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We love the dead. ... Despite whoever they were when they were alive, we love them because they were cheated and misused. The ultimate underdogs. --Li Morris - Imitation in Death


Template:Infobox Character

Introduction Edit

Dr. Morris first appears in Rapture in Death, on August 23, 2058, when he pages Eve Dallas on her 'link.[1]

Descriptions Edit

  • He had heavy-lidded hawk eyes in a vivid shade of green (Morris's YANNIs), a squared-off chin that was generously stubbled, and a slicked-back mane of charcoal hair.[2] His eyes were slanted and oddly sexy.[3] At the peak of his left eyebrow was a small, shiny silver hoop.[4]
    • Exotic almond eyes;[5] dark eyes;[6] the rage in his eyes burned them black.[7]
  • Handsome, somewhat exotic face[8] with his hair usually worn in a ponytail or in queues. He has luxurious hair and a duo of gold and silver hoops in his right ear.[9] He often wears a clear protective gear over his street clothes and a cap while he works.
    • His ink-black hair drew back from his exotic face in a single, gleaming braid.[10]
  • Has a tattoo under his left nipple of the Grim Reaper.[11]
  • He has a clever face with hard planes, long eyes, and skilled fingers;[12] he is elegant with a long, black ponytail, and exotic eyes.[13]
  • His dark hair was pulled back in a sleek tail; he has an exotically sexy face and dark eyes.[14]
    • Eve thought Morris was hot[15] and Peabody described him as severely sexy.[16]
  • Promises in Death is the first time, on page, Morris's hair is worn loose - it's the first time Eve ever saw it loose.[17]

Personality Edit

  • Thorough (though Dallas is sometimes frustrated with his lack of 'stellar speed').[18]
    • He makes delicate, precise, and effective Y cuts.[19]
  • Enjoys bright colors and stylish, nice clothes (snappy dresser).[20]
  • Cares for the dead - he once said that he and Dallas both loved the dead.[21]
  • Enjoys quizzing Dallas on what she sees when looking at a body in Autopsy.[22]
    • Eve thinks he dresses like an uptown rock star and has a mind full of interesting, often incomprehensible trivia.[23]
  • He had humor, depth, great respect for the dead, and great compassion for those left behind by death. There was something bohemian, exotic, artistic about the man who'd chosen to doctor the dead.[24]

Family History Edit

  • Morris was close to his brother, Jin Morris, who drowned when he was a boy; his brother was twelve, Morris was ten at the time and was not a strong swimmer. His brother was a daredevil and a strong swimmer but, when they went swimming in the ocean, without their parents present, his brother disappeared after Morris grew fatigued and returned to shore.[25]
  • Morris said he wanted answers, after his brother died, but no one could tell him how or why it had happened – so he looks for truth now in his work.[26]

History Edit

  • Morris was raised Buddhist and, as he grew up, he experimented and toyed with a variety of faiths. He said the organized sort didn't stick with him. He said he feels the dead, he said they (or that feeling) linger awhile.[27]
  • During his examination of Fitzhugh, Morris said he's never seen anything like what he was seeing in his thirty years of exploring the dead.[28]
  • Morris has no children though there was a woman once, and they had been together long enough to consider it. "But that was ... long ago."[29]

