the neighborhoods, and pushed south. Side streets and alleys all the way.

He stayed inside for ten minutes, then jumped on the Crosstown Expressway for a quick dash to the airport. Took a ticket, went up the ramp, parked. Crawled in the back.

"Motherf.u.c.ker," he breathed. Safe for the moment. He laughed, drank the last mouthful from the pint bottle.

He got out of the truck, hitched his pants, walked around behind, and climbed in.

Safe, for the time being.

He rolled up his jogging jacket to use as a pillow, lay down, and went to sleep.

Eloise Miller was dead in a pool of black blood before the cops got there.

In St. Paul, a patrol cop looked at Ivanhoe the dog and wondered who in the f.u.c.k would do that. . . .

26.

"WE GOT PICTURES of him," Connell said. Lucas found her on the sixth floor, in the doorway of a small apartment, walking away from a gray-haired woman. Connell was as cranked as Lucas had ever seen her, a ca.s.sette of thirty-five-millimeter film in her fist. "Pictures of him and his truck."

"I heard we got movies," Lucas said.

"Aw, man, come on . . ." Connell led him down the stairs. "You gotta see this."

On four, two cops were talking to a thin man in a bathrobe. "Could you run the tape?" Connell asked.

One of the cops glanced at Lucas and shrugged. "How's it going, chief?"

"Okay. What've we got?"

"Mr. Hanes here took a videotape of the attack," the older of the two cops said, pointing a pencil at the man in the bathrobe.

"I didn't think," the man said. "There wasn't any time."

The younger cop pushed the b.u.t.ton on the VCR. The picture came up, clear and steady: a picture of a bright light s.h.i.+ning into a window. At the bottom of it, what appeared to be two sets of legs doing a dance.

They all stood and watched silently as the tape rolled on: they could see nothing on the other side of the window except the legs. They saw the legs only for a few seconds.

"If we get that downtown, we should be able to get a height estimate on the guy," Lucas said.

The bathrobe man said, mournful as a bloodhound, "I'm sorry."

The older cop tried to explain. "See, the light reflected almost exactly back at the lens, so whatever he pointed it at is behind the light."

"I was so freaked out. . . ."

In the hallway, Lucas said, "How do we know we don't have the same thing on the film?"

" 'Cause she went out on her terrace and shot it," Connell said. "There was no window to reflect back at her . . . There's a one-hour development place at Midway, open all night."

"Isn't there a better-"

She was shaking her head. "No. I've been told that the automated processes are the most reliable for this Kodak stuff. One is about as good as another."

"Did you see enough of the woman on the street?" Lucas asked.

"I saw too much," Connell said. She looked up at Lucas. "He's flipped out. He started out as this sneaky, creepy killer, really careful. Now he's Jack the Ripper."

"How about you?"

"I flipped out a long time ago," she said.

"I mean . . . are you hanging in there?"

"I'm hanging in," she said.

TH EQUICK-SHOT OPERATOR was by himself, processing film. He could stop everything else, he said, and have prints in fifteen minutes, no charge.

"There's no way they can get messed up?" Lucas asked.

The operator, a bony college kid in a Stone Temple Pilots T-s.h.i.+rt, shrugged. "One in a thousand-maybe less than that. The best odds you're going to get."

Lucas handed him the ca.s.sette. "Do it."

SEVENTEEN MINUTES LATER, the kid said, "The problem is, she was trying to take a picture from a hundred and fifty or two hundred feet away, at night, with this little teeny flash. The flash is supposed to light up somebody's face at ten feet."

"There's nothing f.u.c.kin' there," Connell shouted at him, spit flying.

"Yeah, there is-you can see it," the kid said, indignant, peering at one of the almost-black prints. That particular print had a yellow smudge in the middle of it, what might have been a streetlight, above what might have been the roof of a truck. "That's exactly what you get when you take pictures in the dark with one of those little f.u.c.kin' cameras."

There was something going on in the prints, but they couldn't tell what. Just a lot of smudges that might have been a woman being stabbed to death.

"I DON'T BELIEVE it," Connell said. She slumped in the car seat, sick.

"I don't believe in eyewitnesses or cameras," Lucas said.

Another three blocks and Connell said suddenly, urgently, "Pull over, will you? Right there, at the corner."

"What?" Lucas pulled over.

Connell got out and vomited. Lucas climbed out, walked around to her. She looked up weakly, tried to smile. "Getting worse," she said. "We gotta hurry, Lucas."

"W E ' R E TALKING FIRESTORM," Roux said. She had two cigarettes lit at the same time, the one on the window ledge burning futilely by itself.

"We'll get him," Lucas said. "We've still got the surveillance at Sara Jensen's. There's a good chance he'll come in."

"This week," Roux said. "Gotta be this week."

"Very soon," Lucas said.

"Promise?"

"No."> LUCAS SPENT THE day following the Eloise Miller routine, reading histories, calling cops. Connell did the same, and so did Greave. Results from the street investigation began coming in. The guy was big and powerful, batted the woman like a rag doll.

