Kay Scarpet - The Last Precinct Part 9

I realize I am obsessing. I am sitting at my desk, angrily going through stacks of backed-up work as I anguish over how much trouble I went to preparing Righter for yet another case, promising I would be there for him, just as I always have been. It is a shame he does not seem inclined to return the favor. I am a free lunch. All of Chandonne's Virginia victims are free lunches. I just can't accept it and am beginning to resent the h.e.l.l out of Jaime Berger, too. "Well, check with the courts," I say to Rose. "And by the way, he's being released from MCV this morning." I resist saying Jean-Baptiste Chandonne's name. "Expect the usual phone calls from the media.

"I heard on the news this New York prosecutor's in town." Rose flips through my date book. She doesn't look up at me. "Wouldn't that be something if she gets snowed in?"

I get up from my desk, take off my lab coat and hang it on the back of my chair. "I don't guess we've heard from her."

"She hasn't called here, not for you." My secretary hints she knows that Berger did track down Jack or at least someone besides me.

I am very skilled at becoming prepossessed with business and deflecting any effort on another person's part to probe an area I choose to avoid. "To expedite things," I say before Rose can give me one of her pregnant looks, "we'll skip the staff meeting. We need to get these bodies out of here before the weather gets any worse."

Rose has been my secretary for ten years. She is my office mother. She knows me better than anyone but doesn't abuse her position by pus.h.i.+ng me in directions I don't want to go in. Curiosity about Jaime Berger fizzes on the surface of Rose's thoughts. I can see questions rising in her eyes. But she won't ask. She knows d.a.m.n well how I feel about trying the case in New York instead of here, and that I don't want to talk about it. "I think Dr. Chong and Dr. Fielding are already in the morgue," she is saying. "I haven't seen Dr. Forbes yet."

It occurs to me that even if the Mayo Brown case goes forward todayeven if the courts don't close because of snowRighter isn't going to call me. He will stipulate my report and resort to putting the toxicologist on the stand, at best. There is no way in h.e.l.l Righter is going to face me after I called him a coward, especially since the accusation is true and a part of him must know it. He will probably figure out a way to avoid me the rest of his life, and that unpleasant thought leads to another one as I cross the hallway. What does all this bode for me?

I push through the ladies' room door and make the transition from civilized paneling and carpeting, through a series of changing rooms, into a world of biological hazards, starkness and violent attacks on the senses. Along the way, one sheds shoes and outer clothing, stowing them safely in teal-green lockers. I keep a special pair of Nikes parked near the door that leads inside the autopsy suite. The shoes are not destined to walk through the land of the living ever again, and when it is time to get rid of them, I will burn them. I clumsily arrange my suit jacket, slacks and white silk blouse on hangers, my left elbow throbbing. I straggle into a full-length Mega s.h.i.+eld gown that has viral-resistant front panels and sleeves, sealed seams and a gripper neck, which is a snug stand-up collar. I pull on shoe covers, then an O.R. cap and surgical mask. The final touch of my fluidproofing is a face s.h.i.+eld to protect my eyes from splashes that might carry such frights as hepat.i.tis or HIV.

Stainless steel doors automatically open, and my feet make paper sounds over the tan vinyl floor of the biohazard epoxy-finished autopsy suite. Doctors in blue hover over five s.h.i.+ny stainless steel tables fastened to steel sinks, water running, hoses sucking, X rays on light boxes a black-and-white gallery of organ-shaped shadows and opaque bones and tiny, bright bullet fragments that, like loose metal chips in flying machines, break things and cause leaks and vital gears to seize. Hanging from clips inside safety cabinets are DNA specimen cards that have been stained with blood. They look oddly like a bunting of tiny j.a.panese flags as they air-dry beneath a hood. From closed-circuit television monitors mounted in corners a car engine rumbles loudly in the bay, a funeral home here to deliver or take away. This is my theater. It is where I perform. As unwelcome as the average person might find the morbid odors, sights and sounds that rush to greet me, I am suddenly and immensely relieved. My heart lifts as doctors glance up at me and nod good morning. I am in my element. I am home.

