A/N: The idea for this story came from a dream. Most of my stories do, and with how much true crime I ingest on a daily basis, it's no surprise that I'd dream of a Red Grave City where a serial killer stalked the streets and a weary detective was trying to catch him. My wonderful beta, lickitysplit helped me flesh it out; usually my dream ideas are left alone, but this was one of the ones that stuck with me, and it's thanks to her that it became something more than a talking point between us.

This story comes with a myriad of warnings. Some of them fit the universe of Devil May Cry: violence, gore, startling or frightening imagery. Because it's an AU, it's also got its own: body mutilation, references of drug use and implied alcoholism, murder. A lot of my inspiration for this story comes from the works of Thomas Harris, Dean Koontz, and Stephen King. It's dark, not entirely happy (though there are happy moments), and I tried to make everyone as realistic as I could. The title for this work was drawn from the song Wires by The Neighborhood.

I'm very excited to bring this story to you and, as always, I hope that you get as much enjoyment from reading it as I did from writing it.

"Everybody has a geography that can be used for change;
that is why we travel to far off places. Whether we know it or not,
we need to renew ourselves in territories that are fresh and wild.
We need to come home through the body of alien lands."
— Joan Halifax

»»—- —-««

Holding an aspirin tablet between her teeth, craving a drink, Lir listens to the clacking of the keyboard and blinks against the watery light streaming between the blinds. The office of Red Grave's chief of police is smaller than the one in Fortuna, but neater: gone are the numerous potted plants, the maps and spreadsheets tacked to every available surface, the bookcases littered with little knick-knacks and family photographs. Those personal touches have been ignored in favor of something that is neat, organized, the little bit of warmth the room has coming from the soft bulb of the desk lamp and the mahogany of the furniture. It's a bit of a relief, really. Sanctus had been old—too old, in the opinion of many—and took on a fatherly role that often left Lir feeling chafed and angry. At least here, going from first impressions, there will be no blurring of the line between duty and her personal life.

Seated with his back rod-straight is her new superior. A gold nameplate on the desk reads J.D. Morrison, and as he reads whatever file he's pulled up on his monitor, Lir wonders what the initials stand for. James Dean is her first thought, and she finally crunches the aspirin, using the bitter flavor to smother her budding laughter. Sure, yeah, why not? Red Grave is a big city, and maybe Morrison's parents had been so attached to the ill-fated actor that they'd saddled their son with his name. Certainly wouldn't be the strangest thing she's heard of.

"Detective Thorne," Morrison says. He opens a drawer and pulls out a cigar, which he lights in clear disregard of the signs posted on the doors to the building. "Says here you transferred out for personal reasons."

"Yessir." The dull throbbing behind her temples grows at the scent of smoke. "Wanted a change of scenery."

He coughs, clears his throat. "That so? Well, we've had people do it for less. Though your track record . . . You seem to have been on a fast path to promotion. " Lir says nothing. The expectant silence stretches between them until it turns uncomfortable, but she's not in any particular mood for niceties. She has an apartment to unpack and a bitch of a headache brewing and she wants to get this introduction over with as quickly as she can. Finally, Morrison sighs, silver plumes curling through the air. "Normally, you'd get a tour and time to sort out your desk, but we got a call this morning and it's all hands on deck. You up to fieldwork?"

His shrewd gaze rephrases that question nicely. You willing to actually work? "Sure."

Morrison studies her for a few seconds longer, then nods and stands up, raising his voice to a shout that makes her wince. "Officer Simmons!"

A young man with untidy white hair tucked messily under his cap stumbles in. "Yes, Chief?"

"Take Detective Thorne here to the alley." Simmons' face pales, and Morrison barks, "Now!"

"Yes, Chief!" Simmons snaps into a hasty salute before scurrying out of the office.

