Whatever the drug, it was taking effect in a big way. She was growing exhausted. Her mind tumbled, as if dipping into and out of a dream,
and for some reason she found herself obsessing over the cheap perfume Chez Nord sold by the checkout counter.
Who’d buy that crap? Why didn’t—?
What am I doing? she thought as clarity returned. Fight! Fight the son of a bitch!
But her hands were at her sides now, completely still, and her head heavy as stone.
She was sitting on the floor and then the room tilted and began to move. He was
dragging her toward the access door.
No, not there, please!
Listen to me! I can explain why you shouldn’t do this. Don’t take me there! Listen!
Here in the cellar proper, at least there was still some hope that Marge would look down the stairs and see them both and she’d scream and he’d scramble off on his insect legs. But once Chloe was deep underground in his bug nest, it would be too late.
The room was growing dark but an odd kind of dark, as if the ceiling bulbs, which were still on, were not
emitting
light but drawing in rays and extinguishing them.
Fight!
But she couldn’t.
Closer to the black abyss.
Drip, drip, drip …
Scream!
She did.
But no sound came from her mouth beyond a hiss, a cricket click, a beetle hum.
Then he was easing her through the door into Wonderland,
on the other side. Like that movie. Or cartoon. Or whatever.
She saw a small utility room below.
Chloe believed she was falling, over and over, and a moment later she was on the floor, the ground, the dirt, trying to breathe, the air kicked out of her lungs from the impact. But no pain, no pain at all. The sound of dripping water was more pronounced and she saw a trickle down the far wall, made
of old stone and laced with pipes and wires, rusty and frayed and rotting.
Drip, drip …
A trickle of insect venom, of shiny clear insect blood.
Thinking, Alice, I’m Alice. Down the rabbit hole. The hookah-smoking caterpillar, the March Hare, the Red Queen, the red insect on his arm.
She never liked that goddamn story!
Chloe gave up on screaming. She wanted only to crawl away, to cry and huddle,
to be left alone. But she couldn’t move. She lay on her back, staring up at the faint light from the basement of the store that she hated working in, the store that she wanted with all her soul to be back inside right now, standing on sore feet and nodding with fake enthusiasm.
No, no, it makes you look sooo thin. Really …
Then the light grew dimmer yet as her attacker, the yellow-face insect,
climbed into the hole, pulled the access door shut behind him, and came down the short ladder to where she lay. A moment later a piercing light filled the tunnel; he’d pulled a miner’s lamp onto his forehead, clicked it on. The white beam blinded and she screamed, or didn’t scream, at the piercing brilliance.
Which suddenly faded to complete darkness.
She awoke a few seconds or minutes or a
year later.
Chloe was someplace else now, not the utility room, but in a larger room, no, a tunnel. Hard to see, since the only illumination was a weak light above her and the focused beam from the masked insect man’s forehead. It blinded her every time he looked at her face. She was on her back again, staring upward, and he was kneeling over her.
But what she’d been expecting, dreading, wasn’t
happening. In a way, though, this was worse because
that
– ripping her clothes off and then what would follow – would at least have been understandable. It would have fallen into a known category of horror.
This was different.
Yes, her blouse was tugged up but only slightly, exposing her belly from navel to the bottom of her bra, which was still chastely in place. Her skirt was tucked tight
around her thighs, almost as if he didn’t want there to be any suggestion of impropriety.
Leaning forward, hunched, intent, he was staring with those calm eyes of his, those insect eyes, at her smooth, white belly skin the way somebody would look over a canvas at MoMA: head tilted, getting the right angle to appreciate Jackson Pollock’s spatter, Magritte’s green apple.
He then slowly extended
his index finger and stroked her flesh. His yellow finger. He splayed his palm and brushed back and forth. He pinched and raised peaks of skin between his thumb and forefinger. He let go and watched the mounds flatten back.
His insect mouth curved into a faint smile.
She thought he said, ‘Very nice.’ Or maybe that was the smoke-ring caterpillar talking or the bug on his arm.
