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looks. “People who don’t watch tennis didn’t necessarily recognize her at all,” one of the friends told Captain Poma. “She just didn’t get how beautiful she was.”
    Captain Poma talks on through their main course, and Benton, for the most part, drinks, and Scarpetta knows what he thinks—she should avoid the captain’s seductions, should somehow move out of range, which in truth would require nothing less than her leaving the table, if not the trattoria. Benton thinks the captain is full of shit, because it defies common sense that a medico legale would interview witnesses as if he is the lead detective in the case, and the captain never mentions the name of anyone else involved in the case. Benton forgets that Captain Poma is the Sherlock Holmes of Rome, or, more likely, Benton can’t stomach the thought, he is so jealous.
    Scarpetta makes notes as the captain recounts in detail his long interview with the gold-painted mime, who has what appears to be an infallible alibi: He was still performing in his same spot at the base of the Spanish Steps until late afternoon—long after Drew’s friends returned to look for her. He claimed to vaguely remember the girl, but he had no idea who she was, thought she was drunk, and then she wandered off. In summary, he paid little attention to her, he said. He is a mime, he said. He acted like a mime at all times, he said. When he’s not a mime, he works at night as a doorman at the Hotel Hassler, where Benton and Scarpetta are staying. At the top of the Spanish Steps, the Hassler is one of the finest hotels in Rome, and Benton insisted on staying there in its penthouse for reasons he has yet to explain.
    Scarpetta has barely touched her fish. She continues to look at the photographs as if for the first time. She doesn’t contribute to Benton and Captain Poma’s argument about why some killers grotesquely display their victims. She adds nothing to Benton’s talk of the excitement these sexual predators derive from the headline news or, even better, from lurking nearby or in the crowd, watching the drama of the discovery and the panic that follows. She studies Drew’s mauled naked body, on its side, legs together, knees and elbows bent, hands tucked under the chin.
    Almost as if she’s sleeping.
    â€œI’m not sure it’s contempt,” she says.
    Benton and Captain Poma stop talking.
    â€œIf you look at this”—she slides a photograph closer to Benton—“without the usual assumption in mind that this is a sexually degrading display, you might wonder if there’s something different. Not about religion, either. Not praying to Saint Agnes. But the way she’s positioned.” She continues to say things as they come to her. “Something almost tender about it.”
    â€œTender? You’re joking,” Captain Poma says.
    â€œAs in sleeping,” Scarpetta says. “It doesn’t strike me that she’s displayed in a sexually degrading way—victim on her back, her arms, her legs spread, et cetera. The more I look, I don’t think so.”
    â€œMaybe,” Benton says, picking up the photograph.
    â€œBut nude for everyone to see,” Captain Poma disagrees.
    â€œTake a good look at her position. I could be wrong, of course, just trying to open my mind to other interpretations, putting aside my prejudices, my angry assumptions that this killer is filled with hate. It’s just a feeling I’m getting. The suggestion of a different possibility, that maybe he wanted her found but his intention wasn’t to sexually degrade,” she says.
    â€œYou don’t see contempt? Rage?” Captain Poma is surprised, seems genuinely incredulous.
    â€œI think what he did made him feel powerful. He had a need to overpower her. He has other needs that at this moment we can’t possibly know,” she says. “And I’m certainly not