There were three eyewitnesses: one said the killer had a beard, the other two said he did not. Two said he wore a hat, the other said he had black hair. All three said he drove a truck, but they didn't know what color. Something and white. There wasn't much dirt in the street to pick up tire tracks, even if two cop cars and an ambulance hadn't driven over them.

The autopsy came in. Nothing good. No DNA source. No prints. Still checking for hair.

AT FOUR O'CLOCK, he gave up. He went home, took a nap. Weather got home at six.

At seven, they lay on top of the bedsheet, sweat cooling on their skin. Outside the window, which was cracked just an inch or two, they could hear the cars pa.s.sing in the street a hundred feet away, and sometimes, quietly, the muttering of voices.

Weather rolled up on her elbow. "I'm amazed at the way you can separate yourself from what you're doing," she said. She traced a circle on his chest. "If I was as stuck on a problem as you are, I couldn't think of anything else. I couldn't do this."

"Waiting is part of the deal," Lucas said. "It has always been that way. You can't eat until the cake is baked."

"People get killed while you're waiting," she said.

"People die for bad reasons all the time," Lucas said. "When we were running around in the woods last winter, I begged you to stay away. You refused to stay away, so I'm alive. If you hadn't been out there . . ." He touched the scar on his throat.

"Not the same thing," she objected. She touched the scar. Most of it, she'd made herself. "People die all the time because of happenstance. Two cars run into each other, and somebody dies. If the driver of one of them had hesitated five seconds at the last stoplight, they wouldn't have collided, and n.o.body would die. That's just life. Chance. But what you do . . . somebody might die because you can't solve a problem that's solvable. Or like last winter, you seemed to reach out and solve a problem that was unsolvable, and so people who probably would have died, lived."

He opened his mouth to reply, but she patted him on the chest to stop him. "This isn't criticism. Just observation. What you do is really . . . bizarre. It's more like magic, or palm reading, than science. I do science. Everybody I work with does science. That's routine. What you do . . . it's fascinating."

Lucas giggled, a startling sound, high-pitched, unlike anything she'd ever heard from him. Not a chuckle. A giggle. She peered down at him.

"G.o.dd.a.m.n, I'm glad you moved in with me, Karkinnen," he said. "Conversations like this could keep me awake for weeks at time. You're better than speed."

"I'm sorry. . . ."

"No, no." He pushed up on his elbow to face her. "I need this. n.o.body ever looked into me before. I think a guy could get old and rusty if n.o.body ever looked into him."

WHEN WEATHER WENT into the bathroom, Lucas got up and wandered around, naked, hunting from room to room, not knowing exactly what for. A picture of the dead Eloise Miller hung in his mind's eye: a woman on the way to feed a friend's dog while the friend was out of town. She'd made that walk, late at night, just once in her life. Once too often.

Lucas could hear Weather running water in the bathroom, and thought guiltily about the attractions of Jan Reed. He sighed, and pushed the reporter out of his mind. That's not what he was supposed to be thinking about.

They knew so much about the killer, he thought. Generally what he looked like, his size, his strength, what he did, the kinds of vehicles he drove, if indeed he drove that Taurus sedan in addition to the truck. Anderson was now cross-indexing joint owners.h.i.+ps, green Taurus sedans against pickups.

But so much of what they knew was conflicting, and conflicts were devastating in a trial.

Depending on who you believed, the killer was a white, short or tall police officer (or maybe a convict), a cocaine user who drove either a blue-and-white or red-and-white pickup truck, or a green Taurus sedan, and he either wore gla.s.ses or he didn't, and while he probably wore a beard at one time, he might have shaved it off by now. Or maybe not.

Terrific.

And even if that could be sorted out, they had not a single convicting fact. Maybe the lab would come through, he thought. Maybe they'd pull some DNA out of a cigarette, and maybe they'd find the matching DNA signature in the state's DNA bank. It had been done.

And maybe pigs would fly.

Lucas wandered into the dining room, tinkled a few keys on the piano. Weather had offered to teach him how to play-she'd taught piano in college, as an undergraduate-but he said he was too old.

"You're never too old," she'd said. "Here, have some more wine."

"I am too old. I can't learn that kind of stuff anymore. My brain doesn't absorb it," Lucas said, taking the wine. "But I can sing."

"You can sing?" She was amazed. "Like what?"

"I sang 'I Love Paris' in the senior concert in high school," he said, somewhat defensively.

"Do I believe you?" she asked.

"Well, I did." He sipped.

And she sipped, then put the gla.s.s on a side table and rummaged, somewhat tipsily, through the piano bench and finally said, "Ah-ha, she calls his bluff. I have here the music to 'I Love Paris.' "

She played and he sang; remarkably well, she said. "You have a really nice baritone."

"I know. My music teacher said I had a large, vibrant instrument."

"Ah. Was she attractive?"