Trace (17 page)

    
She and Rudy stand in the kitchen, eating their apples, looking at each other.

    
"Kind of a funny thing when you think about it," she says, hoping Rudy will start seeing the situation with the local cops as funny. "We call the police as a formality. Or worse, because it entertains us."

    
He shrugs his muscular shoulders, crunching into the apple and wiping juice off his mouth with the back of a hand. "Always good to include the local cops. In a limited way, of course. You never know when we might need them for something." Now he's turning the local cops into a game, his favorite game. "You asked for Dalessio, so it's on record. Not our fault he's hard to track down. They'll spend the rest of their careers trying to figure out who the hell Dalessio is and did he quit or get
fired or what? Did anyone ever meet him? He'll become a legend, give them something to talk about."

    
"Him and Tina Franks," Lucy says, chewing a piece of apple.

    
"Fact is," he replies, "you'd have a hell of a lot harder time proving you're Lucy Farinelli than Tina Franks or whoever else you decide to be on any given day. We've got birth certificates and all the other paper shit for our fake IDs. Hell, I can't tell you where my real birth certificate is."

    
"I'm not sure I know who I am anymore," she says, handing him a paper towel.

    
"Me, either." He takes another big bite out of the apple.

    
"I'm not sure I know who you are, now that you mention it. So you'll answer the door when the cop shows up and have him call CSI Dalessio to pick up the drawing."

    
"That's the plan." Rudy smiles. "Worked like a charm last time."

    
Lucy and Rudy keep jump-out bags and crime scene kits at strategic locations, such as residences and vehicles, and it is amazing what they manage to get away with by virtue of ankle-high black leather boots, black polo shirts, black cargo pants, dark windbreakers with FORENSICS on the back in bold yellow letters, the usual camera and other basic equipment, and most important of all, body language and attitude. The simple plan is usually the best one, and after Lucy found Henri and panicked and called 911 for an ambulance, she called Rudy. He changed his clothes and simply walked in her front door after the police had been there a few minutes, and he said he was new with the crime scene unit and the officers didn't have to hang around while he processed the house, and that was fine with them, because to hang around with the crime scene technicians amounts to babysitting in the eyes of cops.

    
Lucy, or Tina Franks, as she identified herself on that terrible day, offered her own lies to the police that morning. Henri, also given a false name, was a guest visiting from out of town, and while Lucy was in the shower, Henri, who was sleeping off a hangover, heard the intruder and fainted, and because she tends to get hysterical and hyperventilate and may very well have been attacked, Lucy called for an ambulance. No, Lucy never saw the intruder. No, nothing was taken as far as Lucy could tell. No, she doesn't think Henri was sexually assaulted but she ought to be checked at the hospital because that's what people do, right? That's what they do on all those cops shows on television, right?

    
"Wonder how long it will take them to figure out that CSI Dalessio never seems to show up anywhere except your house," Rudy says, amused. "Damn good thing their department's taken over most of Broward. It's as huge as Texas and they don't know who the hell is coming or going."

    
Lucy looks at her watch, timing the marked unit that should be headed this way now. "Well, what matters is we included Mr. Dalessio so he doesn't get his feelings hurt."

    
Rudy laughs, his mood much improved. He can't stay irritable for long when the two of them swing into motion. "Okay. The po-lice will be here any minute. Maybe you should scram. I won't give the uniform guy the drawing. I'll give him Dalessio's number, tell him I'd be more comfortable talking to the CSI since I met him last week when you called about the B-and-E. So he'll get Dalessio's voice mail, and after he leaves, yours truly, the legendary Dalessio, will call him back and tell him I'll take care of things."

    
"Don't let the cops in my office."

    
"The door's locked, right?"

    
"Yes," she says. "If you're worried about your Dalessio cover being blown, call me. I'll come right back and deal with the cops myself."

    
"Going somewhere?" Rudy asks.

    
"I think it's time I introduce myself to my neighbor," Lucy says.

Chapter 13

    
The Decomposed Room
is a small mortuary with a walk-in cooler and double sinks and cabinets, all in stainless steel, and a special ventilation system that sucks noxious odors and microorganisms out through an exhaust fan. Every inch of walls and floor is painted with nonslip gray acrylic that is nonabsorbent and can withstand scrubbing and bleach.

    
The centerpiece of this special room is a single transportable autopsy table, which is nothing more than a cart frame with casters equipped with swivel wheels that have brakes, and a body tray that rolls on bearings, all of which is supposed to eliminate the need for human beings to lift bodies in the modern world, but in reality doesn't. People in the morgue still struggle with dead weight and always will. The table is sloped so it can drain when it is attached to the sink, but that won't be necessary this morning. There is nothing left to drain. Gilly Paulsson's body fluids were collected or washed down the drain two weeks ago when Fielding autopsied her the first time.

    
This morning, the autopsy table is parked in the middle of the acrylic painted floor, and Gilly Paulsson's body is inside a black pouch that looks like a cocoon on top of the shiny steel table. There are no windows in this room, none that open onto the outside, only a row of observation windows that were installed too high for anyone to see through them, a design flaw that Scarpetta didn't complain about when she moved into the building eight years ago because no one needs to observe what goes on in this room, where the dead are bloated and green and covered with maggots or burned so badly they look like charred wood.