A sour, smoky stench taints the long, high-ceilinged room, and I spot the slender, naked, sooty body on a sheet-covered gurney that has been rolled out of the way of traffic. Alone, cold and silent, the dead man waits his turn. He waits for me. I am the last person he will ever talk to in a language that matters. The name on the toe tag scrawled in permanent Magic Marker, pitifully, is John Do. Someone couldn't spell Doe right. I tear open a packet of latex gloves and am gratified I can stretch one over my cast, which is further protected by the fluidproof sleeve. I am not wearing the sling and will have to resort to doing autopsies with my right hand for a while. Although being left-handed in a right-handed world has its difficulties, it is not without advantages. Many of us are ambidextrous or at least reasonably functional on both sides. My aching fractured bones radiate reminders that all isn't right in my world, no matter how tenaciously I go about my business, no matter how intensely I focus on my work.

I slowly circle my patient, leaning close, looking. A syringe is still embedded in the crook of his right arm, and second-degree burns blister his upper body. They have bright red margins, and his skin is streaked black with soot that is thick inside his nose and mouth. He is telling me he was alive when the fire started. He had to be breathing to inhale smoke. He had to have a blood pressure for fluid to be pumped into his burns, causing them to blister and have a bright red margin. The circ.u.mstances of a set fire and the needle in his arm certainly could suggest suicide. But on his right upper thigh, he has a contusion that is swollen to the size of a tangerine and crimson. I palpate it. Indurated, hard as a rock. It appears recent. How did it happen? The needle is in his right arm, suggesting that if he injected himself, he most likely is left-handed, yet his right arm is more muscular than his left one, hinting he is right-handed. Why is he nude?

"We still don't have an ID on him?" I raise my voice to Jack Fielding.

"No further info." He snaps a new blade into a scalpel. "The detective's supposed to be here."

"Found unclothed?"

"Yup."

I run my gloved fingers through the dead man's thick, carbon-dusted hair to see what color it is. I won't be certain until I wash him, but his body and pubic hair are dark. He is clean-shaven with high cheekbones, a sharp nose and square jaw. Burns on his forehead and chin will need to be covered up with funeral home makeup before we can circulate a photograph of him for identification purposes, if it comes to that. He is fully rigorous, arms straight by his sides, fingers slightly curled. Livor mortis, or the blood settling to dependent regions of the body due to gravity, is also fixed, causing the sides of his legs and b.u.t.tocks to be a deep red, the backs of them blanched wherever they rested against the wall or the floor after death. I hold him tilted on his side to check for injuries to his back and find parallel linear abrasions over the scapula. Drag marks. There is a burn between his shoulder blades and another one at the base of the back of his neck. Clinging to one of the burns is a fragment of a plastic-like material, narrow, about two inches long, white with small blue type on it, such as you might see on the back of a food product's packaging. I remove the fragment with forceps and hold it up to the surgical lamp. The paper is more like thin, pliable plastic, a material I a.s.sociate with candy or snack wrappers. I make out the words this product, and 9-4 EST and a toll-free number and part of a website address. The fragment goes inside an evidence bag.

"Jack?" I summon him and begin collecting blank forms and body diagrams, attaching them to a clipboard.

"I can't believe you're going to work with that d.a.m.n cast on." He walks across the autopsy suite, his bulging biceps straining against the short sleeves of his scrubs. My deputy chief may be famous for his body, but no amount of weightlifting or chocolate cream Myoplex high-protein meals in a gla.s.s can stop him from losing his hair. It is eerie, but in recent weeks his light brown hair has started falling out before our very eyes, clinging to his clothing, drifting through the air like down, as if he is molting.

He frowns at the misspelling on the toe tag. "The guy from the removal service must be Asian. John Dooo."

"Who's the detective?" I ask.

"Stanfield. Don't know him. Just don't get a puncture in your glove or you'll be wearing a biological hazard for the next few weeks." He indicates my latex-coated cast. "Actually, what would you do, now that I think of it?"

"Cut it off and put on a new one.

"So maybe we should have disposable casts down here."

"I feel like cutting it off anyway. This guy's burn pattern isn't making sense to me," I tell him. "Do we know how far the body was from the fire?"

"About ten feet from the bed. I was told the bed's the only thing that burned and only partially. He was nude, sitting on the floor, back against the wall."

"I wonder why only his upper body got burned." I point out discrete burns the size and shape of silver dollars. "Arms, chest. One here on his left shoulder. And these on his face. And he has several on his back, which should have been spared if he was leaning against the wall. What about the drag marks?"

