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“Have you talked to her yourself?”
    “Not yet. I only know what Machado’s been saying. According to him she sounded shocked and upset.” Marino finally looks at me. “Lost her shit in other words and it came across as genuine. She mentioned a kid she’s been helping, said she has no reason to think he’d hurt anyone but he has a thing for her. Or maybe Nari was shot during an attempted robbery. That was her other suggestion.”
    “She said he was shot?”
    “I think she got that from Machado. I didn’t get the impression that she already knew it.”
    “We should make sure.”
    “Thanks for helping me do my job. Obviously I couldn’t connect the dots without you.”
    “Are you angry with me or just angry in general about terrorists? Why are you and Machado not getting along?”
    He doesn’t say anything. I let it go for now.
    “So Jamal Nari went grocery shopping.” I unlock my iPhone and execute a search on the Internet. “Was that a typical routine on a Thursday morning during the summer?”
    “Joanna says no,” Marino replies. “He was stocking up because they were going to Stowe, Vermont, for a long weekend supposedly.”
    Jamal Nari is on Wikipedia. There are scores of news accounts about his run-in with the FBI and trip to the White House. Fifty-three years old, born in Massachusetts, his father’s family originally from Egypt, his mother from Chicago. A gifted guitarist, he attended the prestigious Berklee College of Music in Boston and performed in musical theater and bands until he decided to settle down and teach. His high school chorus is consistently one of the top three in New England.
    “Well this is a mess already,” I decide as we roll up on the scene.
    I recognize the two helicopters directly overhead, Channel 12 and Channel 5. There must be at least a dozen cars, marked and unmarked, plus several news trucks in addition to other vehicles that might belong to reporters. The media has wasted no time, and that’s the way it is these days. Information is instantaneous. It’s not unusual for journalists to arrive at a scene before I do.
    We park behind a CFC windowless white van rumbling on the shoulder of the road. The caduceus and scales of justice in blue on the doors are tasteful and subtle but nothing can disguise the ominous arrival of one of my scene vehicles. It’s not what anyone would ever wish to see. It can mean only one thing.
    “Suddenly he gets a brand-new red Honda SUV.” Marino points out what’s parked in front of the house. “That would have set him back a few.”
    “And you presume he changed cars because he thought someone was after him?” That doesn’t seem logical to me. “If someone was stalking him I wouldn’t think changing cars would make a difference. The person would figure it out soon enough.”
    “Maybe it doesn’t matter what I think. Maybe the Portuguese Man of War is in charge of this investigation. At least for five minutes.”
    “You two need to get along. I thought you were good friends.”
    “Yeah well think again.”
    We climb out as my transport team, Rusty and Harold, open the back of the van. They begin pulling out a stretcher and stacks of disposable sheets.
    “We got the barrier screens up,” Harold says to me.
    “I can see that,” I reply. “Good job.”
    The four large black nylon panels are fastened by Velcro straps to PVC frames and form an ominous boxy shelter roomy enough for me to work in while shielding the body from prying eyes. But like similar screens used roadside in motor vehicle fatalities to prevent rubbernecking, the temporary shelters also signal carnage and they won’t stop helicopters from filming. Despite our best efforts we won’t be able to keep Jamal Nari’s dead body out of the news.
    “And we’ve got sandbags on the rails just to make sure somebody doesn’t accidentally knock one over,” says Harold, a former undertaker who might just sleep in a suit and tie.
    “Or in case we get a chopper