Blow Fly (37 page)

Her knees weaken at the sight of Jean-Baptiste Chandonne sitting inside Booth 2. Clean-shaven, including his hands and head, he relaxes behind glass, drinking a Pepsi and eating a chocolate cupcake, pretending not to notice her.

She openly stares at him, refusing to play the game he has already begun, and it amazes her to see him shaven and dressed in white. He is ugly but almost looks normal without his long swirls of baby-fine hair that hung from him in a long, filthy fringe last time she saw him. He sips his Pepsi and licks his fingers as Scarpetta sits across from him and picks up the black phone.

His asymmetrical eyes drift, and he gives her his barracuda smile, his skin as pale as parchment. She notices his highly defined, muscular arms and that he has torn the sleeves off his white shirt, and then she sees that long, horrible hair. It peeks out from the armholes and the opening at his neck. Apparently, he has shaven only those areas of his body that are uncovered.

“How nice,” she says coldly into the phone. “You cleaned up for me.”

“But of course. It is lovely for you to come. I knew you would.” His filmy eyes don't seem to focus when they briefly turn her way.

“Did you shave yourself?”

“Yes. Today. Just for you.”

“Rather hard to do if you can't see,” she remarks in a steady, strong voice.

“I don't need my eyes to see.” He touches his tongue to a small, sharp tooth and reaches for his Pepsi. “What did you think about my letter?”

“What did you want me to think about it?”

“That I am an artist, of course.”

“Did you learn your penmanship here in prison?”

“I have always been able to write in a beautiful hand. When my parents kept me locked in the basement as an innocent
petit
boy, I had endless hours to develop many talents.”

“Who mailed the letter for you?” Scarpetta dominates with her questions.

“My dear dead lawyer.” He clucks his tongue. “I honestly do not know why he committed suicide. But perhaps it is a good thing. He was worthless, you know. It runs in his bloodline.”

Scarpetta bends down and takes a notepad and pen out of her pocketbook. “You told me you have information for me. That's why I'm here. If you simply want to chat, I'm leaving right now. I have no interest in
visiting
with you.”

“The other part of the bargain, Madame Scarpetta,” he says as his crooked eyes float, “is my execution. Will you?”

“I have no problem with that.”

He smiles and seems delighted.

“Tell me.” He rests his chin on his hand. “What is it like?”

“Painless. An IV of sodium thiopental, which is the sedative. And pancuronium bromide, a muscle relaxant. Potassium chloride stops the heart.” She clinically describes as he listens, enraptured. “Fairly
inexpensive drugs, ironically and appropriately, considering their purpose. Death occurs in several minutes.”

“And I will not suffer when you do this to me?”

“You will never suffer the way you've made others suffer. You'll instantly go to sleep.”

“Then you promise you will be my doctor in the end?” He begins stroking the can of Pepsi, the hideous long nail on his right thumb caked with what looks like chocolate, probably from his cupcakes.

“I will do as you wish if you are willing to help the police. What is the information?”

He gives her names and locations, none of which mean anything to her. She fills twenty pages in her notepad, becoming increasingly suspicious that he is toying with her. The information is meaningless. Maybe.

At a pause, when he decides to take his time eating a cupcake, she says, “Where are your brother and Bev Kiffin?”

He wipes his hands and mouth on his shirt, sinewy muscles jumping with his every motion. Chandonne is strong and frighteningly fast. Repressing images is becoming increasingly difficult. She tries to shut off memories of that night in her house, when this very man who is separated from her only by glass tried to beat her to death. Then Jay Talley's face is there, when he fooled her, and later he came after her, too. That the fraternal twin brothers share a murderous obsession for her is incomprehensible. She doesn't quite believe it, and it surprises her that as she stares at Jean-Baptiste Chandonne, all she feels is a determination to forget past horrors. He is harmless in this place. In days, he will be dead.

She will not come back to administer the lethal injection. Lying to him doesn't bother her in the least.

He says nothing about Jay Talley and Bev Kiffin.

Instead, he tells her, “Rocco has a small château in Baton Rouge. It is quaint, in a restored neighborhood where many homosexuals live. Near downtown. I have stayed there many times.”

“Have you ever heard of a Baton Rouge woman named Charlotte Dard?”

“Of course. Not beautiful enough for my brother.”

“Did Rocco Caggiano murder her?”

“No.” Chandonne sighs as if he is getting bored. “As I said, and you must listen to me more closely. She was not beautiful enough for my brother. The Red Stick.” He subjects her to his hideous open-mouthed grin as his eyes continue to drift. “Did you know that everything you are is visible in your hands?”