"As I understand it, when the fire department got there, they dragged his body out into the parking lot. One thing's for sure, he must've been unconscious or incapacitated when the fire started," Jack says. "Sure as h.e.l.l don't know why else someone would just sit there getting burned and breathing in smoke. Obviously that happy-holiday time of year." My second-in-command is cloaked in a hung-over weariness that causes me to suspect he had a very bad night. I wonder if he and his ex-wife had another one of their explosions. "Everybody killing themselves. That woman over there." He points to the body on table 1, where Dr. Chong is busy taking photographs from a stepladder. "Dead on the kitchen floor, a pillow, a blanket. The neighbor heard one shot. Mother found her. There's a note. And behind door number two"Jack stares at table 2"a motor vehicle death the state police are suspicious is a suicide. She has extensive injuries. Plowed right into a tree."

"Did her clothes come in?"

"Yup."

"Let's X-ray her feet and get the labs to check the bottom of her shoes to see if she was braking or accelerating when she hit the tree." I shade areas of a body diagram, indicating soot.

"And we got a known diabetic with a history of overdose, Jack recites our guest list of the morning. "Was found outside in the yard. Question is drugs, alcohol or exposure."

"Or a combination of the above."

"Right. I see what you mean about the burns, though." He leans closer to look, blinking often, reminding me he wears contact lenses. "And it's weird they're all about the same size and shape. You want me to help with this?"

"Thanks. I'll manage. How are you?" I glance up from my clipboard.

His eyes are tired, his boyish good looks strained. "Maybe we can grab some coffee sometime," he says. "One of these days. And I should be asking about you."

I pat his shoulder to let him know I am okay. "As well as can be expected, Jack," I add.

I begin the external examination of John Doe with a PERK. This is a physical evidence recovery kit, a decided unpleasantness that includes swabbing orifices, clipping fingernails and plucking head, body and pubic hair. We PERK all bodies when there is any reason to suspect something other than a natural death, and I will always PERK a body that is nude, unless there is an acceptable reason for the person's not being clothed when he diedin the bathtub or on the operating table, for example. For the most part, I don't spare my patients indignities. I can't. Sometimes the most important evidence lurks in the darkest, most delicate hollows, and clings underneath nails and in hair. During my violation of this man's most private places I discover healing tears of his a.n.a.l ring. He has abrasions at the angles of his mouth. Fibers adhere to his tongue and the inside of his cheeks.

I go over every inch of him with a lens and the story he tells grows more suspicious. His elbows and knees are slightly abraded and covered with dirt and fibers, which I mundanely collect by pressing them with the adhesive backs of Post-its, which I seal inside plastic bags. Over the bony prominences of both wrists are incomplete circ.u.mferential dry, reddish-brown abrasions and minute skin tags. I draw blood from the iliac veins and vitreous fluid from the eyes, and test tubes ride up on the dumbwaiter to the third-floor toxicology lab for STAT alcohol and carbon monoxide tests. At half past ten, I am reflecting back tissue from the Y incision when I notice a tall, older man heading toward my station. He has a wide, tired face and maintains a safe distance from my table, gripping a grocery-size brown paper bag, the top folded over and sealed with red evidence tape. I have a flash of my bagged clothing on my red Jarrah Wood dining room table.

"Detective Stanfield, I hope?" I hold up a flap of skin and free it from ribs with small, quick strokes of the scalpel.

"Good morning." He catches himself as he stares at the body. "Well, I guess not for him."

Stanfield hasn't bothered with protective clothing over his ill-fitting herringbone suit. He wears no gloves or shoe covers. He glances at my bulky left arm and refrains from asking me how I broke it, telling me he already knows. I am reminded that my life has been all over the news, which I am adamant in my refusal to follow. Anna has halfway accused me of being chicken, as much as a psychiatrist is allowed to accuse, and she would never actually use the word "chicken." "Denial" is her word. I don't care. I am staying away from newspapers. I don't watch or listen to a G.o.dd.a.m.n thing that is said about me.

"Sorry it took so long, but the roads out there are bad on their way to awful, ma'am," Stanfield says. "Hope you got chains on your tires, 'cause I didn't and got stuck. Had to get the tow truck and then get the chains put on, so that's why I wasn't here earlier. You found out anything?"

"His CO's seventy-two percent." Vernacular for carbon monoxide. "Notice how cherry-red the blood is? Typical in high levels of CO." I pick up rib shears from the surgical cart. "STAT alcohol's zero."

"So it was the fire that got him, for sure?"

