The Murder Room (8 page)

But as soon as Zandel began leading him through the windowless rooms filled with a cold, sickly sweet air, Frank knew he’d made a terrible mistake.

All around him, bodies on metal tables were grotesquely swollen by disease, shorn by knives and bullets, smashed in automobile accidents, devoured by animals and all the forces of time and decay. He saw a man in the autopsy room who had been hit by a train that cleanly sliced him in two across the thighs. He lifted the white sheet from one gurney and stared openmouthed. In place of a woman’s corpse were three suitcases. The woman, apparently murdered, had been carved up and scattered along the New Jersey Turnpike in the luggage, which held all her remains. There was nothing left of her to put on paper.

In the autopsy room, Frank stared at a torso that was propped high on a block—the breastplate had been removed, the ribs cut. He gawked as an assistant medical examiner plunged his hand deep into the chest cavity and, while feeling around, turned and winked at Frank. The place was surreal.

This is no place for an anatomy lesson,
he thought.

But he was fascinated by a body on a gurney in the storage room, toe tag number 5233. It was an unidentified white woman in her fifties, heavyset with dyed hair, a murdered Jane Doe. Her badly decomposed body had been found on October 16, 1977, dumped in a field near Philadelphia International Airport, wearing a herringbone suit, a white blouse, and three bullets in the brain. Frank studied her closely. Her skull was shattered on one side by gunshots; a mass of dried blood and dark blond hair was plastered around the wound. Neither her fingerprints nor missing-person bulletins came up with a match.

It looked like a professional hit. Zandel saw a mass of ruined flesh.

“This is one we’ll never solve,” he said. “Who knows what she looks like?”

But Frank saw something else—a face round and sagged with age, narrow nose, thin lips. He sensed tranquillity about the eyes.

“I know,” he blurted out. “I know what she looks like.”

Dr. Halbert Fillinger, the assistant ME who had winked at Frank, overheard the comment and approached. It was his case, Fillinger said, and he figured they’d never get an identity.

“Did you say you know what this woman looks like?”

“I do,” Frank said. “I see a face in the skull.”

Fillinger stared appraisingly at the blunt young man. “Have you ever done forensic art?”

Frank shook his head. “I don’t even know what the word ‘forensic’ means.”

“Well, you must try.” As they chatted for a few minutes, Fillinger complained that TV shows like the new hit drama
Quincy, M.E.
starring Jack Klugman as a Los Angeles assistant medical examiner gave a false impression of cases quickly solved and tied up in a Christmas bow. The truth was, many cases went nowhere, often because of lack of identity.

“If you can get me an identity, we may also find her killer. Would you like to help us do that?”

Frank replied that he would.

“We can’t pay you anything.”

“That’s OK.”

Fillinger challenged him to “show me what she looks like.”

“I’ve never completed a sculpture in my life,” Frank said. At the academy they discarded their half-completed clay sculptures at the end of each class. “But I’ll do it.”

“Good. Come back at midnight Friday. I’ll be on the graveyard shift.”

It took Frank eight hours. After measuring the skull and drawing a rough outline of the face on the sketch pad in the morgue, he consulted artist friends and his academy sculpture teacher on techniques. Working nights, he shaped a clay bust over the bones, made a plaster mold of the bust, painted the face, and crowned the head with a dark blond wig. “I saw every feature of her face,” he said. “And how the form of one part of her face flowed into all the other forms.” He brought the head into the morgue that Friday after midnight.

The Philadelphia police had never used a forensic sculpture, but they distributed a photo of Frank’s bust of the murdered Jane Doe to the Philadelphia media, and published it in a missing-person flyer sent widely to East Coast police departments.

Corpse number 5233 remained in the morgue, with no one to mourn or bury her. A New Jersey philanthropist offered her own cemetery plot so the “poor soul” wouldn’t end up in a pauper’s grave. But five months later, a New Jersey detective studying missing-person reports noticed a “remarkable” similarity between the bust of a woman in a Philadelphia Police Department circular and the photo of a woman reported missing by Chicago police.

Anna Mary Duval, sixty-two, had left via Chicago’s O’Hare Airport on October 15, her family told the police. They didn’t know where she was going, and she never returned. Now authorities quickly confirmed that corpse 5233 found dumped at the Philadelphia airport was indeed the woman who’d boarded the plane in Chicago. Police still were unable to determine what drew her to the City of Brotherly Love, where she knew no one, or who had killed her and why. But Anna Mary Duval had been identified, sad as her story was, thanks to Bender’s artistic vision.

Fillinger was stunned. The police had used sketch artists for years, with little success. Here was a full three-dimensional head sprung from the imagination of a high school–educated kid who didn’t know what “forensics” meant. Bender had been touched by a gift neither he nor anybody else could fully explain.

Frank had his first ID and his first newspaper headlines. Within days, other police departments around the country began asking him to produce busts of unidentified murder victims.

He was a natural. His wife was immensely proud of him, and it was a new income source. But the work was ghoulish, especially with two young daughters in the house. Heads were always popping out of shoeboxes and beer coolers. The worst part was the horrific odor of the cooking craniums, or the thought of them swarming with flesh-stripping beetles. Once, when bugs came flowing out of their old Hotpoint stove, Jan opened it to find the skull of an unknown sailor from the Russian ship
Corinthus
. Frank figured half an hour would dry it out enough to apply clay. “Frank!” she screamed. “Come take this fucking head out of the oven and go visit your mother.” It was a story they loved to tell.

She didn’t know what “forensics” meant either. Spooked by her husband’s new vocation, Jan went to the library to research forensic art, and was proud to learn that esteemed European sculptors were doing the same thing.

