“I promised, didn’t I?”
“And there was a trunk in back, you know, a big footlocker. It was stupid as shit. I made her open it and she had these collector’s ornaments made in Germany in painted wooden boxes. Stuff like Hansel and Gretel and Snoopy and Little Red Riding Hood. She kept them locked up because of how expensive they were, and I said, ‘What the fuck for? All someone has to do is steal the trunk. You really think locking them up in there is going to stop someone from stealing them?’ ”
He falls silent, staring off at the cinder-block wall.
“What else did you talk about with her before you killed her?”
“I told her, ‘You’re going down, bitch.’ ”
“At what point did you talk to her about the trunk in the back of the store?”
“I didn’t.”
“I thought you said…”
“I never said I talked to her about it,” Basil says impatiently. “I want to be put on something. Why can’t you give me something. I can’t sleep. I can’t sit still. I feel like fucking everything and then get depressed and can’t get out of bed. I want my mail.”
“How many times a day are you masturbating?” Benton asks.
“Six or seven. Maybe ten.”
“More than usual.”
“Then you and me had our little talk last night and that’s all I’ve done all day. Didn’t get out of bed except to pee, barely ate, haven’t bothered with a shower. I know where she is,” he then says. “Get me my mail.”
“Mrs. Quincy?”
“See, I’m in here.” Basil leans back in the chair. “What do I have to lose? What incentive do I have to do the right thing? Favors, a little special treatment, maybe cooperation. I want my fucking mail.”
Benton gets up and opens the door. He tells Geoff to go to the mail room, find out about Basil’s mail. Benton can tell by the guard’s reaction that he knows all about Basil’s mail and isn’t happy about doing anything that might make his life more pleasant. So it’s probably true. He hasn’t been getting it.
“I need you to do it,” Benton tells Geoff, meeting his eyes. “It’s important.”
Geoff nods, walks off. Benton shuts the door again and sits back down at the table.
Fifteen minutes later, Benton and Basil are finishing their conversation, a tangled mess of misinformation and convoluted games. Benton is annoyed. He doesn’t show it and is relieved to see Geoff.
“Your mail will be waiting on your bed,” Geoff says from the doorway, his eyes flat and cold as they stare at Basil.
“You better not have stolen my magazines.”
“Nobody’s interested in your fucking fishing magazines. Excuse me, Dr. Wesley.” And to Basil, “There are four of them on your bed.”
Basil casts an imaginary fly rod. “The one that got away,” he says. “It’s always the biggest one. My father used to take me fishing when I was a little boy. When he wasn’t beating my mother.”
“I’m telling you,” Geoff says. “I’m telling you right in front of Dr. Wesley. You mess with me again, Jenrette, and your mail and fishing magazines won’t be your only problem.”
“See, this is what I mean,” Basil tells Benton. “This is how I’m treated around here.”
Chapter 35
In the storage area, Scarpetta opens a crime-scene case that she carried in from the Hummer. She removes vials of sodium perborate, sodium carbonate and luminol, mixes them with distilled water in a container, shakes it and transfers the solution into a black pump spray bottle.
“Not exactly how you thought you’d spend your week off,” Lucy says as she attaches a thirty-five-millimeter camera to a tripod.
“Nothing like a little quality time,” Scarpetta says. “At least we get to see each other.”
Both of them are shrouded in disposable white coveralls, shoe covers, safety glasses, face masks and caps, the door to the storage room shut. It is almost eight p.m., and Beach Bums is once again locked up before closing time.
“Give me just a minute to get the context,” Lucy says, screwing a cable release on the camera’s power switch. “Remember the days when you had to use a sock?”
It is important that the spray bottle stay out of the photograph, and that’s not possible unless the bottle and nozzle are black or covered with something black. If nothing else is available, a black sock works fine.
“Nice to have a bigger budget, isn’t it,” Lucy adds, the shutter opening as she presses the cable-release button. “We haven’t done something together like this in a while. Anyway, money problems are no fun.”
She captures an area of shelving and concrete flooring, the camera fixed in place.
“I don’t know,” Scarpetta says. “We always managed. In many ways, it was better, because defense attorneys didn’t have an endless list of no questions: Did you use a Mini-Crime scope? Did you use super sticks? Did you use laser trajectory? Did you use ampules of sterile water? What? You used bottled distilled water and you bought it where? A 7-Eleven? You bought evidence-collecting items at a convenience store?”
Lucy takes another photograph.
