Four Scarpetta Novels (26 page)

He didn't answer her as he got angrier, because if they made love, she would see his bare feet. The last time he made love was in Iraq, a twelve-year-old girl who screamed and cried and pounded him with small fists. Then she stopped and went to sleep, and he has never felt anything about it because she had no life, nothing to look forward to except the endless destruction of her country, and endless deaths. Her face fades from his mind as water drips. He holds the pistol in his hand as Roger screams because the pain is too much.

In the Cave of the Cupola, stones were round like skulls, and water dripped, dripped, dripped, as if it had rained, and then there were formations of stony frost and icicles and spurs that glowed like candlelight. He told her not to touch them
.

“If you touch them, they turn black like soot,” he warned
.

“The story of my life,” she said. “Whatever I touch turns to shit.”

“You will thank me,” he said.

“For what?” she said.

In the Corridor of the Return, it was warm and humid, and water ran down the walls like blood. He held the pistol and was one finger away from the end of all he knew about himself. If Roger could thank him, he would.

A simple thanks, and doing it again isn't needed. People are ungrateful and take away whatever has meaning. Then one doesn't care anymore. One can't.

A red-and-white-striped lighthouse, built soon after the War, is isolated three hundred feet offshore and no longer has a beacon.

Will's shoulders burn from rowing, and his buttocks ache on the fiberglass bench. It's hard work because his payload weighs almost as much as the flat-bottom boat, and now that he's close to his place, he won't use the outboard motor. He never does. It makes noise, and he wants no noise, even if there is no one to hear it. No one lives here. No one comes here except during the day, and then only in nice weather. Even then, no one knows this place is his. The love of a lighthouse and a bucket of sand. How many little boys own an island? A glove and a ball, and a picnic and camping. All gone. Dead. The forlorn passage in a boat to the other side.

Across the water are the lights of Mount Pleasant, and the lights of James Island and Charleston. Southwest is Folly Beach. Tomorrow will be warm and cloudy, and by late afternoon, the tide will be low. The boat scrapes over oyster shells as he drags it onto the beach.

I
nside the forensic photography lab, early the next morning. It is Wednesday now.

Scarpetta sets up what she might need, the science this time simple. From cabinets and drawers she retrieves ceramic bowls, paper, and foam cups, paper towels, sterile swabs, envelopes, modeling clay, distilled water, a bottle of gun blue (a selenium dioxide solution that turns metal surfaces a dark blue/black), a bottle of RTX (ruthenium tetroxide), tubes of superglue, and a small aluminum pan. She attaches a macro lens and a remote shutter release to a digital camera mounted on a copy stand, and covers a countertop with thick brown paper.

Although she has a choice of which concoctions to use so latent prints will show themselves on nonporous surfaces, such as metal, the standard fare is fuming. No magic, just chemistry. Superglue is composed almost entirely of cyanoacrylate, an acrylic resin that reacts to the amino acids, glucose, sodium, lactic acid, and other chemicals exuded from skin pores. When superglue vapors come in contact with a latent print (not visible to the unaided eye), a chemical reaction forms a new composite—one hopes, a very durable and visible white ridge detail.

Scarpetta ponders her approach. DNA swabbing, but not in this lab, and it shouldn't be done first and doesn't need to be first because neither RTX nor superglue destroys DNA. Superglue, she decides, and she removes the revolver from its paper bag and writes down the serial number. She opens the empty cylinder and plugs both ends of the barrel with wads of paper towel. From another bag, she retrieves the six .38 special live rounds, setting them upright inside a fuming chamber, which is nothing more than a heat source inside a glass tank. From a wire anchored across the length of it, she suspends the revolver by its trigger guard. She places a cup of warm water inside for humidity, squeezes superglue into a small aluminum pan, and covers the fuming chamber with a lid. She turns on an exhaust fan.

Another pair of fresh gloves, and she picks up the plastic bag with the gold coin necklace inside. The gold chain is a very likely source of DNA, and she bags that separately and labels it. The coin is a possible source of DNA but also of fingerprints, and she holds it lightly by its edges and looks at it through a lens as she hears the biometric lock of the lab's front door. Then Lucy walks in. Scarpetta can feel her mood.

“I wish we had a program that does photo recognition,” Scarpetta says, because she knows when not to ask questions about how Lucy is feeling and why.

“We do,” Lucy says, avoiding her eyes. “But you have to have something to compare it with. Very few police departments have searchable databases of mug shots, and those that do? Doesn't matter. Nothing's integrated. Whoever this asshole is, we'll probably have to ID him some other way. And I don't necessarily mean the asshole on the chopper who supposedly showed up in your alley.”

“Then who do you mean?”

“I mean whoever was wearing the necklace and had the gun. And I mean you don't know it wasn't Bull.”