Relationships Edit

  • In Innocent in Death, when asked if he's smitten with Amaryllis Coltraine, Morris asks, "Who wouldn't be?" [30]
    • In Salvation in Death, he was given at least two dozen roses from a woman who is a "very good friend."[31] Eve speculates they were given by Coltraine.[32]
    • When he walked Coltraine out (of the morgue), his hand skimmed lightly down her back and they kissed good-bye.[33]
  • He gave Amaryllis a silky, white droid cat – which she named Satchmo – and, after her murder, he kept it.[34]
    • After Eve notified him of Coltraine's murder, Morris said he had been falling in love with her.[35] They were planning to go away for a few days, to Graceland.[36]
  • Eve considers Morris a friend – a good one;[37] she's attached to him and felt she never gave Ammy a chance.[38]
    • Morris said there's no one he trusts more than Eve.[39]
    • After discussing a gruesome mutilation that disturbed both he and Eve, Morris did something he rarely did and reached out and touched her on the back of her hand. Eve considered it a kind of intimacy and affectionate contact between comrades.[40]
    • After Amaryllis was murdered, Eve said that if Morris wanted to talk to someone outside the circle, outside the job, he could talk to Father Chale López (his name is written as 'Lopez' instead of 'López' in Promises in Death).[41]
      • The first thing Amaryllis bought herself when she came to New York was a small glass butterfly with its jeweled wings lifted. She said it always made her smile. Morris gave the butterfly to Eve and kissed her.[42]
  • In Kindred in Death (June 2060), Morris was brought back a day early from his leave of absence.[43]
    • Morris thanked Eve for finding justice for Amaryllis.[44] He said to her: "We deal with death, you and I, and with that death leaves grieving. We believe - or hope - that finding the answers, finding justice will help the dead, and those the dead leaves grieving. It does. Somehow it does. I no longer believe it, or hope it, but know it. I loved her, and the loss .... Immense. But you were there for me. As a cop, and as a friend. You held my hand during those first horrible steps of grief, helped me steady myself. And by finding the answers, you gave me, and her, some peace. ... The job you and I do is often ugly and thankless. I need to thank you. ... Thank you for suggesting I speak to Father Lopez."[45] Lopez helped him with those next steps of grief.[46]
    • Before Eve requested him for Deena, Morris wasn't sure if he was ready to go back to work; he considered taking another week, maybe two.[47]
  • While Eve and Morris were examining Deena's body, Eve visualized the rape, the process, by which Deena was brutalized. As she did, Morris commented that Eve had gone pale, touched her arm, and told her to sit. Eve brushed him off and continued to visualize it, going through the steps, until she finished. Morris wondered, after seeing Eve's reaction and explanation, And what were you? What were you to the one who used you this way? But he didn't ask. He knew her too well, understood her too well, to ask.[48]

Interesting Facts Edit

  • The character of Morris does not, as yet, have a first name! According to Nora: "I'm sure ME Morris has a first name--he's probably got a middle name, too! And there's likely going to be a time when he'll use it."-November 21, 2004[49]
    • Morris's first name is discovered to be 'Li' as of Promises in Death.[50]
  • Works at the Lower Manhattan City Morgue (see also NYPSD).[51]
  • Plays the tenor saxophone.[52] He played the sax at Roarke and Eve's Christmas party in Memory in Death.[53]
    • He likes music and is especially fond of jazz and blues.[54] He has an extensive music selection.[55]
    • He was in a band called The Cadavers (they played together in college).[56]
  • Morris had just returned from vacation around September 20, 2059 in Divided in Death.[57]
  • "I like daffodils myself. I always think of the trumpet as a really long mouth, and imagine they chatter away at each other in a language we can't hear."[58]
  • He drinks his coffee with a little milk[59] and drinks brandy.[60]
  • He was part of the sting to obtain Cleo Grady's DNA. He sharpened the rhinestones on the droid cat's collar so that when Cleo handled it, she was cut and used his handkerchief.[61]
  • Morris rarely uses Eve's first name.[62]

YANNIEdit

  • Name
    • His name was incorrectly written as 'Morse' in Witness in Death, Judgment in Death and Midnight in Death.[63]
  • Eyes

Morris' Outfits/Appearance Edit

Rapture in DeathEdit


  • "He wore a white lab coat that fluttered to the floor. Beneath it he wore stovepipe pants and a T-shirt in loud, clashing colors."[67]


Vengeance in DeathEdit


  • "His waist-length braid made a curling line down the back of his snowy white lab coat. Under it he wore a skin suit of virulent purple."[68]


Witness in DeathEdit


  • "He disposed of his protective suit to reveal the stunning pink of his shirt and electric blue of his trousers."[69]


Seduction in DeathEdit


  • "He wore his long, dark hair in half a dozen braids, covered now with a clear surgical cap. A natty plum-colored shirt and slacks were protected from distressing splashes of body fluids by a transparent lab coat."[70]


Purity in DeathEdit


  • "He wore goggles over his pleasant face, a plastic hood over his long, dark braided hair, and a clear protective coat over a natty blue suit."[71]


Portrait in DeathEdit


  • "He wore a long green cover over his lemon yellow suit. His hair was pulled into a trio of ponytails that waterfalled, one over the other down his back."[72]


Imitation in DeathEdit


  • "He worked along as he often did, suited up in clear protective gear over a blue tunic and skin-pants. His long hair was corded back in a shiny ponytail and covered with a cap to prevent contamination of the body. There was a medallion, something in silver with a deep red stone around his neck."[73]


Visions in DeathEdit


  • "She found him in autopsy, with his protective gear over a steel blue three-piece suit. On closer look, she saw the vest was decorated with abstract line drawings of naked women."[74]
  • "He stepped over in his pristine blue shirt and red necktie, offered his arm."[75]


Survivor in DeathEdit


  • "She studied his face, slickly framed by black hair pulled cleanly back in one sleek tail that was bound in crisscrossing silver twine. Under the clear, protective suit, stained now with body fluids, his shirt was silver as well."[76]