Lir gives one of her own to Morrison and follows, feeling a sort of bemused pity for the officer. She'd been there once, bright-eyed and eager to please, thinking that the law enforcement they showed on television, with its friendly camaraderie and kind-yet-stern chiefs, was the truth of it. Simmons must still be clinging to that, and she pops another aspirin into her mouth and chews it as they weave through the bullpen to the doors that lead outside.

Simmons doesn't say much, though he opens her door when they reach the cruiser, flushing under her raised brow, and his uneasy quiet persists well into the ride. Definitely fresh, Lir thinks. Probably still spit shines his shoes in the morning and tells people he's a cop with pride. The thought is bitter, and angry, and distasteful. Not that it really bothers her anymore; her mind has been particularly not tasty as of late.

They drive through cramped, winding streets that turn unexpectedly into one-ways and cross over themselves into a maze, closed in by the dingy buildings until it all feels more than a little claustrophobic. Red Grave City is coastal, just like Fortuna, but it's much larger, with more crime, and rumors of rampant corruption and greased pockets give it an unsavory reputation with other law enforcement agencies. Yet in stark contrast, it's as much of a tourist hotspot as Fortuna, its historic district and scenic parks and ritzy downtown drawing numerous crowds every year, regardless of the season. Lir takes all of it in, the cafès and hotels and convenience stores fighting for space, their colorful signs and banners almost garish against the dull brick, and it's not until they pass into a more modern area with skyscrapers of steel and glass that she decides to ask where the hell Simmons is taking her to.

"What's in this alley?"

Simmons jumps, the wheel jerking under his hands and sending them partially over the white lines. A minivan behind them lays on the horn, and Lir watches the driver raise his middle finger as he speeds by once Simmons has corrected. "Sorry, ma'am. Uh, Detective. I thought the Chief filled you in."

"No." She straightens. "Just that it's serious."

"That's one way to put it," he mumbles. "Mind if I smoke?"

"Yes." The sight of his momentary pout sends irritation flaring hot and thick along her spine. Lir swallows it and rubs her temples. "Just crack the damn window."

"Sure thing." He does, and then reaches for a pack on the dash. Drawing a cigarette from it, he says, "Call came in maybe twenty minutes before you showed up. Jane Doe found in an alley. She, uh . . . Well, it might be better for you to see for yourself, but it's . . ."

His fingers tremble as he tries to flick his lighter. Lir takes pity on him and pulls her own from her coat, and he smiles gratefully as she holds it to his cigarette, though his face is pallid and shiny with sweat. "First body?" At his nod, she sighs. "You've probably heard it gets easier."

"Does it?" Simmons looks at her hopefully.

Lir snorts. "No. Eyes on the road."

He retreats into a silence that's not quite sullen, leaving her to her thoughts. Which mostly center around whether or not she'll have time to find a new bar, one of the nice and private ones where no one wants to get friendly or gives a shit that she's a cop, only that she pays her tab. When they arrive at the crime scene, Simmons stays in the car, looking ready to puke. Lir raps on the door once it's closed and jerks her chin, signalling for him to head out, and she waits until he gives a shaky thumbs up and pulls away from the curb to head towards the yellow tape strung between a nightclub on one side and a sports bar on the other. An officer at the corner stops her until she shows her badge, then lifts the tape for her to step beneath. Immediately, she's assaulted by the wet, mossy stench of death and viscera, and she takes the gloves and shoe covers and slides them on to buy herself time to adjust to it.

Cops swarm outside of the alley, keeping the rabid press contained. Inside, there's only four others, three men and a woman, but Lir ignores them in favor of taking in all that she can before she's forced to talk. Four dumpsters are present, two on each wall with the city's waste disposal logo printed on the side; bits of trash and litter surround them: used condoms, soda cans, scraps of newspaper, all of the usual findings. There's no spray paint graffiti, and a security camera faces out into the busy street. Maybe they'll get something useful from it, though she doubts it. In her experience, they're usually for show, just a weak-hearted attempt to prevent crime or a way to deter violence on the premises of businesses who host rowdy crowds.