"We know he had a needle in his arm, but carbon monoxide poisoning is his cause of death. Doesn't tell us much, I'm afraid." I cut through ribs. "He's got a.n.a.l tunnelingevidence of h.o.m.os.e.xual activity, in other wordsand his wrists were bound at some point prior to his death. It appears he was gagged." I point out the abrasions on the wrists and the corners of the mouth. Stanfield's eyes pop open, "The abrasions on his wrists aren't crusty," I go on. "They don't look old, in other words. And because he has fibers in his mouth, you can be pretty certain he was gagged at or around the time of death." I hold a lens over the anticubital fossa, or crook of the arm, and show Stanfield two tiny blood spots. "Fresh injection sites," I explain. "But what's interesting is he has no old needle tracks to suggest a history of drug abuse. I'll put a block of liver through to check for triaditismild inflammation of the structural support system of bile duct, artery and vein. And we'll see what comes back on his tox."

"Guess he could have AIDS." This is foremost on Detective Stanfield's mind.

"We'll do an HIV on him," I reply.

Stanfield backs up another step as I remove the triangular-shaped breastplate of ribs. This a stage cue for Laura Turkel, on loan to us from the graves registration unit at the Fort Lee Army Base in Petersburg. She is so attentive and officious and almost salutes me when she suddenly appears at the end of the table. Turk, as everyone knows her, always refers to me as "Chief." I suppose for her Chief is a rank and doctor isn't.

"Ready for me to open up the skull, Chief?" Her question is an announcement that requires no answer. Turk is like a lot of the military women we get in heretough, eager, quick to eclipse the men, who often, truthfully, are the squeamish ones. 'That lady Dr. Chong's working on," Turk says as she plugs the Stryker saw into the overhead cord reel, "she's got a living will and even wrote her own obituary. Got all her insurance papers in order, everything. Put 'em all in a binder and left it and her wedding band on the kitchen table before she laid herself down on the blanket and shot herself in the head. Can you imagine? Really, really sad."

"It's very sad." The organs are a s.h.i.+mmering bloc as I lift them out en ma.s.se and set them on a cutting board. "If you're going to be in here, you really should cover up." I direct this at Stanfield. "Did anybody show you where things are in the locker room?"

He blankly stares at the cuffs of my blood-soaked sleeves, at the blood splashed on the front of my gown. "Ma'am, if you don't mind, I'd like to go over what I got," he says. "If we could maybe sit down for a minute? Then I need to head on back before the weather gets any worse. Pretty soon, you're gonna need Santa's sleigh to get anywhere."

Turk picks up a scalpel and makes an incision around the back of the head, ear to ear. She reflects back the scalp and pulls it forward, and the face goes slack, collapsing into tragic protest before it is inside out like a folded-down sock. The exposed dome of the skull glistens pristinely white, and I take a good look at it. No hematomas. No indentations or fractures. The whir of the electric saw sounds like a hybrid of a table saw and a dentist's drill as I pull off my gloves and drop them in a red biohazard trash can. I motion Stanfield to follow me to the long countertop that runs the length of the wall opposite the autopsy stations. We pull out chairs.

"I gotta be honest with you, ma'am," Stanfield begins with a slow, negative shake of his head. "We don't got a clue where to start on this one. All I can tell you right now is this man" he indicates the body on the table"checked into The Fort James Motel and Camp Ground yesterday at three P.M."

"Where exactly is The Fort James Motel and Camp Ground?"

"On Route Five West, no more than ten minutes from William and Mary."

"You talked to the clerk at this motel, The Fort James Motel?"

"The lady in the office, yes ma'am, I did." He opens a large manila envelope and scoops out a handful of Polaroid photographs. "Her name's Bev Kiffin." He spells it for me, slipping reading gla.s.ses out of an inner jacket pocket, hands trembling slightly as he flips through a notepad. "She said the young man come in and said he wants the sixteen-oh-seven special."

"I'm sorry. The what?" I rest my ballpoint pen on the notes I am making.

"One hundred and sixty dollars and seventy cents Monday through Friday. That's five nights. Sixteen-oh-seven. The usual rate's forty-six dollars a night, which is mighty high for a place like that, you ask me. But you know tourist traps."

"Sixteen-oh-seven? As in the date Jamestown was founded?" It seems odd to hear a reference to Jamestown. I just mentioned Jamestown to Anna last night when I was talking about Benton.

Stanfield nods deeply. "As in Jamestown. Sixteen-oh-seven. That's the business rate, or so they call it. The amount for the business week, and let me add, ma'am, this isn't a very nice motel, not at all, no ma'am. A fleabag is what I would call it."

