excavation the next morning, Sunday, November 30, in a murder investigation. The Manlius detective regarded Updegrove as an immediate suspect. To cover the fact that he was hunting illegally, the convicted felon concocted a story that he was looking for his lost dog, not for deer. Updegrove denied involvement in the murder, but Hall wasn’t convinced. Updegrove rented a cottage on one of the abandoned farms, so close that Hall could almost see it from the grave site. Had Updegrove just discovered the bone fragment? Or had he put it there many years earlier and returned to memorialize the murder, enjoy his trophy, and flaunt it to cops?
Hall and his men dug up the grave with their hands for five days until their fingers were numb with cold, uncovering only a partial skeleton, indicating the work of animals or a depraved human.
The remains were so sparse they were extraordinarily difficult to identify. A Cornell University forensic anthropologist claimed to identify a raccoon bone. Another noted anthropologist said it was a child, before Dr. Anthony Falcetti at the C. A. Pound Human Identification Laboratory in Gainesville, Florida, identified the bones as belonging to a small, slight woman in her midtwenties to early thirties, probably of mixed race, about five foot five, 100 to 110 pounds. The bones indicated she had suffered from poor nutrition as a child. All of it supported Hall’s hunch that the young woman was a prostitute—and possibly Shawcross’s victim. Hall sent her description to all the national crime databases in the United States and Canada, including the National Center for Missing and Exploited Children. There were no matches. Two dozen police officers swept the area with metal detectors and rakes, examined nearby trees for bullet holes, and collected bird nests for possible hair samples woven in. They came up empty.
Hall was left reading fragments of clothing, a zipper, and a Virginia Slims Menthol 100s cigarette pack found in the grave for the story they might tell.
Hall was disappointed that the blue stamp on the cellophane pack had faded so badly the date sold could not be read, even in a forensics lab. But the manufacturing dates of the clothing—size ten or twelve Gitano jeans, size six Sergio Valente–brand underpants, and a small Cappacino-brand shirt—indicated the young woman was alive on June 15, 1986, and probably dead by April 1988. Those dates coincided with Shawcross’s reign of terror. Paroled from prison after serving only fifteen years for the admitted rape and murder of a ten-year-old boy and an eight- year-old girl, Shawcross moved to Rochester and began killing in early 1988. He was arrested in January 1990, when police left his eleventh victim floating in a creek based on a psychological profile that suggested the killer would return to the scene. Shawcross was arrested masturbating as he sat in his car on a bridge over the creek. He confessed in custody, and his eleven victims were all identified. Maybe this was a twelfth?
The detective was deeply frustrated. He hadn’t ruled Updegrove out, but he’d been unable to build a case against him or anyone else. He’d interviewed thirty-nine people who lived in the area around the crime scene during the suspected period of the crime and had since moved away. Nearly nine months after the grave was discovered, he led a team of police officers, state troopers with cadaver-detection dogs, and a state wildlife expert to search for other graves and for animal dens that might contain bones or artifacts taken from the grave. Nothing was adding up. He asked for help from the FBI Behavioral Sciences Unit in Quantico, Virginia, but the FBI “felt there was insufficient data for case profiling,” Hall said. The Vidocq Society was his last hope.
Following the presentation, after Fleisher had given the Manlius police the ceremonial magnifying glass, “symbolizing the first scientific tool of detection,” Walter approached Detective Hall. “The fact of the matter is,” he said, “despite what our friends at the bureau say, a profile might be possible in this case. More than one may think is revealed by fragments of bone in a grave.”
Killing a prostitute and dumping her body in the woods was a “classically efficient, practical, cold” crime that bore “the marks of a power-assertive killer,” he said. Walter said he’d already formed “bits and pieces” of a psychological profile.
Of the dozen suspects the Manlius police had considered, he said, “only Updegrove fits the profile.” Walter invited the Manlius officers to visit the Biddle House, his home in Montrose, Pennsylvania, to discuss it further.
“I believe,” he added, “that we’re looking at a serial killer.”
“I don’t think Updegrove did it,” Bender blurted out from the circle of cops, his face reddening. The artist had been busy researching the crime, his first step of the process of reconstructing the bone fragments into a skull and face. But it was a gut feeling, rather than any particular research that told him Updegrove was innocent.
Walter rolled his eyes. “Frank, I appreciate your thoughts, OK, but you’d best stick to your day job. Don’t let your emotions carry you beyond your pay grade.” Walter admired his partner’s extraordinary forensic art and intuitions, but did not appreciate it when those intuitions crossed onto his turf of psychological profiling of killers.
“Richard, you’re good,” Bender shot back. “But you’re not always right.”
“My dear boy, your thinking has no structure, no foundation,” came the arch accent. “You pick up your primary ideas from TV shows. You’re like a fart in a bathtub.”
VSMs on the edge of the conversation tittered. A decade after their most famous case, the capture of mass murderer John List, Bender and Walter had become even more nationally prominent in their fields. They had collaborated successfully on Vidocq Society cases, and seemed closer-than-ever drinking buddies and brothers-in- arms. But their teamwork resembled the work of an anvil and hammer; the more productive they became, the more sparks flew.
Bender had taken to telling anyone who would listen that it was he, not Walter, who had the idea to put thick tortoiseshell eyeglasses on John List’s face—a key detail that helped lead to the swift identification and arrest of the killer. Bender claimed Walter was stealing undue credit.
Exasperated, Walter patiently reminded his friend that indeed he had first suggested that List would be wearing thick-rimmed glasses “like mine” to convey power and authority. But he happily acknowledged that Bender had accomplished the crowning work, the “coup de grace,” of finding an old pair of tortoiseshell glasses at an antique store that he put on the bust. They worked perfectly.
“So I suggested the concept, and you made it reality, which some might suggest is the harder and more praiseworthy part. I know it’s hard to follow, but this is called teamwork, and in such instances, credit is shared.”
Fleisher was beaming like a football coach watching his star players beating each other up at practice before a big game. The Case of the Missing Face was one of the most challenging cold cases ever brought before the Vidocq Society, he thought, and they needed this level of passion and commitment to solve it.
It was clear as Bender returned to his South Street warehouse studio in Philadelphia and Walter to his Victorian mansion in the Pennsylvania mountains that the partners would be simultaneously working together and competing, as only they could.
“I think Richard’s got a good profile going, and there’s nobody like Frank in giving name and face to the dead,” Fleisher said. “There’s nothing to go on but if anybody can do it it’s this group, my friends.” He grinned. “The question is: To whom will the bones talk?”
Stripped to the waist in his studio, Bender animated the dead with clay using unknown powers that frightened those who saw him as arrogant, a Dr. Faust making deals with the devil. These people never knew the deep humility that Bender brought to his work. As he began to build up a skull with clay he abandoned all ego, left the moorings of space and time, gave himself utterly to “enter the flow of nature. You start with the eye, nose, and mouth and you keep them all flowing at the same time. Beautiful or ugly, our features were made to harmonize together.” Yet the Girl with the Missing Face was beyond humbling; with no nose, mouth, eyes, cheeks, or chin to go on, he called Hall up and repeated his fear: “This is impossible.” After parts of three days mulling the gaping hole in the center of the skull, he still didn’t know where to begin.
Frustrated, he returned to his high-profile commission sculpture
He called a Howard University anthropologist working on the