Origin in DeathEdit


  • "He wore a suit the color of walnuts, with a dull gold shirt. His dark hair was pulled back into two queues, one stacked on the other and twined with gold cord."[77]
  • "He wore a clear gown over a shimmery deep purple shirt and narrow black pants. His hair was pulled back in three stacked tails, perfectly aligned."[78]


Memory in DeathEdit


  • "She remembered he'd worn a suit to the party, a kind of muted blue overlaid with a faint sheen. His long, dark hair had been intricately braided and he'd knocked back a few."[79]
  • "Now he was in casual pants and a sweatshirt, and his hair was scooped back in a long, shiny tail."[80]
  • "He wore his long, dark hair in a braid today, and the braid curled up in a loop at the nape of his neck. His suit was a deep, conservative navy, until you added the pencil-thin stripes of showy red."[81]


Haunted in DeathEdit


  • "Morris, resplendent in a bronze-toned suit under his clear protective cape, his long dark hair in a shining tail, stood over the body with a sunny smile for Eve."[82]


Born in DeathEdit


  • "He wasn't tall, but he was built in a way the chocolate brown suit and dull gold T-shirt exploited. He was oddly sexy with those dark, slightly slanted eyes and the ink black hair scooped back in a tight, intricate braid."[83]


Innocent in DeathEdit


  • "He wore a sleek black suit under his protective smock, with a silver shirt that shimmered as he moved. His dark hair was in one tightly coiled braid, looped at the neck and twined with silver cord."[84]
  • "Morris was in pewter today, with a purple shirt and braided pewter tie. His hair was in a long tail that made Eve think of glossy thoroughbreds."[85]


Creation in DeathEdit


  • "Which explained the boots, she supposed. The black and silver pattern she assumed had once belonged to some reptile wasn't the sort of thing a man would normally sport on a crime scene. Not even the stylish Morris. His long black coat blew back to reveal a cherry-red lining. Under it, he wore black pants, black turtleneck - extreme casual wear for him. His long, dark hair was slicked back into a tail, bound top and tip with silver bands."[86]
  • "Morris was inside. He'd changed, she noted, into gray sweats and black and silver skids she imagined he kept on the premises for working out."[87]


Strangers in DeathEdit


  • "He'd teamed a rust-colored shirt with a dull gold shirt, and mirrored those tones with the thin rope worked through his long, dark braid.[88]


Eternity in DeathEdit


  • "He wore a snappy suit the color of good claret with a matching tie thin as straw. His dark hair was intricately braided, and curled into a loop at the nape of his neck. Eve often thought Morris' sharp fashion sense was wasted on his clientele."[89]


Salvation in DeathEdit


  • "Chief Medical Examiner Morris wore black today, but there was nothing ghoulish or funereal in the sharply tailored suit. The lightning-bolt blue T-shirt - probably silk - kicked it up a notch, Eve supposed. He'd pinned one of the red rosebuds to his lapel, and wound red and blue cords through his long black ponytail."[90]
  • "He wore a suit, the color of polished bronze, without any protective cape."[91]


Ritual in DeathEdit


  • "The protective gown covered his silver-edged blue suit. He wore his dark hair pulled back in a long, sleek tail."[92]


Promises in DeathEdit


  • "His hair was loose. She'd never seen it loose, raining down his back rather than braided. He wore black pants, a black tee."[93]
  • "He sat, not in one of his sharp, stylish suits, but in a lightweight black sweater and jeans, with his hair pulled back in a simple tail with none of the usual ornamentation."[94]
  • "He wore a simple and elegant black suit, with a black cord winding through his long, meticulous braid."[95]


Kindred in DeathEdit


  • "He wore a clear protective coat over a suit of moonless night black. He'd paired it with a shirt of rich gold, and a needle-thin tie where both colors wove together. She frowned at the silver peace sign pinned to his lapel, but had to admit on Morris it worked. His ink-black hair drew back from his exotic face in a single, gleaming braid."[96]
  • "Morris wore mourning black today, with a shirt of deep red."[97]


Fantasy in DeathEdit


  • "His slick black suit missed being funeral by the touches of silver in the cord braided through is long queue and the subtle pattern of his tie. Still, he seemed to wear black more often these days, and she understood it was a subtle symbol of mourning for his lost lover."[98]
  • "He wore black, as he had every time she'd seen him since Coltraine's death, but Eve took hope from the flash of the shimmering red tie that the leading edge of his grief had dulled."[99]