"Does it have a history of crime?"

"Oh no. No ma'am. No history of crime I'm aware of, not at all."

"Just seedy."

"Just seedy." He nods deeply.

Detective Stanfield has a distinct way of speaking with emphasis, as if he is used to teaching a slow child who needs important words repeated or emphasized. He neatly arranges photographs in a lineup on the countertop and I look at them. "You took these?" I a.s.sume.

"Yes ma'am, I sure did."

Like him, what he has captured on film is emphatic and to the point: the motel door with the number 14 on it, the view of the room through the open doorway, the scorched bed, the smoke damage to the curtains and walls. There is a single chest of drawers and an area to hang clothes that is nothing more than a rod in a recessed area just inside the door. I note that the mattress on the bed has remnants of a cover and white sheets but nothing else. I ask Stanfield if perhaps he submitted the bedcovers to the labs to test for accelerants. He replies that there was nothing on the bed, nothing to submit except burned areas of the mattress, which he placed inside a tightly sealed aluminum paint can"according to procedure" are his exact words, the words of someone very new at detective work. But he does agree it is odd that the bedcovers were missing.

"They were on the bed when he checked in?" I ask.

"Mrs. Kiffin says she didn't accompany him to the room, but is sure the bed was properly made because she cleaned it up herself after the last guest checked out several days ago," he replies, so that is good. At least he thought to ask her about it.

"What about luggage?" I ask next. "Did the victim have luggage?"

"Didn't find any luggage."

"And the fire department got there when?"

"They were called at five-twenty-two P.M."

"Who called?" I am making notes.

"Someone anonymous driving by. Saw smoke and called from his car phone. This time of year, the motel doesn't do a lot of business, according to Mrs. Kiffin. She says about three fourths of the rooms was empty yesterday, being as how it's almost Christmas and the weather and all the rest. You can see by looking at the bed, the fire wasn't going nowhere." He touches several of the photographs with a thick, rough finger. "It pretty much had put itself out by the time the fire trucks got there. All they needed was fire extinguishers, didn't need to hose things down, which is a good thing for us. This here's his clothes."

He shows me a photograph of a dark pile of clothing on the floor just beyond the open bathroom door. I make out pants, a T-s.h.i.+rt, a jacket and shoes. Next I look at photographs taken inside the bathroom. On the sink is a coppertone plastic ice bucket, plastic gla.s.ses covered with cellophane and a small bar of soap still in its wrapper. Stanfield fishes in a pocket for a small knife, opens a blade and slits the evidence tape sealing the paper bag he brought with him. "His clothes," he explains. "Or at least I a.s.sume they're his."

"Hold on," I tell him. I get up and cover a gurney with a clean sheet, and put on fresh gloves and ask him if a wallet or any other personal effects were recovered. He tells me no. I smell urine as I pull out clothing from the bag, careful that if any trace evidence is dislodged, it will fall on the sheet. I examine black bikini briefs and black Giorgio Armani cashmere trousers, both soaked with urine.

"He wet his pants," I tell Stanfield.

He just shakes his head and shrugs, and doubt crosses his eyesmaybe doubt tainted by fear. None of this is making much sense, but the feeling I have is clear. This man may have checked in alone, but at some point, another person entered the picture, and I am wondering if the victim lost control of his bladder because he was terrified. "Does the lady in the office, Mrs. Kiffin, remember him dressed like this when he checked in?" I ask as I pull pockets inside out to see if there is anything in them. There isn't.

"Didn't ask her that," Stanfield responds. "So he's got nothing in his pockets. That's kind of unusual."

"No one checked them at the scene?"

"Well, I didn't bag the clothes, to tell you the truth. Another officer did that, but I'm sure n.o.body dug in the pockets, or at least no personal effects was found or I would know and have them with me," he says.

"Well, how about you call Mrs. Kiffin right now and see if she remembers him wearing this clothing when he checked in?" I politely tell Stanfield to do his job. "And what about a car? Do we know how he got to the motel?"

"No vehicle's turned up so far."

"The way he was dressed is certainly inconsistent with a low-budget motel, Detective Stanfield." I am drawing pants on a clothing diagram form.