The scenery accounted for, Lir turns her attention to the misshapen body in the center. Nude and pale, the woman is covered from chest to knee in red that's gone black with time, her unseeing eyes staring at the sky with a terror that won't disappear until the medical examiner closes them on the slab. She walks towards her, offal and iron making her throat constrict against nausea, and the woman kneeling next to the corpse looks up at her approach with a friendly nod. Dressed in a black jumpsuit, she's no doubt the M.E., or someone affiliated with them, and she stays quiet as Lir kneels to fully take in the mutilation inflicted on the victim.

While the rest of her is untouched, her throat is slashed, and she's been split open from rib to hip, the skin and muscle peeled away to reveal her organs beneath. As far as Lir can tell, nothing has been removed, but something has certainly been added: a pendant rests on top of her stomach, glistening wetly in the daylight. "I pulled it out," the maybe-M.E. says. "Dante wanted to see it."

"Dante?" The woman tilts her head, and Lir turns to see a man speaking quietly but furiously to two uniforms. "Uh-huh."

"You must be the new detective. My name's Trish." Lir looks blankly at the hand she holds out before taking it, and Trish's handshake is firm and cordial. "I'm the medical examiner, coroner, whatever you'd like to call me. Your stiffs go onto my slab, anyway."

Her dry humor draws an unwilling smile from Lir. "Okay. Trish. I'm Lir, Detective Thorne, take your pick as long as it's not Lily. What can you tell me about our Jane Doe?"

"Not much, other than the obvious." Trish points to the wound. "This was more than likely done pre-mortem, going by the amount of blood—there wouldn't be so much of it if she was already dead—and there are a couple of hesitation marks at her throat. But as to which of those killed her, and how long ago, why she didn't fight back, I won't know all of that until I take her out of here."

Lir considers all of that. "Why do you think she didn't resist?"

"No self-defense wounds on the hands or arms. At least, not that I can see."

"Mm. Your guys get pictures?"

"Not yet." Trish smiles wryly. "Chief wanted you to see it first. It's why Dante's giving those two a lashing, though he's just shooting the messengers at this point."

"Right." Standing, Lir peels off her gloves and drops them into the bag Trish holds out to her. "Guess I should go save 'em."

"Good luck."

Lir snorts as she turns. On first sight, she's already unimpressed with the so-called Dante. He's handsome, sure, model or film star handsome even, with his straight nose and strong jaw dusted with a five o'clock shadow, but he's dressed like a detective from a noir novel: pinstripe trousers and a matching vest, a red tie, white shirt with the sleeves rolled up to expose his forearms, brown Oxfords polished to a dull shine. The only things that break the illusion that he's stepped off the silver screen are the watch at his wrist, the gleaming handcuffs clipped to the back of his belt, the radio at his hip, and the Beretta in its holster next to the radio. She more than half expects him to pull out a flask from somewhere and take a swig mid-tirade, but the only time he pauses is to draw in a breath.

"—how the hell he expects us to carry out an investigation when he's waiting on some country bumpkin—"

"Howdy," Lir drawls.

He whirls on her so fiercely that she instinctively rests her hand on the butt of her own gun, her pulse roaring into her ears. Dante seems to catch himself, straightening to his full height to scowl down to her, and she's startled by the pale, frozen blue of his eyes. "You Detective Thorne?"

She shrugs. "Country bumpkin works, too."

Dante doesn't have the grace to look embarrassed that she overheard him. "I'm Detective Redgrave. Yes, like the city, no, I don't give a shit. You done lookin' at the body?"

"Sure."

"You hear that, Trish?" Dante hollers. "Take her out."

Behind her, she hears the telltale metallic clatter of a gurney being placed on the ground, followed by a bit of huffing, the rasp of a zipper, and more heavy breathing and the rustling of fabric. "Are you going to give me the details or am I going to guess?"

