“And check him out,” said Abby, pointing to a guy wearing full hunting gear and sitting on a rangy chestnut horse, beside the front gate. “He’d have a mickey fit if he knew we were keeping motoring cars in his stables.” Her voice sounded fine-easy, cheerful, not even a sliver of a pause-but her eyes, flicking to me across Daniel, were anxious.
“If I’m not mistaken,” Daniel said, “that’s our benefactor.” He flipped out the photo and checked the back. “Yes: ‘Simon on Highwayman, November 1949.’ He would have been twenty-one or so.”
Uncle Simon was from the main branch of the family tree: short and wiry, with an arrogant nose and a fierce look. “Another unhappy man,” Daniel said. “His wife died young, and apparently he never really recovered. That’s when he began drinking. As Justin said, not a cheerful bunch.”
He started to fit the photo back into its corners, but Abby said, “No,” and took it out of his hand. She passed her glass to Daniel, went to the fireplace and propped the picture in the middle of the mantelpiece. “There.”
“Why?” Rafe inquired.
“Because,” Abby said. “We owe him. He could have left this place to the Equine Society, and I’d still be living in a scary basement bedsit with no windows and hoping that the nutbar upstairs wouldn’t decide to break in some night. As far as I’m concerned, this guy deserves a place of honor.”
“Oh, Abby, sweetie,” Justin said, holding out an arm. “Come here.”
Abby adjusted a candlestick to hold the photo in place. “There,” she said, and went to Justin. He fitted his arm around her and pulled her against him, her back leaning against his chest. She took back her glass from Daniel. “Here’s to Uncle Simon,” she said.
Uncle Simon gave us all a baleful, unimpressed glare. “Why not,” Rafe said, raising his glass high. “Uncle Simon.”
The port glowing deep and strong as blood, Daniel’s arm and Rafe’s holding me snug in place between them, a gust of wind rattling the windows and swaying the cobwebs in the high corners. “To Uncle Simon,” we said, all of us.
Later, in my room, I sat on the windowsill and went through my various new bits of information. All four of the housemates had deliberately hidden how upset they were, and hidden it well. Abby threw kitchen utensils when she got angry enough; Rafe, at least, somehow blamed Lexie for getting stabbed; Justin had been sure they were going to be arrested; Daniel hadn’t fallen for the coma story. And Rafe had heard Lexie telling him she was coming home, the day before I said yes.
Here’s one of the more disturbing things about working Murder: how little you think about the person who’s been killed. There are some who move into your mind-children, battered pensioners, girls who went clubbing in their sparkly hopeful best and ended the night in bog drains-but mostly the victim is only your starting point; the gold at the end of the rainbow is the killer. It’s scarily easy to slip to the point where the victim becomes incidental, half forgotten for days on end, just a prop wheeled out for the prologue so that the real show can start. Rob and I used to stick a photo smack in the middle of the whiteboard, on every case-not a crime-scene shot or a posed portrait; a snapshot, the candidest candid we could find, a bright snippet from the time when this person was something more than a murder victim-to keep us reminded.
This isn’t just callousness, or self-preservation. The cold fact is that every murder I’ve worked was about the killer. The victim-and imagine explaining this to families who have nothing left but the hope of a reason-the victim was just the person who happened to wander into the sights when the gun was loaded and cocked. The control freak was always going to kill his wife the first time she refused to follow orders; your daughter happened to be the one who married him. The mugger was hanging around the alleyway with a knife, and your husband happened to be the next person who walked by. We go through victims’ lives with a fine-tooth comb, but we’re doing it to learn more not about them but about the murderer: if we can figure out the exact point where someone walked into those crosshairs, we can go to work with our dark, stained geometries and draw a line straight back to the barrel of the gun. The victim can tell us how, but almost never why. The only reason, the beginning and the end, the closed circle, is the killer.
This case had been different from the first moment. I had never been in any danger of forgetting about Lexie; and not just because I carried the reminder photo around with me, there every time I brushed my teeth or washed my hands. From the second I walked into that cottage, before I ever saw her face, this had been about her. For the first time ever, the murderer was the one I kept forgetting.