    
She has just walked in, having spent a few minutes in the women's locker room to suit up in the appropriate biohazard gear. "I'm sorry to interrupt your other case," she says to Fielding, and in her mind she sees Mr. Whitby in olive-green pants and his black jacket. "But I believe your boss really thought I was going to do this without you."

    
"How much did he brief you?" he asks from behind his face mask.

    
"Actually, he didn't," she says, working her hands into a pair of gloves. "I know nothing more than what he told me yesterday when he called me in Florida."

    
Fielding frowns and he has started to sweat. "I thought you were just in his office."

    
It occurs to her that this room might be bugged. Then she remembers when she was chief and tried out a variety of dictating equipment in the autopsy suite, all to no avail because there is too much background noise in the morgue and it tends to foil even the best transmitters and recorders. With that in mind, she moves to the sink and turns on the water, and it drums loudly and hollowly against steel.

    
"What's that for?" Fielding asks, unzipping the pouch.

    
"I thought you might like a little water music while we work."

    
He looks up at her. "It's safe to talk in here, I'm pretty sure. He's not that smart. Besides, I don't think he's ever been in the decomp room. He probably doesn't know where it is."

    
"It's easy to underestimate people you don't like," she says, helping him open the flaps of the pouch.

    
Two weeks of refrigeration have retarded decomposition, but the body is desiccating, or drying out, and on its way to being mummified. The stench is strong but Scarpetta doesn't take it personally. A bad smell is just another way the body speaks, no offense intended, and Gilly Paulsson can't help herself, not the way she looks or stinks or the fact that she is dead. She is pale and vaguely green and bloodless, her face emaciated from dehydration, her eyes open to slits, the sclera beneath the lids dried almost black. Her lips are dried brown and barely parted, her long blond hair tangled around her ears and under her chin. Scarpetta notes no external injuries to the neck, including any that might have been introduced at autopsy, such as the deadly sin of a buttonhole, which should never happen but does when someone inexperienced or careless is reflecting back tissue inside the neck to remove the tongue and larynx and accidentally pokes through the surface of the skin. An autopsy-induced cut to the neck is not easily explained to distraught families.

    
The Y incision begins at the ends of the clavicle and meets at the sternum, and travels down, taking a small detour around the navel and terminating at the pubis. It is sutured with twine that Fielding begins to cut with a scalpel, as though he is opening the seams of a hand-stitched rag doll, while Scarpetta picks up a file folder from a countertop and glances through Gilly's autopsy protocol and the initial report of investigation. She was five-foot-three and weighed a hundred and four pounds and would have turned fifteen in February had she lived. Her eyes were blue. Repeatedly on Fielding's autopsy report are the words "within normal limits." Her brain, her heart, her liver, and her lungs, all of her organs were just what they should have been for a healthy young girl.

    
But Fielding did find marks that should now be even more apparent because the blood is drained from her body and any blood trapped in tissue due to bruising is vivid against her very pale skin. On a body diagram, he has drawn contusions on the tops of her hands. Scarpetta places the file back on the counter while Fielding lifts out the heavy plastic bag of sectioned organs from the chest cavity. She gets close to look at her and lifts out one of her small hands. It is shriveled and pale, cold and damp, and Scarpetta holds it in her gloved hands and turns it over, looking at the bruise. The hand and arm are limp. Rigor mortis has come and gone, the body no longer stubborn, as if life is too far gone to resist death anymore. The bruise is deep red against the pallor of her ghostly white skin and is precisely on the top of her slender, shrunken hand, the redness spreading from the knuckle of her thumb to the knuckle of her little finger. A similar bruise is also on her other hand, her left hand.

    
"Oh yeah," Fielding says. "Weird, right? Like someone held her, maybe. But to do what?" He untwists a tie around the top of the bag, opening it, and the stench from the tan mush inside is horrific. "Shewww. Don't know what you're going to accomplish by going through this. But be my guest."

    
"Just leave it on the table and I'll pick through it in the bag. Somebody may have restrained her. How was she found? Describe the position of her body when she was found," Scarpetta says, walking over to the sink and finding a pair of thick rubber gloves that will reach almost to her elbows.

    
"Not sure. When Mom got home she tried to revive her. She says she can't remember whether Gilly was facedown, on her back, on her side, whatever, and she hasn't a clue about her hands."

    
"What about livor?"

    
"Not a chance. She wasn't dead long enough."

    
When the blood is no longer circulating, it settles according to gravity and creates a pattern of deep pinkness and blanching where the surfaces of the body touch whatever is pressing against them. As much as one always hopes to get to the dead in a hurry, there are advantages with delays. A few hours will do, and livor mortis and rigor mortis set in and reveal the position the body was in when it died, even if the living come along later and move things around or change their stories.

    
Scarpetta gently pulls open Gilly's bottom lip, checking for any injuries that might have been caused by someone pressing a hand over her mouth to silence her or by pushing her face into the bed to smother her.