He barks a laugh. "Morrison sent you out here blind? Doesn't surprise me. Sure, I'll humor you." With a grin that's more mocking than genuine, he says, "Call came in at 7:45. Some poor schmuck takin' out the trash found our body and had the decency to lose his breakfast outside of the crime scene before he called. No witnesses so far, no clothing, no I.D., just—"

"What about the camera?" Lir points over her shoulder with her thumb.

"Can't get to it until the owner shows up, which, according to his staff could be anytime between noon and midnight."

"Alright. What do you need me to do?"

Dante considers her, that cruel smile still playing at his lips. "You want to help?" She nods. "Go keep those fuckers away."

"The press?" His expression doesn't slip, and she shakes her head. "That's uniform work. Send them to—"

"Either deal with them or go home. I don't have time to hold your hand."

Just like that, he turns away in a clear dismissal. Lir stares at his broad back, her head throbbing from the night before and the rage that's been building since she stepped into Morrison's office: rage at the incompetence of her former chief, at the glares that had followed her once she entered the precinct, at Simmons' earnest naivety, at whoever butchered a woman and left her in an alley like she was no better than the trash already there, at Dante himself. It's familiar, and choking, the same burning that's festered within her all her life with every snide, "Are you sure you can handle that? Wouldn't you rather answer phones and let the men handle the rest?"

Instead of giving into her urge to punch him in his smug mouth, she inhales deeply and holds it until spots dance in her vision. Then she exhales and heads towards the bright yellow tape and, beyond it, the reporters and photographers craning their necks to get a look at the violence that's visited their city. Two steps, and cold fingers curl around her wrist, sending numbness crawling along her skin from where they touch. Lir closes her eyes, counting to ten, and then she pulls free. Only on the other side of the tape does she look back, and the sight of a woman in a red dress with pale hair staring back at her sadly, her lips moving soundlessly, is exactly what she expected. Definitely getting a drink, she muses.

The reporters are no different from the ones Lir dealt with in Fortuna, just more persistent. She repeats the phrase, "No comment," so many times that it begins to lose meaning to her, until a uniform comes to relieve her and she's able to hail a taxi. But she doesn't go back to work straight away. The cabbie drops her at a liquor store, waiting at the curb while she hurries in to buy a mini bottle of vodka and hurries back out, and she cracks it open and takes it like a shot, stowing the empty bottle in her pocket as they reach the precinct. Lir tips him double, then heads inside, and the bustling and noise is so at odds with the sullen silence of only hours ago that she nearly stops in her tracks. It's only force of will that keeps her moving to the stairs in the back and up them, to where her desk sits just outside of Morrison's office.

Dante is seated at the desk across from hers, a phone clamped between his face and shoulder while he writes on a notepad. Lir waits until he hangs up to say, "You're an ass."

"Been called worse," he replies distractedly. "Trish's report get in yet?"

"Not in my inbox. You got a problem with me?"

"No offense, sweetheart, but city crime is different from country crime."

"I'm from Fortuna. Not the mountains."

"Uh-huh. I'm sure you dealt with a lot of purse snatching."

Lir bristles. "Listen, jackass—"

"Go see Trish. See if she's got a report yet or not."

Her mouth hangs open. Then she stands, slamming her chair back into her desk loudly enough that Morrison looks out from his office with a frown, and stalks back the way she'd come, heading for the elevators. On one hand, she understands Dante's shit attitude; she's new to Red Grave, new to their force. On the other, she transferred from Homicide to Homicide, and there were enough of them in Fortuna that the sight of another isn't going to send her running, and he's a sour bastard with a chip on his shoulder who probably thinks he can do nothing wrong and his word is law. Which she's only proving, she realizes, running his errands for him, and she jabs irritably at the button that will take her to the basement and the morgue. Next time he demands she do something, she's going to tell him right where he can shove it. In the back of her mind, however, disappointment is bitter. So much, she thinks, for a fresh start.