The black jacket and black T-s.h.i.+rt as well as the belt, shoes and socks are expensive designer labels, and this makes me think about Jean-Baptiste Chandonne, whose unique baby-fine hair was found all over Thomas's decomposing body when it showed up in the Richmond Port earlier this month. I comment on the similarity of the clothes to Stanfield. The prevailing theory, I go on to explain to him, is that Jean-Baptiste murdered his brother, Thomas, probably in Antwerp, Belgium, and switched clothing with him before sealing the body inside a cargo container bound for Richmond.

"Because you found all those hairs I been reading about in the paper?" Stanfield is trying to understand what would be difficult for even the most experienced investigator who has seen it all.

"That and microscopic findings that relate to diatomsalgaeconsistent with an area of the Seine near the Chandonne house in lie Saint-Louis, in Paris." I talk on. Stanfield is completely lost. "Look, all I can tell you, Detective Stanfield, is this man"I refer to Jean-Baptiste Chandonne"has a very rare congenital disorder and allegedly has been known to bathe in the Seine, maybe thinking it might cure him. We have reason to believe the clothing on his brother's body was originally Jean-Baptiste's. Make sense?" I am drawing a belt and noting from the indentation in the leather which notch was used the most.

"Well, to tell you the truth," Stanfield replies, "I been hearing about nothing but this weird case and this Werewolf fellow. I mean, ma'am, that really is all you hear when you turn on the TV or pick up the paper, and I guess you know that, and by the way, I'm really sorry for what you been through and to tell you the truth, can't figure how you can even be in here or thinking straight. G.o.dalmighty!" He shakes his head. "The wife said if something like that showed up at our door, he wouldn't have to do a thing to her. She'd die right off of a heart attack."

I catch a spark of his misgivings about me. He is wondering if I am completely rational right now, if I might just be projectingif somehow everything I experience becomes tainted by Jean-Baptiste Chandonne. I slip the clothing diagram off the clipboard and place it with John Doe's paperwork as Stanfield dials a number he reads from his notepad. I watch him insert a finger in his free ear, squinting as if Turk's sawing open another skull hurts his eyes. I can't hear what Stanfield is saying. He hangs up and comes back over to me as he reads the video display of his pager.

"Well, we got good news and bad news," he announces. "The lady, Mrs. Kiffin, remembers him dressed real nice in a dark suit. That's the good news. The bad news is, she also remembers he had a key in his hand, one of those remote kinds that a lot of new, expensive cars have."

"But there's no car," I reply.

"No ma'am, no car. No key, either," he says. "Sure looks like whatever happened to him, he had some help. You think maybe somebody drugged him and then tried to burn him up to hide the evidence?"

"I think we'd better seriously consider homicide." I state the obvious. "We need to get him printed and see if he matches up with anybody in AFIS."

The Automated Fingerprint Identification System allows us to scan fingerprints into a computer and compare them with those in a database that can be linked state to state. If this dead man has a criminal record in this country, or if his prints are in the database for some other reason, we most likely will get a hit. I work my hands into a pair of fresh gloves, doing my best to cover the plaster looped around my left lower palm and thumb. Fingerprinting dead bodies requires a simple tool called a spoon. It is nothing more than a curved metal implement shaped much like a hollow tube cut in half lengthwise. A strip of white paper is threaded through slits in the spoon so that the paper's surface is curved to accommodate the contours of fingers no longer flexible or compliant to their owner's will. With each print, the strip is advanced ahead to the next clean square. The procedure isn't hard. It doesn't require great intelligence. But when I tell Stanfield where the spoons are, he frowns as if I have just spoken to him in a foreign language. I ask him if he has ever printed a dead body before. He admits he has not.

"Hold on," I say, and I go to the phone and dial the extension for the fingerprints lab. No one answers. I try the switchboard. Everyone is gone for the day because of the weather, I am told. I get a spoon and ink pad from a drawer. Turk wipes off the dead man's hands and I ink his fingers, pressing them one at a time against the curved paper strip. "What I can do if you have no objection," I tell Stanfield, "is see if Richmond City will pop these into AFIS so we can get that going." I press a thumb inside the spoon while Stanfield watches with an unpleasant expression on his face. He is one of these people who hates the morgue and can't get out of it fast enough. "Doesn't look like there's anyone in the labs to help us right now, and the sooner we can figure out who this guy is, the bet-ter," I explain. "And I'd like to get the prints and other information to Interpol in the event this man has international connections."

"Okay," Stanfield says with another nod as he glances at his watch.

"Have you ever dealt with Interpol?" I ask him.

"Can't say I have, ma'am. They're sort of like spies, aren't they?"