Indulgence in DeathEdit


  • "She found him at work, a protective cloak over his sharp suit. The midnight blue color rather than the severe black he'd worn since his lover's murder told her he'd gone to the next phase of grief. For the first time since spring, he'd added a bright touch with a tie of strong, vibrant red. He'd braided his hair with a cord of the same color, drawing it back from his striking face."[100]
  • "He wore black again, stark and unrelieved."[101]

References Edit

  1. Rapture in Death (ISBN 0-425-15518-8), pp. 67, 77, 96
  2. Rapture in Death (ISBN 0-425-15518-8), p. 67
  3. Memory in Death (ISBN 0-425-21073-1), p. 97
  4. Witness in Death (ISBN 0-425-17363-1), p. 130
  5. Promises in Death (ISBN 978-0-399-15548-2), pp. 14, 15
  6. Kindred in Death (ISBN 978-0-399-15595-6), p. 56
  7. Promises in Death (ISBN 978-0-399-15548-2), p. 18
  8. Origin in Death (ISBN 0-425-20426-X), p. 20; Imitation in Death (ISBN 978-0-425-19158-30, p. 20
  9. Witness in Death (ISBN 0-425-17363-1), p. 49
  10. Kindred in Death (ISBN 978-0-399-15595-6), p. 56
  11. Seduction in Death (ISBN 0-425-18146-4), p. 266; Promises in Death (ISBN 978-0-399-15548-2), p. 14
  12. Strangers in Death (ISBN 978-0-399-15470-6), p. 30
  13. Salvation in Death (ISBN 978-0-399-15522-2), p. 20
  14. Ritual in Death (ISBN 978-0-425-22444-1), pp. 32, 34
  15. Promises in Death (ISBN 978-0-399-15548-2), p. 14
  16. Promises in Death (ISBN 978-0-399-15548-2), p. 26
  17. Promises in Death (ISBN 978-0-399-15548-2), p. 14
  18. Rapture in Death (ISBN 0-425-15518-8), p. 67
  19. Salvation in Death (ISBN 978-0-399-15522-2), p. 21; Ritual in Death (ISBN 978-0-425-22444-1), p. 32
  20. Salvation in Death (ISBN 978-0-399-15522-2), p. 20
  21. Imitation in Death (ISBN 978-0-425-19158-3), p. 22
  22. Visions in Death (ISBN 0-425-20300-X), p. 252; Salvation in Death (ISBN 978-0-399-15522-2), p. 22
  23. Promises in Death (ISBN 978-0-399-15548-2), p. 13
  24. Promises in Death (ISBN 978-0-399-15548-2), pp. 13, 14
  25. Promises in Death (ISBN 978-0-399-15548-2), pp. 151, 152
  26. Promises in Death (ISBN 978-0-399-15548-2), pp. 151, 152
  27. Promises in Death (ISBN 978-0-399-15548-2), p. 221
  28. Rapture in Death (ISBN 0-425-15518-8), p. 70
  29. Survivor in Death (ISBN 0-425-20418-9), p. 55
  30. Innocent in Death (ISBN 978-0-399-15401-0), p. 226
  31. Salvation in Death (ISBN 978-0-399-15522-2), pp. 20, 21
  32. Salvation in Death (ISBN 978-0-399-15522-2), p. 23
  33. Salvation in Death (ISBN 978-0-399-15522-2), p. 156
  34. Promises in Death (ISBN 978-0-399-15548-2), pp. 1, 314-316
  35. Promises in Death (ISBN 978-0-399-15548-2), p. 19
  36. Promises in Death (ISBN 978-0-399-15548-2), p. 20
  37. Promises in Death (ISBN 978-0-399-15548-2), p. 13
  38. Promises in Death (ISBN 978-0-399-15548-2), p. 307
  39. Promises in Death (ISBN 978-0-399-15548-2), p. 109
  40. Imitation in Death (ISBN 978-0-425-19158-3), p. 22
  41. Promises in Death (ISBN 978-0-399-15548-2), pp. 220, 221, 255
  42. Promises in Death (ISBN 978-0-399-15548-2), p. 341
  43. Kindred in Death (ISBN 978-0-399-15595-6), p. 56
  44. Kindred in Death (ISBN 978-0-399-15595-6), p. 56
  45. Kindred in Death (ISBN 978-0-399-15595-6), p. 56
  46. Kindred in Death (ISBN 978-0-399-15595-6), p. 57
  47. Kindred in Death (ISBN 978-0-399-15595-6), p. 57
  48. Kindred in Death (ISBN 978-0-399-15595-6), pp. 59-61