She heard a faint
hum of vibration and he looked at his watch. Another hum, from elsewhere. Then he glanced at her face and saw her eyes. He seemed surprised, maybe, that she was awake. Turning, he tugged into view a backpack and removed from it a filled hypodermic syringe. He stabbed her again, this time in a vein in her arm.
The warmth flowed, the fear lessened. As darkness trickled around her, sounds vanishing,
she saw his yellow fingers, his caterpillar fingers, his insect claws, reach into the backpack once more and carefully remove a small box. He set it beside her exposed skin with the same reverence she remembered her priest displaying as he’d placed the silver vessel holding the blood of Christ on the altar last Sunday during Holy Communion.
Billy Haven shut off his American Eagle tattoo machine to save the batteries.
He squatted back. He examined the work so far.
Eyes scanning.
Less-than-ideal conditions but the art was good.
You always put everything you could into your mods. From the simplest cross on a waitress’s shoulder to an American flag on a contractor’s chest, complete with multiple folds and three colors and
blowin’ in the wind, you inked like Michelangelo laboring away on the church ceiling. God and Adam, finger skin to finger skin.
Now, here, Billy could’ve rushed. Considering the circumstances, nobody would have blamed him.
But no. The mod had to be a Billy Mod. What they called it back home, in his shop.
He felt a tickle, sweat.
Lifted the dentist’s face guard and with his gloved hand wiped
sweat from his eyes, put the tissue into a pocket. Carefully, so no fibers would flake off. Telltale fibers that could be as dangerous to him as the inking was to Chloe.
The face shield was cumbersome. But necessary. His tattoo instructor had taught him this lesson. He’d had Billy slip one on before the boy had even picked up a machine for the first time. Billy, like most young apprentices, had
protested: Got eye protection. Don’t need more. It wasn’t cool. Wearing a dorky mask was like giving newbies, in for their first inking, a pussy ball to squeeze.
Tat up. Get over it.
But then his instructor had Billy sit beside him while he inked a client. A little work: Ozzy Osbourne’s face. For some reason.
Man, the blood and fluid that spattered! The face guard was as flecked as a pickup’s
windshield in August.
‘Be smart, Billy. Remember.’
‘Sure.’
Ever since, he’d assumed that each customer was ripe with hep C and B and HIV and whatever other sexual diseases were popular.
And for the mods he’d be inking over the next few days, of course, he couldn’t afford
any
blowback.
So, protection.
And he’d worn the latex mask and hood, too, to make sure he didn’t shed any of his abundant
hair or slough off epidermal cells. To distort his features as well. There was the remote chance that, despite his careful selection of the secluded kill zones, he’d get spotted.
Billy Haven now examined his victim again.
Chloe.
He’d noted the name on the tag on her chest and the pretentious
Je m’appelle
preceding it. Whatever that meant. Maybe Hello. Maybe Good morning. French. He lowered
his gloved hand – double-gloved – and stroked her skin, pinching, stretching, noting the elasticity, the texture, the fine resilience.
Billy noted too the faint rise between her legs, beneath the forest-green skirt. The lower line of the bra. But there was no question of misbehaving. He never touched a client anywhere he shouldn’t touch.
That was flesh. This was skin. Two different things entirely,
and it was skin that Billy Haven loved.
He wiped more sweat with a new tissue, carefully tucked it away again. He was hot, his own skin prickling. Though the month was November the tunnel was stifling. Long – about a hundred yards – yet sealed at both ends, which meant no ventilation. It was like many of the passages here in SoHo, south of Greenwich Village. Built in the nineteenth and twentieth
centuries, these tunnels honeycombed the neighborhood and had been used for transporting goods underground to and from factories and warehouses and transfer stations.
Abandoned now, they were perfect for Billy’s purposes.
The watch on his right wrist hummed again. A similar sound from a backup watch in his pocket came a few seconds later. Reminding him of the time; Billy often got lost in his
work.
Just let me get God’s knuckle perfect, just a minute more …
A clattering came from a bud microphone in his left ear. He listened for a moment then ignored the noise and took up the American Eagle machine once more. It was an old-style model, with a rotary head, which moved the needle like a sewing machine’s, rather than modern devices that used a vibrating coil.
He clicked it on.