She wrote “Forensics” on a piece of paper and taped it to their refrigerator.

I
n the eastern foothills of the Cascade Range, 150 miles from Seattle, is a view of a town nestled between two rivers and the high walls of the mountains like the dawn of the world. Down in the valley along the wide river are apple orchards and vineyards soaked in an arid, sunny climate like the Bordeaux region of France; Main Street is lined with shops. New to the town’s 6,882 families was a bumper crop of Granny Smiths, until a large man came walking down the hill calmly carrying a screaming child drenched in blood.

It was autumn, with the smell of wood-smoke and ripening apples in the air and all the lawns on Eleventh Street neat and tended by the sidewalk where the boy struggled and cried against the man’s shirt trying to escape. The boy was about ten, but the wide arms held him as effortlessly as a bushel of new fruit. Suddenly the man stopped on the sidewalk, grinned, and with no visible effort crushed the boy to his chest. The child fell silent and limp.

Richard Walter was ten years old and chubby, sitting in the passenger seat of his mother’s car, a 1954 Dodge, as it climbed the hill. His mother, Viola, was driving him home from school when she slowed down and pulled over to the curb where the man and boy stood.

When they got close, the man started to cry.

“Get in!” she commanded him. “I’ll take you to the hospital.”

Sheepishly, the big man obeyed, climbing in the backseat with the bloody child.

Accelerating the car, Viola Walter looked in the rearview mirror and made eye contact with the boy.

“Sonny, tell me the truth. What did he do to you? Did he hurt you?”

The child whimpered.

“Tell me. I won’t let him hurt you.”

“My daddy beat me.” The child was sobbing.

This is interesting,
Richard thought. He was turned to the backseat, unsmiling, quietly studying the man and the boy as intently as he would an ant farm. They reached the hospital. While the boy was rushed to the ER, Viola Walter told the county sheriff’s deputy about the man, who had fled.

“Son,” the deputy sheriff said to Richard. “I need you to come with me and help me find him. Let’s go.”

Cool,
Richard thought.

Richard raced through the night in the sheriff’s car and helped the deputy identify the man for an arrest. He followed the court case in the newspapers and learned the father had twisted both his son’s arms until they broke, then tried to break the boy’s legs but couldn’t manage it. The man was a sadist; he
enjoyed
it.

Richard had helped to apprehend his first psychopath.

Really cool,
he thought. “It was awful, of course, but quite fascinating.”

Until that moment, he’d felt like an alien set down in the remote valley. He was distant from his father, Irwin, a stern German American who was the service manager for Sugg’s Tire Service for thirty-five years. He had two sisters and a brother who became a truck driver. He was the only one of the four Walter children who disliked sports. Richard was a musical genius, gifted at piano with a voice like an angel. Given a chance to attend the big apple festival, he preferred
La Traviata.

It was his mother who taught him that behind the façade of the sleepy all-American town lay a grand opera. Viola Walter was a housewife, a formidable, cunning, uncanny woman. Neighbors called her instead of the police.

One evening after dinner a young woman in town called Viola in a panic. Her husband was sitting in his easy chair with a loaded handgun instead of the evening newspaper in his lap. He wouldn’t give up the gun and was threatening to shoot himself, growing louder and angrier as the night wore on.

“Can you come over?”

Viola Walter stormed into the living room, snatched the loaded gun from the man’s hand and demanded, “What the hell do you think you’re doing? ” For the next half hour she berated him for his selfishness in frightening his wife who loved him so and lectured him on his blindness to the beauty and preciousness of life. The couple, childless at the time, went on to have children and grandchildren who, years later, at the man’s funeral in old age, thanked Viola in their eulogies for making their family possible. It was one of three suicides she was credited with preventing.

Intrigued by crime and criminals, Richard went to study psychology at Michigan State University. A haughty, brilliant student, he set a school record by completing eleven courses in one semester, seven more than the usual load, with a near-perfect 3.8 grade point average because “one must have challenges.” He discovered his gift of seeing into the heart of darkness in his Shakespeare class, where he belittled the professor for suggesting that Hamlet fretted and delayed avenging his father’s murder because he was a conflicted, skeptical modern man. “As it happens, Hamlet is quite psychopathically brilliant, and plays the fool while passively controlling all the action in the play until his final revenge. I would have done it exactly the same way!”

In 1975, after a job as a clinical psychologist at the prestigious Cedars-Sinai Medical Center in Los Angeles fell through, he worked for a time at the Los Angeles County morgue under medical examiner Thomas Noguchi, who had handled the autopsies of Marilyn Monroe, Janis Joplin, John Belushi, Robert F. Kennedy, and Sharon Tate.

To be able to study hundreds of bodies, to immerse himself in the awful ways people die and are killed, he had to remain stoic, in total control of his emotions. One morning, he got a phone call with news—his father had died. He hung up and got dressed, put on his tie, and went to work. He went to a meeting on schedule. During a break from the meeting, out of the blue, a woman asked what his father did for a living. Walter said evenly, “Oh, he died.” She was taken back. “I’m so sorry. When?” He answered calmly, “This morning, about two hours ago.” They all finished the meeting. He went back to his desk in the lab. That night, he looked in the mirror and was shaken by the cold eyes staring back at him. He felt nothing. “That was pretty scary.”

He learned the lesson that his mentors in criminal investigation would later drill into his brain: “Whoever fights monsters should see to it that in the process he does not become a monster,” as Friedrich Nietzsche wrote. “And if you gaze long enough into an abyss, the abyss will gaze back into you.”

Walter began to obsessively collect antiques, grand, beautiful pieces from nineteenth-century France and China, “to remind myself there are beautiful things in the world.”