I felt a shock of sadness and anger as I looked into the victim’s dreamy face.

She was fair-skinned, a light dusting of powder across her face, a hint of blush on the apples of her cheeks. Her hair was cut in a Meg Ryan-style mop of tousled blond lights, and her nails had been recently manicured.

Everything about this woman spoke of privilege and opportunity, and money. It was as if she’d been just about to step down the runway of life when some psycho had ripped it all away from her.

I pressed the victim’s cheek with the back of my hand. Her skin was tepid to the touch, telling me that she’d been alive last night.

“Larry, Moe, and Curly didn’t whack this little lady,” Jacobi commented.

I nodded my agreement.

When I first got into Homicide, I learned that crime scenes generally come in two types. The kind where the evidence is disorganized: blood spatter, broken objects, shell casings scattered around, bodies sprawled where they fell.

And then there were the scenes like this one.

Organized. Planned out.

Plenty of malice aforethought.

The victim’s clothes were neat, no bunching, no buttonholes missed. She was even wearing a seat belt, which was drawn snug across her lap and shoulder.

Had the killer cared about her?

Or was this tidy scene some kind of message for whoever found her?

“The passenger-side door was opened with a slim jim,” Clapper told us. “The surfaces have all been wiped clean. No prints to be found inside or out. And look over here.”

Clapper pointed up toward the camera mounted on a concrete pylon. It faced down the ramp, away from the Caddy.

He lifted his chin toward another camera that was pointed up the ramp toward the fifth level.

“I don’t think you’re going to catch this bird doing the vic on tape,” Clapper said. “This car is in a perfect blind spot.”