"Nothing like that."

Becker: "Would she have been likely to tell you if something like that had happened?"

"Definitely. She told me everything. A week, maybe two weeks ago, she thought she heard something in the backyard. She called the police. A patrol car came by. It was just a cat messing with the garbage cans. The point is, she told me everything."

Marino: "What other activities was she involved in besides work?"

"She had a few friends, a couple of other women doctors at the hospital. Sometimes she went out to dinner with them or shopping, maybe a movie. That was about it. She was so busy. In the main, she worked her shift and came home. She'd study, sometimes practice the violin. During the week, she generally worked, came home and slept. The weekends she kept open for me. That was our time. We were together on the weekends."

Marino: "Last weekend was the last time you saw her?"

"Sunday afternoon, around three. Right before I drove back to Charlottesville. We didn't go out that day. It was raining, raw. We stayed in, drank coffee, talked… " Marino: "How often did you talk to her during the week?"

"Several times. Whenever we could."

Marino: "The last time was last night, Thursday night?"

"I called to tell her I'd be in after play practice, that I might be a few minutes later than usual because of dress rehearsal. She was supposed to be off this weekend. If it was nice, we were thinking of driving to the beach."

Silence.

Petersen was struggling. I could hear him taking a deep breath, trying to steady himself.

Marino: "When you talked to her last night, did she have anything to report, any problems, any mention of anybody coming by the house? Anyone bothering her at work, maybe weird phone calls, anything?"

Silence.

"Nothing. Nothing at all like that. She was in good spirits, laughing… looking forward, uh, looking forward to the weekend."

Marino: "Tell us a little more about her, Matt. Every little thing you can think of might help. Her background, her personality, what was important to her."

Mechanically, "She's from Philadelphia, her dad's an insurance salesman, and she has two brothers, both younger. Medicine was the most important thing to her. It was her calling."

Marino: "What kind of doctor was she studying to be?"

"A plastic surgeon."

Becker: "Interesting. Why did she decide on that?"

"When she was ten, eleven, her mother got breast cancer, underwent two radical mastectomies. She survived but her self-esteem was destroyed. I think she felt deformed, worthless, untouchable. Lori talked about it sometimes. I think she wanted to help people. Help people who have been through things like that."

Marino: "And she played the violin."

"Yes."

Marino: "Did she ever give concerts, play in the symphony, anything public like that?"

"She could have, I think. But she didn't have time."

Marino: "What else? For example, you're big on acting, in a play right now. Was she interested in that kind of thing?"

"Very much so. That's one of the things that fascinated me about her when we first met. We left the party, the party where we met, and walked the campus for hours. When I started telling her about some of the courses I was taking, I realized she knew a lot about the theater, and we started talking about plays and such. I was into Ibsen then. We got into that, got into reality and illusion, what's genuine and what's ugly in people and society. One of his strongest themes is the feeling of alienation from home. Uh, of separation. We talked about that.

"And she surprised me. I'll never forget it. She laughed and said, 'You artists think you're the only ones who can relate to these things. Many of us have the same feelings, the same emptiness, the same loneliness. But we don't have the tools to verbalize them. So we carry on, we struggle. Feelings are feelings. I think people's feelings are pretty much the same all over the world.'

"We got into an argument, a friendly debate. I disagreed. Some people feel things more deeply than others, and some people feel things the rest of us don't. This is what causes isolation, the sense of being apart, different…"

Marino: "This is something you relate to?"

"It is something I understand. I may not feel everything other people feel, but I understand the feelings. Nothing surprises me. If you study literature, drama, you get in touch with a vast spectrum of human emotions, needs and impulses, good and bad. It's my nature to step into other characters, to feel what they feel, to act as they do, but it doesn't mean these manifestations are genuinely my own. I think if anything makes me feel different from others, it's my need to experience these things, my need to analyze and understand the vast spectrum of human emotions I just mentioned."

Marino: "Can you understand the emotions of the person who did this to your wife?"

Silence.

Almost inaudibly, "Good God, no."

Marino: "You sure about that?"

"No. I mean, yes, I'm sure! I don't want to understand it!"

Marino: "I know it's a hard thing for you to think about, Matt. But you could help us a lot if you had any ideas. For example, if you was designing the role for a killer like this, what would he be like-"

"I don't know! The filthy son of a bitch!" His voice was breaking, exploding with rage. "I don't know why you're asking me! You're the fucking cops! You're supposed to be the ones figuring it out!"

He abruptly fell silent, as if a needle had been lifted off a record.

The tape played a long stretch in which nothing was heard except Marino clearing his throat and a chair scraping back.

Then Marino asked Becker, "You wouldn't by chance have an extra tape in your car?"

It was Petersen who mumbled, and I think he was crying, "I've got a couple of them back in the bedroom."

"Well, now," Marino's voice coolly drawled, "that's mighty nice of you, Matt."

Twenty minutes later, Matt Petersen got to the subject of finding his wife's body.

It was awful to hear and not see. There were no distractions. I drifted on the current on his images and recollections. His words were taking me into dark areas where I did not want to go.

The tape played on.

"… Uh, I'm sure of it. I didn't call first. I never did, just left. Didn't hang around or anything. As I was saying, uh, I left Charlottesville as soon as rehearsal was over and the props and costumes were put away. I guess this was close to twelve-thirty. I was in a hurry to get home. I hadn't seen Lori all week.

"It was close to two when I parked in front of the house, and my first reaction was to notice the lights out and realize she'd already gone to bed. Her schedule was very demanding. On twelve hours and off twenty-four, the shift out of sync with human biological clocks and never the same. She worked Friday until midnight, was to be off Saturday, uh, today. And tomorrow she would be on from midnight to noon Monday. Off Tuesday, and on Wednesday from noon to midnight again. That's how it went.

"I unlocked the front door and flipped on the living room light. Everything looked normal. Retrospectively, I can say that even though I had no reason to be looking for anything out of the ordinary. I do remember the hall light was off. I noticed because usually she left it on for me. It was my routine to go straight to the bedroom. If she wasn't too exhausted, and she almost never was, we would sit up in bed and drink wine and talk. Uh, stay up, and then sleep very late.