“Did you test the DNA of the trees, birds and squirrels in the yard?” Scarpetta goes on, pulling a black rubber glove over the cotton examination glove covering her left hand. “What about vacuuming the entire neighborhood for trace evidence?”
“I think you’re in a really bad mood.”
“I think I’m tired of your avoiding me. The only time you call is at times like this.”
“No one better.”
“That’s all I am to you? A member of your staff?”
“I can’t believe you’d even ask that. You ready for me to cut the lights?”
“Go.”
Lucy pulls a string, clicking off the overhead lightbulb, casting them into total darkness. Scarpetta starts by spraying luminol on a control sample of blood, a single dried drop on a square of cardboard, and it glows greenish-blue and fades. She begins spraying in sweeps, misting areas of the floor and they begin to glow vividly as if the entire floor is on fire, a neon greenish-blue fire.
“Good God,” Lucy says, and the shutter clicks again and Scarpetta sprays. “I’ve never seen that.”
The bright greenish-blue luminescence glows and fades to the slow, eerie rhythm of the spraying and when the spraying stops, the glow vanishes in the dark and Lucy turns on the light. She and Scarpetta look closely at the concrete floor.
“I don’t see anything except dirt,” Lucy says, getting frustrated.
“Let’s sweep it up before we walk on it any more than we have.”
“Shit!” Lucy says. “I wish we’d tried the Mini-Crime scope first.”
“Not now, but we can,” Scarpetta says.
With a clean paintbrush, Lucy sweeps dirt from the floor into a plastic evidence bag, then repositions the camera and tripod. She takes more context photographs, these of wooden shelving, cuts the lights and this time the luminol reacts differently. Splotchy areas light up an electric blue and dance like popping sparks, and the shutter clicks and clicks and Scarpetta sprays, and the blueness pulses rapidly, fading in and out much more quickly than is typical of blood and most other substances that react to chemiluminescence.
“Bleach,” Lucy says, because a number of substances result in false positives, and bleach is a common one, and the way it looks is distinctive.
“Something with a different spectra, certainly reminiscent of bleach,” Scarpetta replies. “Could be any cleanser containing a hypochlorite-based bleach. Clorox, Drano, Fantastic, The Works, Babo Cleanser, to name a few. I wouldn’t be surprised to find something like that back here.”
“You got it?”
“Next.”
The lights go on and both of them squint in the harsh glare of the overhead bulb.
“Basil told Benton he cleaned up with bleach,” Lucy says. “But luminol’s not going to react to bleach after two and a half years, is it?”
“Maybe if it soaked into wood and was left alone. I say maybe because I don’t know one way or the other, don’t know of anyone who’s ever done tests like that,” Scarpetta says, reaching into her scene bag for a lighted magnifier.
She moves it over the edges of plyboard shelving stacked with snorkel equipment and T-shirts.
“If you look closely,” she adds, “you can barely make out a lightening of the wood here and here. Possibly a splash pattern.”
Lucy gets next to her and takes the magnifier.
“I think I see it,” she says.
Today, he has been in and out and has ignored her except to bring a grilled cheese sandwich and more water. He doesn’t live here. He is never here at night, or if he is, he is as quiet as the dead.
It is late, but she doesn’t know how late, and the moon is trapped behind clouds on the other side of the broken window. She hears him move about the house. Her pulse quickens as his feet sound in her direction, and she tucks the small, pink tennis shoe behind her back because he will take it from her if it means anything to her, and then he is a dark shadow with a long finger of light. He has the spider with him. It covers his hand. It is the biggest spider she has ever seen.
She listens for Kristin and the boys as the light probes her raw, swollen ankles and wrists. He probes the filthy mattress and the soiled bright-green robe draped over her lower legs. She draws up her knees and arms, trying to cover herself as the light touches private parts of her body. She recoils as she feels him staring at her. She can’t see his face. She has no idea what he looks like. He always wears black. During daylight, he covers his face with the hood and wears black, everything black, and at night she can’t see him at all, just a shape. He took her glasses.
That was the first thing he did when he forced his way into the house.
Give me your glasses, he said. Now.
She stood paralyzed in the kitchen. Her terror and disbelief were numbing. She couldn’t think, felt as if the blood was completely draining from her body, and then olive oil in the pan on the stove began to smoke and the boys began to cry and he pointed the shotgun at them. He pointed it at Kristin. He had on the hood, the black clothing, when Tony opened the back door and then he was inside and it happened fast.
Give me your glasses.
Give them to him, Kristin said. Please don’t hurt us. Take whatever you want.
Shut up or I’ll kill every one of you right now.