Her hands are in her lap, holding the notepad and the pen. He talks about her hands as if he can see them, yet his eyes float as if he is blind.

Malingerer.

“In the hands of all the sons of men God places marks, that all the sons of men may know their own works. Every working of the mind leaves marks on the hand, forms the hand, which is the measure of intelligence and creativity.”

She listens, wondering if he is on his way to an important point.

“In France, you find mostly artistic hands. Like mine.” He holds up a shaved hand, his long, tapered fingers splayed. “And like yours, Madame Scarpetta. You have the elegant hands of an artist. And now you know why I do not touch the hands.
The Psychonomy of the Hand,
or
The Hand an Index of Mental Development.
Monsieur Richard Beamish. A very good book with many tracings of living hands, if you can find it, but alas, it was written in 1865 and not in your local library. There are two tracings that are you. The square hand, elegant but strong. And the artist's hand, elastic and flexible, again elegant. But more associated with an impulsive personality.”

She does not comment.

“Impulsive. Here you are without notice. Suddenly here. A rather nervous sort. But sanguine.”

He savors the word
sanguine,
which in medieval medicine meant the blood was the most dominant of the bodily humors. Sanguine people are supposed to be optimistic and cheerful. She is neither at the moment.

“You say you don't touch the hands. An explanation for why you didn't bite the hands of the women you slaughtered,” she says blandly.

“The hands are the mind and the soul. I would not harm a manifestation of what I am releasing with my chosen ones. I only lick the hands.”

Now he is moving in to disgust and degrade her, but she isn't finished with him yet.

“You didn't bite the bottoms of their feet, either,” she reminds him.

He shrugs, fiddling with the can of Pepsi, which sounded empty the last time he set it down. “Feet are of no interest to me.”

“Where are Jay Talley and Bev Kiffin?” she asks again.

“I am getting tired.”

“Why would you protect your brother after the way he has treated you all of your life?”

“I am my brother,” he weirdly says. “So your finding me makes it unnecessary for you to find him. Now, I am very tired.”

Jean-Baptiste Chandonne begins rubbing his stomach and wincing as his eyes wander. “I think I am getting sick.”

“You have nothing more to tell me? If not, I'm leaving.”

“I am blind.”

“You are a malingerer,” Scarpetta replies.

“You took my physical eyesight, but not before I
saw
you.” He touches his tongue to his pointed teeth. “Remember your lovely home with the shower in the garage? When you returned from a crime scene at the Richmond port, you went into that garage to change and disinfect, and you showered in there.”

Anger and humiliation tighten her body. She had been examining a putrid, decomposing body inside a cargo container, and, yes, she went through her routine: taking off her protective coveralls and boots and tying them inside a heavy plastic bag that went in the trunk; then she drove home. Once inside her garage, which certainly was not a typical garage, she threw her scene clothes into an industrial-size stainless-steel
sink. She stripped and stepped into the shower, because she will not track death into her house.

“The small windows in your garage door. Very much like the small window in my cell,” he goes on. “I saw you.”

Those unfocused eyes and that fishlike smile again.

His tongue is bleeding.

Scarpetta's hands are cold, her feet getting numb. The hair rises on her arms and the back of her neck.

“Naked.”
He savors the word, sucking his tongue.
“I watched you undress. I saw you naked.
Such a joy, like a fine wine. You were Burgundy then, round and firm, complicated and to be drunk, not sipped. Now you are a Bordeaux, because when you speak, you are heavier, you see. Not physically, I don't think. I would have to see you naked to make that determination.” He presses a hand against the glass, a hand that has battered human beings to splinters and mush. “A red wine, of course. You are always . . .”

“That's enough!” Scarpetta yells as her rage crashes out of its camouflage like a wild boar. “Shut up, you worthless piece of shit.” She leans closer to the glass. “I'm not going to listen to your masturbatory talk. It doesn't
bother
me.
I don't care if you saw me naked.
Do you think it intimidates me to hear you babble on about your voyeurism and what you think of my body? Do you think I care if I blinded you when you were swinging that fucking hammer at me?

“You know what the best part is, Jean-Baptiste Chandonne? You're in here
because of me.
So who won? And, no, I won't be back here to put you to death. A stranger will do that. Just as you were a stranger to those you killed.”

Jean-Baptiste suddenly turns back to the wire-mesh screen behind him.

“Who's there?” he whispers.

Scarpetta hangs up the black phone. She walks away.

“Who's there!”
he screams.

J
EAN-BAPTISTE IS
quite fond of handcuffs.