Bzzzz
…
Face shield down.
A millimeter at a time, he inked with a lining needle, following the bloodline he’d done quickly. Billy was a natural-born artist, brilliant at pencil and ink drawing, brilliant at pastels. Brilliant at needles. He drew freehand on paper, he drew freehand on skin. Most mod artists, however talented, used stencils, prepared ahead of time or – for the untalented – purchased
and then placed on the skin for the inker to trace. Billy rarely did this. He didn’t need to. From God’s mind to your hand, his uncle had said.
Now time to fill. He swapped needles. Very, very carefully.
For Chloe’s tat, Billy was using the famous Blackletter font, known more commonly as Gothic or Old English. It was characterized by very thick and very thin strokes. The particular family he
used was Fraktur. He’d selected this font because it was the typeface of the Gutenberg Bible – and because it was challenging. He was an artist and what artist didn’t like to show off his skills?
Ten minutes later he was nearly done.
And how was his client doing? He scanned her body then lifted her lids. Eyes still unfocused. Her face gave a few twitches, though. The propofol wouldn’t last much
longer. But of course by now one drug was replacing the other.
Suddenly pain coursed through his chest. This alarmed him. He was young and in very good shape; he dismissed the thought of a heart attack. But the big question remained: Had he inhaled something he shouldn’t have?
That
was a very real, and lethal, possibility.
Then he probed his own body and realized the pain was on the surface.
And he understood. When he’d first grabbed her, Chloe had fought back. He’d been so charged he hadn’t noticed how hard she’d struck him. But now the adrenaline had worn off and the pain was throbbing. He looked down. Hadn’t caused any serious damage, except for tearing his shirt and the coveralls.
He ignored the ache and kept going.
Then Billy noted Chloe’s breathing becoming deeper. The anesthetic
would soon wear off. He touched her chest – Lovely Girl wouldn’t have minded – and beneath his hand he could feel her heartbeat thudding more insistently.
It was then that a thought occurred to him: What would it be like to tattoo a living, beating heart? Could it be done? Billy had broken into a medical supply company a month ago in anticipation of his plans here in New York. He’d made off with
thousands of dollars in equipment, drugs, chemicals and other materials. He wondered if he could learn enough to put someone under, crack open the chest, ink a design or words onto the heart itself and sew the victim back up. Living out his or her life with the altered organ.
What would the work be?
A cross.
The words:
The Rule of Skin
Maybe:
Billy + Lovely Girl
4 Ever
Interesting idea.
But thinking about Lovely Girl made him sad and he returned to Chloe, finishing the last of the letters.
Good.
A Billy Mod.
But not quite finished yet. He extracted a scalpel from a dark-green toothbrush container and reached forward, stretching out the marvelous skin once more.
One can view death in two ways.
In the discipline of forensic science an investigator looks at death abstractly, considers it to be merely an event that gives rise to a series of tasks. Good forensic cops view that event as if through the lens of history; the best see death as fiction, and the victim as someone who never existed at all.
Detachment is a necessary tool for crime scene
work, just like latex gloves and alternative light sources.
As he sat in the red-and-gray Merits wheelchair in front of the window of his Central Park West town house, Lincoln Rhyme happened to be thinking of a recent death in just this way. Last week a man had been murdered downtown, a mugging gone wrong. Just after leaving his office in the city’s Department of Environmental Protection, mid-evening,
he’d been pulled into a deserted construction site across the street. Rather than give up his wallet, he’d chosen to fight and, no match for the perp, he’d been stabbed to death.
The case, whose file sat in front of him now, was mundane, and the sparse evidence typical of such a murder: a cheap weapon, a serrated-edge kitchen knife, dotted with fingerprints not on file at IAFIS or anywhere else,
indistinct footprints in the slush that had coated the ground that night, and no trace or trash or cigar-ette butts that weren’t day- or week-old trace or trash or cigarette butts. And therefore useless. To all appearances it was a random crime; there were no springboards to likely perps. The officers had interviewed the victim’s fellow employees in the public works department and talked to friends
and family. There’d been no drug connections, no dicey business deals, no jealous lovers, no jealous spouses of lovers.