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his conversation with Medical Examiner Barney Williams: “‘The distribution of the blood over the countertop and baking ingredients, but not on the floor or elsewhere, suggests the scene was manipulated,’ Williams said. ‘One has to wonder if the blood was sprinkled there intentionally, rather than spilled as the result of an injury.’”

As Liz read, the Irish tune came to an end and Kinnaird noticed Liz. He set his banjo down on his chair and joined her.

“So you braved the storm?” he said.

“I’m so glad I did. This is terrific.”

“You brought the photos, I suppose,” Kinnaird said, looking longingly at his banjo as the music started up again. “I know this tune.”

“Do you want to join in? I can wait,” Liz said, hoping he would not take her up on the offer. “Or you can let me buy you a beer. You’re my research assistant after all.”

“I wouldn’t hear of it. I’ll take care of it,” he said and ordered a lager for Liz and a tall glass of water for himself. “I usually don’t take alcohol until much later in the evening if I’m playing,” he explained.

No table was particularly well lit, so they chose one for privacy rather than illumination. Kinnaird’s lighthearted expression vanished as he looked over the prints. His eyes lingered over them for a long time.

“Most interesting,” he said. “Of course, without being privy to accurate measurements of the spaces between the blood droplets, the precise shape of them, and the chemistry of them, I can’t draw any detailed conclusions. But I can tell you what someone with that information should be able to glean from this scene.”

“Please do.”

“First, look at the big picture. There’s blood on the countertop and ingredients but apparently not on the floor.”

“Does that suggest the blood may have been intentionally sprinkled there?”

“Possibly. It would be odd for blood flowing from an injury sustained in a violent attack to confine itself to one surface area. That’s why it would be important to study the shape of the drops. If they fell straight down from a wound, they would be fairly circular with a spreading pattern around the perimeter of each. That doesn’t look to be the case from these photos. If they were strewn there, say, with someone’s fingers, they would likely lay out in an arched pattern like a sunrise, with no blood underneath a kind of horizon line,” Kinnaird said. He demonstrated by bringing his fingertips together, dipping them into his water, and opening his fingers quickly to fling water on the table.

“The problem at the Johanssons’ house is most of the blood drops have fallen into the sprinkles and shredded coconut. That seriously undercuts any conclusions about how the blood fell there.”

“If the blood did come from a wound, what kind of injury might account for it?”

“Impossible to say. Could be a facial wound. They flow freely and, given that the blood is confined to a rather high surface area, it would make sense for it to come from the upper body. The wound might have been stanched before the injured person crossed the floor. That would account for the lack of blood anywhere else. But I wouldn’t bet my life on that. The droplets here don’t scream ‘head wound’ to me. They’re small. The few I can make out on the countertop appear teardrop-shaped and too evenly distributed to suggest that.”

“What about the chemistry you mentioned? What might be learned from that?”

“The amount of drying would suggest how long the blood had been there. Analysis of the blood would reveal blood group, whether or not the person was anemic or suffered from certain diseases, and, of course, DNA analysis would pretty much nail the bleeder’s identity. If you had a sample to match it to.”

“Those are all things that show up in mystery novels these days, aren’t they?”

“I suppose so. Less often mentioned in mystery novels is luminol, a chemical that would be sprayed around such a scene to reveal traces of blood that someone tried to clean up. If and when the police release what they learn from that, the reporter whom they inform first will have a huge advantage.”

Across the room, the musicians had started up another tune.

“That’s a hornpipe. Do you hear the syncopation in it?” Kinnaird said, brightening measurably and looking longingly at his banjo. “If you’d like to stay on, you can pull up a chair over there. The musicians tend to sit as close together as they can, near the leader.”

“Maybe another time. It’s been a long day. But thank you for sharing your expertise.”

“Bring me a drop of blood from the scene, and I’ll tell you more.”

Chapter 6

“Yeah, sure,” Liz thought but did not say aloud. Instead, she thanked Kinnaird warmly and headed into the still-falling snow. Thanks to its proximity to the police station, the parking lot had been plowed again. The Tracer’s tires made it through the small mound the plow had pushed against them. It was a greater challenge to drive through the light industry and warehouse area that stood between Brighton and Gravesend Street in Allston, where no municipal snowplow had passed through since the storm’s start. Fortunately, Sal Mione of Mione’s Towing and Plow Services had cleared not just the driveway at Liz’s place, but—as he often did when the city plow neglected the area—a single lane of Gravesend Street to her place.

He’d never accept a monetary tip, but Liz made a mental note to give him the box of PG Tips tea and chocolate digestive biscuits she’d bought for him a few days previously. She knew they were comfort foods reminiscent of his boyhood. Although he bore an Italian name, he spoke in an appealing Cockney accent, having grown up near the Angel Tube Station in London. Corny as it was, she meant it when she told him he was an angel. Without him, she’d probably lose her job waiting for plows that cleared school, retail, and residential areas in order of priority.

Prudence seemed bound to trip Liz as the reporter entered the little house under the huge billboard. Her dish was half-filled with dry food, but the cat loved her evening treat of gravy-laden canned meat. Liz fed the cat and poured herself a glass of Chardonnay. Then she sat down in her green chair facing the flaming gas fireplace, put her feet up on her hassock, pulled the purple and white afghan over her knees, and spread open The Oxford Book of American Detective Stories she’d acquired in Worcester. Turning on a CD of Erik Satie’s Gymnopedies, she read Susan Glaspell’s story “A Jury of Her Peers” from start to finish.

The story was as melancholy as Satie’s first Gymnopedie. A woman has murdered her husband. But while the police blunder around looking at big, obvious clues, such as the rope he has been strangled with, the farmers’ wives see the significance of unfinished work in their friend’s kitchen. They recognize that an open sugar bag beside a dish means the woman was interrupted in her work. And they find heartrending evidence that their friend was driven to kill her husband. The men see the women’s concerns as “trifles,” but these trifles turn out to be the keys to the mystery.

Liz turned off the third Gymnopedie—a dissonant, jarring piece—and leaned back in her chair, pondering what she’d read. The Glaspell story was a favorite of Ellen Johansson. Had it come to mind for her during the incident in her kitchen?

Liz didn’t like to entertain the notion, but suppose Ellen had perpetrated a crime, as Millie Wright in Glaspell’s story had done? How would the insights from the story help her to hide it? Would she slash her own face and fling blood from it onto the countertop? This would go far toward suggesting she was a victim of someone else. And what if Ellen had been attacked by an assailant? How would the Glaspell story help her in that case? She might try to shed her attacker’s blood to leave evidence for those who sought to help her. Much rested on the analysis of the blood, information that had not yet been released. But perhaps the scene of the crime would hold additional clues.

Liz got up from her chair, picked up her envelope of photos, turned on the bright light over her own kitchen counter, and spread out DeZona’s prints there. For Glaspell, it was an open bag of sugar beside a partly filled sugar bowl that started the wheels turning toward an understanding of the crime. But in Ellen’s kitchen everything looked so well organized that the only thing out of place was the blood splattered over the ingredients.

The blackboard in the photo caught Liz’s eye again. “FORGET ME NOT,” Ellen had written in apparent haste. But the hastiness of the writing could have been feigned. It was hard to imagine an assailant standing by while she wrote a note to her loved ones, even a three-word message. Did those words suggest Ellen intended to leave?