  49. Roberts, N. (November 21, 2004). Stooooopid Questions for Nora, Part XV. A Day Without French Fries Message Board. Retrieved August 5, 2008 from ADWOFF.
  50. Promises in Death (ISBN 978-0-399-15548-2), pp. 1, 19
  51. Rapture in Death (ISBN 0-425-15518-8), p. 68
  52. Divided in Death (ISBN 978-0-399-15154-0), p. 198; Promises in Death (ISBN 978-0-399-15548-2), p. 13
  53. Memory in Death (ISBN 0-425-21073-1), p. 97
  54. Promises in Death (ISBN 978-0-399-15548-2), p. 13
  55. Promises in Death (ISBN 978-0-399-15548-2), p. 155
  56. Divided in Death (ISBN 978-0-399-15154-0), p. 198
  57. Divided in Death (ISBN 0-425-19795-6), pp. 12, 159, 314
  58. Creation in Death (ISBN 978-0-425-22102-0), p. 272
  59. Promises in Death (ISBN 978-0-399-15548-2), p. 107
  60. Promises in Death (ISBN 978-0-399-15548-2), p. 151
  61. Promises in Death (ISBN 978-0-399-15548-2), pp. 304, 312-316
  62. Kindred in Death (ISBN 978-0-399-15595-6), p. 56
  63. Witness in Death (ISBN 0-425-17363-1), p. 130; Judgment in Death (ISBN 0-425-17630-4), p. 107; Midnight in Death (ISBN 0-425-20881-8), p. 47
  64. Rapture in Death (ISBN 0-425-15518-8), p. 67
  65. Witness in Death (ISBN 0-425-17363-1), p. 130; Ritual in Death (ISBN 978-0-425-22444-1), pp. 33, 34
  66. Promises in Death (ISBN 978-0-399-15548-2), p. 18
  67. Rapture in Death (ISBN 978-0-425-15518-9), pp. 69, 70
  68. Vengeance in Death (ISBN 978-0-425-16039-8), p. 45
  69. Witness in Death (ISBN 978-0-425-17363-3), p. 132
  70. Seduction in Death (ISBN 978-0-425-18146-1), p. 31
  71. Purity in Death (ISBN 978-0-425-18630-5), p. 40
  72. Portrait in Death (ISBN 978-0-425-18903-0), p. 27
  73. Imitation in Death (ISBN 978-0-425-19158-3), p. 20
  74. Visions in Death (ISBN 978-0-425-20300-2), pp. 37, 38
  75. Visions in Death (ISBN 978-0-425-20300-2), p. 253
  76. Survivor in Death (ISBN 978-0-425-20418-4), p. 55
  77. Origin in Death (ISBN 978-0-425-20426-9), p. 44
  78. Origin in Death (ISBN 978-0-425-20426-9), p. 125
  79. Memory in Death (ISBN 978-0-425-21073-1), p. 97
  80. Memory in Death (ISBN 978-0-425-21073-1), p. 97
  81. Memory in Death (ISBN 978-0-425-21073-1), p. 156
  82. Haunted in Death (ISBN 978-0-425-21971-3), p. 252
  83. Born in Death (ISBN 978-0-425-21568-5), p. 47
  84. Innocent in Death (ISBN 978-0-425-21754-2), p. 34
  85. Innocent in Death (ISBN 978-0-425-21754-2), p. 216
  86. Creation in Death (ISBN 978-0-425-22102-0), pp. 9, 10
  87. Creation in Death (ISBN 978-0-425-22102-0), p. 32
  88. Strangers in Death (ISBN 978-0-425-22289-8), p. 30
  89. Eternity in Death (ISBN 978-0-515-14367-6), p. 22
  90. Salvation in Death (ISBN 978-0-425-22693-3), p. 21
  91. Salvation in Death (ISBN 978-0-425-22693-3), p. 237
  92. Ritual in Death (ISBN 978-0-425-22444-1), p. 32
  93. Promises in Death (ISBN 978-0-425-22894-4), p. 14
  94. Promises in Death (ISBN 978-0-425-22894-4), p. 106
  95. Promises in Death (ISBN 978-0-425-22894-4), p. 187
  96. Kindred in Death (ISBN 978-0-425-23367-2), pp. 56, 57
  97. Kindred in Death (ISBN 978-0-425-23367-2), p. 279
  98. Fantasy in Death (ISBN 978-0-425-23589-8), p. 17
  99. Fantasy in Death (ISBN 978-0-425-23589-8), p. 285
  100. Indulgence in Death (ISBN 978-0-399-15687-8), p. 68
  101. Indulgence in Death (ISBN 978-0-399-15687-8), p. 131

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