The thick steel bracelets around his wrists are rings of magnetic strength. Power surges through him. He is calm now, even conversational, as Officers Abrams and Wilson escort him along corridors, stopping at every steel door and holding up their ID name tags and showing their faces through the glass windows. The officer on the other side releases the electronic lock, and the journey continues.

“She was very upsetting to me,” he says in his soft voice. “I regret my outburst. She blinded me, you know, and will not say she is sorry.”

“I don't know why she even came to see a dirtbag like you,” Officer Abrams comments. “If anybody should be upset, it's her, after what you tried to do. I've read about it, know all about your worthless life.”

Officer Abrams is making the big mistake of giving in to his emotions. He hates Jean-Baptiste. He would like to hurt Jean-Baptiste.

“I am quiet inside now,” Jean-Baptiste says meekly. “But I feel sick.”

The officers stop at another door, and Abrams shows his ID in the glass window. They pass through. Jean-Baptiste averts his face, staring down at the floor and looking away from each officer who grants them entrance deeper inside the prison.

“I eat paper,” Jean-Baptiste confesses. “It is a nervousness of mine, and I have been eating a lot of paper today.”

“You writing yourself letters?” Abrams snidely goes on. “No wonder you spend so much time on the toilet.”

“This is very true,” Jean-Baptiste agrees. “But this time it is worse. I feel weak, and my stomach hurts.”

“It will pass, so to speak.”

“Don't worry. If it doesn't, we'll get you to the infirmary.” This time it is Officer Wilson who speaks. “They'll give you an enema. You'll probably like that.”

Inside Pod A, the voices of inmates bounce off concrete and steel. The noise is maddening, and the only way Jean-Baptiste has been able to endure it all these months is to decide when he will hear and when he won't. If this isn't enough, he leaves, usually for France. But today he will begin his travel to Baton Rouge and be reunited with his brother. He is his brother. This point confuses him.

When he is with his brother, Jean-Baptiste experiences his brother's existence, which is apart from the existence of Jean-Baptiste.

When the two of them are separated, Jean-Baptiste is his brother, and their roles in their conquests unite in one delicious act. Jean-Baptiste picks up the beautiful woman, and she desires him, possibly desperately. They have sex. Then he releases her to the ecstasy, and when it is finished and she is free, Jean-Baptiste is slippery with her blood, his tongue thrilled by the taste of her salty sweetness and the metallic hint of the iron he needs. Later, his teeth sometimes ache, and he is prone to massaging his gums and washing himself obsessively.

Jean-Baptiste's cell comes into view, and he glances inside the control booth at the woman who sits there today. She is a difficulty, but not an impossible one. No one can watch all activities at all times, and as Jean-Baptiste walks slowly, very slowly, and holds his stomach, she barely glances at him. The early afternoon belongs to Beast. Now he has his visitors in a special holding cell on the other end of the pod, a much more
civilized place to visit relatives and the clergy. Because visitors have been in and out for the past three or four hours, the woman in the console must pay special attention in the event Beast acts out. Why not? He has nothing to lose.

The door of the holding cell is made of bars, allowing the officers to note Beast's every move inside, ensuring he will not harm the sad, kind people who have come to see him. Beast looks at Jean-Baptiste through the bars, just as the woman in the booth unlocks Jean-Baptiste's door and Officers Abrams and Wilson remove Jean-Baptiste's handcuffs.

Beast screams and grabs at the bars of his holding cell, yelling and cursing and jumping up and down. All attention sharply turns in his direction, and Jean-Baptiste grabs Officers Wilson and Abrams by their thick leather belts and jerks so hard that he lifts them off their feet. Their shocked yells blend with the jarring, deafening noise in the pod as Jean-Baptiste slams them into a concrete wall to the left of the massive door, which he shuts just enough so it doesn't lock. He blinds them with his long, filthy thumbnail, and his magnetized hands crush their windpipes. As their faces turn a dusky blue, their flailing quickly stills. Jean-Baptiste killed them with virtually no bloodshed, just little trickles from their eyes and a cut on Officer Wilson's head.

Jean-Baptiste removes Officer Abrams's uniform and puts it on. He does this in seconds, it seems, pulling the black cap low over his face and slipping on the dead man's glasses. He walks out of the cell and then shuts the door, just one more loud metal clang as Beast struggles with officers far away and gets a faceful of pepper spray, which only makes him scream and resist more, this time sincerely.

One door after another, Jean-Baptiste passes through, holding up Officer Abrams's identification tag. So sure is he of success, he is completely at ease, even seems a little preoccupied, as officers click him through. Jean-Baptiste's feet are not on the ground, but in the air as he easily walks out of the prison, a free man, and digs Officer Abrams's car keys out of a pocket.