Dark in Death (In Death 46)

“Why this vid?”

“Hitchcock. I’m doing a paper on Hitchcock, and this particular work is a major part of the paper. But I, but I—Sorry.”

He pressed a hand to his stomach, spent a couple of seconds breathing. “I—I love film. I want to direct. The classics are a particular inspiration to me. I come here a lot. The classics, at least two or three times a month and, in general, probably twice that. It’s a different, ah, experience watching in a theater than on a home screen or a mobile.”

“Where were you sitting?”

“In the same row as … the same row. In the center seat. We were the only ones in the row. I like to sit alone as much as I can, but I sort of knew them—the women. I mean, I’d seen them here off and on, and I knew they’d be quiet. Not talking during the vid or being distracting, so I sat in the center seat.”

“Tell me what happened.”

“It was—it was right after Bates cleans up the bathroom, after the shower scene. He’s going to wrap Marion’s body in the shower curtain, put her and her luggage and the mone

y she stole and wrapped in newspaper in her car and sink it in the swamp. Perkins is amazing, he’s perfect. You believe him. You believe he’s horrified, panicked, protecting his crazy mother. I was studying the work, his expressions, his body language, and she started screaming.”

He took a moment to swallow. “The woman on the aisle, I mean. It jerked me out, pulled me out of the story. I was annoyed for a second, but then I realized it was one of the women in the row, the ones I sort of knew. So I knew something was really wrong, because they’re respectful. And the way she was screaming—I’m sorry, I don’t know her name. The one with the darker hair. I stood up. I could see something was wrong with the other woman. The blond woman. I thought she’d gotten sick or something. I started over, and the couple there?”

He gestured to the man and woman seated in another section. “They started over, too. From the other side. They were together on the other side, so we got there, and … there was blood, and the screaming, and they said—the other couple—to go for help, to get the lights on while they laid down the one with the blood in the aisle. I ran out, and part of me—in my head—kept running. Like a vid in my head. But I grabbed somebody from the lobby, and told him somebody in number three was hurt really bad. We needed an ambulance. They needed to turn on the houselights. She was bleeding really bad.

“I don’t know why I went back in, because in my head I was running away. The woman of the couple—not the one with the, with the one who got hurt, but the couple who tried to help. She’s a—God, I can’t find my words. A physician assistant. She said that, and she had blood on her, and she told people to stay back. I sat down, I just sat down because I didn’t think I could stand up. And then the police came.”

“Did you notice anyone sitting in the row behind you?”

“Not behind me, but behind them. At the end of the row. I really didn’t want anyone in my box, if you know what I mean. Within my area. In front, beside, behind. And there were lots of empty spots. I saw somebody slide into the row behind right after the houselights went down, and would’ve moved if he’d come toward the center. But he just sat behind them.”

“A man.”

“I … I don’t know. I didn’t look so much as sense. The houselights were down, and the opening credits starting to roll. I hate people who come in late, so I sensed the movement, figured I’d just move if he came into my box, but he didn’t. Or she. Honestly, it was dark, and it didn’t matter if it was a man or a woman to me. It was a corner-of-the-eye sort of thing.”

“Was he or she there when you heard and reacted to the screams?”

“I don’t know.”

“You stood up, started across the row. Was there anyone behind the women?”

“Give me a sec, okay?” He shut his eyes. “I’m going to visualize it. I don’t want to, but I will. I’m watching Anthony Perkins embody Norman Bates, because he does. He becomes and you as the audience believe. And she screams. To my right, she screams. The really, really pretty blonde is slumped over the brunette with the soft eyes. The brunette’s screaming, struggling to lift her friend. And I know something’s very wrong. Very wrong, so I stand up. Some people are yelling for her to shut up, but I know something’s just wrong, so I start over, and see the man and woman start over from the other section. And …

“No.” He opened his eyes. “Nobody was sitting behind them when I stood up. The whole row behind was empty.”

“Okay, Mark, that’s very helpful.” Eve dug in her pocket to give him a card. “If you think of anything else, if you get a better sense of the person who sat behind them, contact me. Do you need a ride home?”

“I think I want to walk. I think I need to walk.” He got up when Eve did. “You think the person who sat behind them killed her.”

“I need to find out.”

“I wish I’d looked. I wish I’d just turned my head a couple inches to the right and looked. I have good visual skills. If I’d looked, I’d be able to tell you what the person looked like. But I didn’t look. I just thought: Good, not going to push into my box, and the vid’s starting. Then I was inside the vid until the screams. Forty-five seconds.”

“What’s forty-five seconds?”

“Sorry, the shower scene. It runs for forty-five brilliant, terrifying seconds. I just wonder if the last thing she saw before … if the last thing she saw was murder.”

Forty-five seconds, Eve thought when he walked away.

More than enough time to kill.

2

While sweepers in their white suits sucked and brushed and tweezed and collected, Eve sat at the back of the crime scene working on her notes.