“That wouldn't make any sense.”

“Sure as hell would if he wanted to seem like a hero. Or hide something else he's up to. You don't know who had the gun or necklace, because you never saw whoever lost them.”

“Unless the evidence indicates otherwise,” Scarpetta says, “I'll take him at his word and feel grateful that he put himself in harm's way to protect me.”

“Believe what you want.”

Scarpetta looks at Lucy's face. “I believe something's wrong.”

“I'm just pointing out that the alleged altercation between him and whoever this guy on a chopper is wasn't witnessed. That's all.”

Scarpetta checks her watch. She walks over to the fuming chamber. “Five minutes. That should do it.” She removes the lid to bring the process to a halt. “We need to run the serial number of the revolver.”

Lucy moves close, looks inside the glass tank. She puts on gloves, reaches inside, and detaches the wire and retrieves the revolver. “Ridge detail. A little. Here on the barrel.” She turns the gun this way and that, sets it down on the paper-covered countertop. She reaches back inside the tank and plucks out the cartridges. “A few partials. I think there's enough minutiae.” She sets them down, too.

“I'll photograph them, and perhaps you can scan in the photos so we can get the characteristics and have them run on IAFIS.”

Scarpetta picks up the phone, calls the fingerprints lab, explains what they're doing.

“I'll work with them first to save time,” Lucy says, and she isn't friendly. “Lose the color channels so the white's inverted to black and get them run ASAP.”

“Something's the matter. I guess you'll tell me when you're ready.”

Lucy doesn't listen. Angrily, “Garbage in, garbage out.”

Her favorite point to make when she's cynical. A print is scanned into IAFIS, and the computer doesn't know if it's looking at a rock or a fish. The automated system doesn't think. It knows nothing. It overlays the characteristics of one print on top of the matching characteristics of another print, meaning if characteristics are missing or obscured or haven't been correctly encoded by a competent forensic examiner, there's a good chance a search will come to nothing. IAFIS isn't the problem. People are. Same is true of DNA. The results are only as good as what's collected and how it's processed and by whom.

“You know how rare it is when prints are even rolled properly?” Lucy rants on. Her tone bites. “You get some Deputy Bubba in a jail taking all these ten-print cards, still doing centuries-old shitty ink-and-roll, and they're all dumped into IAFIS and are crap, when they wouldn't be if we were using biometric optical live scanning. But no jail's got money. No money for anything in this fucking country.”

Scarpetta leaves the gold coin inside its transparent plastic envelope and looks at it under a lens. “You want to tell me why you're in such an awful mood?” She's afraid of the answer.

“Where's the serial number so I can enter the gun into NCIC?”

“That piece of paper over there on the counter. Have you been talking to Rose?”

Lucy gets it, sits before a computer terminal. Keys start clicking. “Called to check on her. She said you need checking on.”

“A U.S. one-dollar piece,” Scarpetta says of the magnified coin so she doesn't have to say anything else. “Eighteen seventy-three.” And she notices something she's never seen before in unprocessed evidence.

Lucy says, “I'd like to test-fire this in the water tank and run ballistics on it through NIBIN.”

The National Integrated Ballistic Identification Network.

“See if the revolver's been used in any other crime,” Lucy says. “Although you're not considering what happened a crime yet and don't want to involve the police.”

“As I've explained”—Scarpetta doesn't want to sound defensive—“Bull struggled with him and knocked the gun out of his hands.” She studies the coin, adjusting the magnification. “I can't prove the man in question on the chopper was there to harm me. He never trespassed, just tried.”

“So Bull says.”

“If I didn't know better, I'd think this coin has already been superglued for prints.” Through the lens, Scarpetta examines what looks like pale white ridge detail on front and back.

“What do you mean, if you didn't know better? You don't know better. You don't know anything about it or where it's been or anything except Bull found it behind your house. Who lost it's another story.”

“Sure looks like a polymer residue. Like superglue. I don't understand,” Scarpetta says, carrying the plastic-protected coin to the copy stand. “A lot of things I don't understand.” She glances up at Lucy. “I guess when you're ready to talk to me, you will.” She takes off her gloves, puts on new ones and a face mask.

“Sounds like all we need to do is photograph them. No gun blue or RTX.” Lucy refers to the ridge detail on the coin.

“At most, maybe black powder. But I suspect we won't need even that.” Scarpetta adjusts the camera mounted on the copy stand's column. She manipulates the arms of the four lights. “I'll photograph it. Then everything can go to DNA.”

She tears off a section of brown paper for the copy stand's base, removes the coin from its envelope, and sets it down heads up. She cuts a foam cup in half, places one funnel-shaped half over the coin. Homemade tent lighting to minimize glare, and the ridge detail is much more visible. She reaches for the remote shutter release and starts taking pictures.

“Superglue,” Lucy says. “So maybe it's evidence from a crime and somehow ended up in circulation again, so to speak.”

“That certainly would explain it. Don't know if it's right, but it would explain it.”

Keys rapidly click. “Gold one-dollar piece.” Lucy says. “American, eighteen seventy-three. See what I can find about that.” Hits more keys. “Why would someone take Fiorinal with codeine? And what is it, exactly?”

“Butalbital plus codeine phosphate, aspirin, caffeine,” Scarpetta says, carefully turning the coin so she can photograph the other side. “A strong narcotic pain reliever. Often prescribed for severe tension headaches.” The camera's shutter shuts. “Why?”

“What about Testroderm?”

“A testosterone gel you rub into your skin.”

“You ever heard of a Stephen Siegel?”

Scarpetta thinks for a moment, can't come up with anyone, the name completely unfamiliar. “Not that I recall.”

“The Testroderm was prescribed by him, and it just so happens he's a slimeball proctologist in Charlotte, where Shandy Snook is from. And it just so happens that her father was a patient of this proctologist, which would suggest Shandy knows him and is able to get prescriptions when she wants them.”

“Where was this prescription filled?”

“A pharmacy on Sullivan's Island, where it just so happens Shandy has a two-million-dollar house in the name of an LLC,” Lucy says, typing again. “Maybe it would be a good idea for you to ask Marino what the hell's going on. I think all of us ought to be worried.”

“What worries me most is how angry you are.”

“I think you don't know what I'm like when I'm really angry.” Lucy taps on the keyboard, rapid, hard, angry taps. “So Marino's all nice and doped up. Illegally. Probably slathering on testosterone gel like it's suntan lotion and popping pills like crazy to help with his hangovers because he's suddenly turned into a raging drunk King Kong.” Loudly tapping keys. “Probably suffering priapism and could have a fucking heart attack. Or become so aggressive he's out of control when he's already out of control because of the booze. Amazing the effect one person can have on another in one short week.”

“Clearly this new girlfriend is very bad news.”

“I don't mean her. You had to tell him your news.”

“Yes, I did. I had to tell him. And you and Rose,” Scarpetta quietly says.

“Your gold coin's worth about six hundred dollars,” Lucy says, closing a file on the computer. “Not including the chain.”

 

Dr. Maroni sits before the fire in his apartment south of San Marco, the domes of the basilica dreary in the rain. People, mostly the locals, have on green rubber boots, while the tourists wear cheap yellow ones. In no time, the water rises above the streets of Venice.

“I simply heard about the body.” He talks on the phone to Benton.

“How? At first the case wasn't important. Why would you hear of it?”

“Otto told me.”

“You mean Captain Poma.”

Benton is determined to distance himself from the captain, can't even bring himself to use his first name.

Dr. Maroni says, “Otto called about something else and mentioned it.”

“Why would he know? There wasn't much in the news at first.”

“He knew because he's Carabiniere.”

“And that makes him omniscient?” Benton says.

“You're resentful of him.”

“What I am is puzzled,” Benton says. “He's a medico legale with the Carabinieri. And it was the national police, not the Carabinieri, that had jurisdiction in the case. And as usual, this is because the national police got to the scene first. When I was a kid, that was called having
dibs
. In law enforcement, it's called
unheard-of
.”

“What can I say? It's the way things are done in Italy. Jurisdiction depends on who arrives at the scene first, or who's called. But that's not what's making you so irritable.”

“I'm not irritable.”

“You're telling a psychiatrist you're not irritable.” Dr. Maroni lights his pipe. “I'm not there to see your affect, but I don't need to. You're irritable. Tell me why it matters how I found out about the dead woman near Bari?”

“Now you're implying I'm not objective.”

“What I'm implying is you feel threatened by Otto. Let me try to explain the sequence of events more clearly. The body was found on the side of the Autostrade outside Bari, and I thought nothing of it at first when I heard about it. No one knew who she was, and it was believed she was a prostitute. The police speculated the killing was connected to Sacra Corona Unita—the Puglia mafia. Otto said he was quite happy the Carabinieri wasn't involved, because he wasn't fond of dealing with gangsters. In his words, there's nothing redeeming about victims who are as corrupt as their killers. I believe it was a day later when he informed me he'd spoken to the forensic pathologist at the Sezione di Medicina Legale in Bari. It appeared the victim was a missing Canadian tourist last seen at a discotheque in Ostuni. She was quite drunk. She left with a man. A young woman fitting the same description was seen the next day at Grotta Bianca in Puglia. The White Cave.”

“Again, Captain Poma is omniscient, and it seems the entire world reports to him.”