Trace (26 page)

    
"I see," she says, although she doesn't see at all. "Well, I believe the detective, Detective Brown ..."

    
"Browning," says the policeman in black, and she notices that his baseball cap is tucked into the back of his pants. His head is shaved and she imagines running her hand over his smooth, shaven head.

    
"He did ask me about the neighbors," she replies. "I said the old woman lived back there or used to. I'm not sure anybody lives there now. I guess I just said that. I never hear anybody back there, hardly ever, and you can see through the cracks in the fence that the grass is overgrown."

    
"You came home from the drugstore," the woman doctor gets back to that. "Then what? Please try to go step by step, Mrs. Paulsson."

    
"I carried things into the kitchen and then went to check on Gilly. I thought she was asleep."

    
After a pause, the lady doctor asks another question. She wants to know why Mrs. Paulsson thought her daughter was asleep, what position she was in, and the questions are confusing. Each one hurts like a cramp, like a spasm in a deep place. Why does it matter? What kind of doctor asks questions like this? She is an attractive woman in a powerful way, not a big woman but strong-looking in a midnight-blue pantsuit and midnight-blue blouse that sharpen her handsome features and set off her short blond hair. Her hands are strong but graceful and she wears no rings. Mrs. Paulsson stares at the doctor's hands and imagines them taking care of Gilly and starts to cry again.

    
"I moved her. I tried to wake her up." She hears herself saying the same thing again and again. Why are your pajamas on the floor, Gilly? What is this? Oh Lord oh Lord!

    
"Describe what you saw when you walked in," the doctor asks the same question in a different way. "I know this is hard. Marino? Would you please get her some tissues and a glass of water?"

    
Where's Sweetie? Oh Lord, where's Sweetie? Not in bed with you again!

    
"She just looked like she was asleep," Mrs. Paulsson hears herself say.

    
"On her back? On her front? What was her position on the bed? Please try to remember. I know this is terribly hard," the woman doctor says.

    
"She slept on her side."

    
"She was on her side when you walked into the room?" the woman doctor says.

    
Oh dear, Sweetie pee-peed in the bed. Sweetie? Where are you? Are you hiding under the bed, Sweetie? You were in the bed again, weren't you? You aren't supposed to do that! I'm going to give you away! Don't you try to hide things from me!

    
"No," Mrs. Paulsson says, crying.

    
Gilly, please wake up, oh please wake up. This can't be! This can't be!

    
The lady doctor is squatting by her chair, looking her in the eye. She is holding her hand. The lady doctor is holding her hand and saying something.

    
"No!" Mrs. Paulsson sobs uncontrollably. "She didn't have anything on. Oh dear God! Gilly wouldn't be lying there with nothing on. She wouldn't even get dressed without locking her door."

    
"It's all right," the lady doctor is saying, and her eyes and touch are kind. There is no fear in her eyes. "Take deep breaths. Come on. Breathe deeply. There. That's good. Slow, deep breaths."

    
"Oh Lord, am I having a heart attack?" Mrs. Paulsson blurts out in terror. "They took my little girl. She's gone. Oh, where's my little girl?"

    
The big cop in black is back the doorway, holding a handful of tissues and a glass of water. "Who's they?" he asks.

    
"Oh no, she didn't die of the flu, did she? Oh no. Oh no. My baby girl. She didn't die of the flu. They took her from me."

    
"Who's they?" he asks. "You think more than one person had something to do with this?" He steps into the room and the lady doctor takes the water from him.

    
She helps Mrs. Paulsson sip it slowly. "That's good. Drink slowly. Slow breaths. Try to calm down. Do you have someone who can come stay with you? I don't want you staying alone right now."

    
"Who's they?" Her voice rises as she repeats the policeman's question. "Who's they?" She tries to get up from the chair but her legs won't work. They don't seem to belong to her anymore. "I'll tell you who they are." Grief turns to rage, such a terrible rage that she is afraid of it. "Those people he invited over here. Them. You ask Frank who they are. He knows."

Chapter 22

    
In the trace evidence lab,
forensic scientist Junius Eise holds a tungsten filament in the flame of an alcohol lamp.

    
He prides himself that his favorite tool-making trick has been used by master microscopists for hundreds of years. That fact, among others, makes him a purist, a Renaissance man, a lover of science, history, beauty, and women. Gripping the short strand of stiff, fine wire with forceps, he watches the grayish metal quickly incandesce bright red and imagines that it is impassioned or enraged. He removes the wire from the flame and rolls the tip into sodium nitrite, oxidizing the tungsten and sharpening it. A dip in a petri dish of water, and the sharp-tipped wire cools with a quick hiss.

    
He screws the wire into a stainless-steel needle holder, knowing that taking time out to make a tool this time was procrastination. Taking time out to make a tool meant he could take himself out of service for a moment, focus on something else, briefly regain a sense of control. He peers into the binocular lenses of his microscope. Chaos and conundrums are right where he left them, only magnified fifty times.

    
"I don't understand this," he says to no one in particular.

    
Using his new tungsten tool, he manipulates paint and glass particles recovered from the body of a man who was crushed to death by his tractor a few hours ago. One would have to be brain damaged not to know that the chief medical examiner worries that the man's family is going to sue somebody, otherwise trace evidence would not be relevant in an accidental death, a careless one at that. The problem is, if you look, you might find something, and what Eise has found doesn't make sense. At times like this he remembers he is sixty-three, could have retired two years ago, and has repeatedly refused promotion to Trace Evidence Section Chief because there is no place he would rather be than inside a microscope. His idea of fulfillment is disconnected from wrestling with budgets and personnel problems, and his relationship with the chief medical examiner is the worst it has ever been.

    
In the polarized light of the microscope, he uses his new tungsten tool to manipulate paint and metal particles on a dry glass slide. They are mixed with other debris, some sort of dust that is gray-brown and strange, unlike anything he has seen before with one very significant exception. He saw this same sort of trace evidence two weeks ago in a completely unrelated case, and he assumes that the sudden, mysterious death of a fourteen-year-old girl is unrelated to the death of a tractor driver.

    
Eise scarcely blinks, his upper body tense. The chips of paint, about the size of dandruff, are red, white, and blue. They aren't automotive, not from a tractor, that's for sure, not that he would expect them to be automotive in the accidental death of a tractor driver named Theodore Whitby. The paint chips and the strange gray-brown dust were adhering to a gash on his face. Similar if not identical paint chips and a similar if not identical strange gray-brown dust were found on the inside of the fourteen-year-old girl's mouth, mainly on her tongue. The dust bothers Eise the most. It is a very odd dust. He has never seen dust like this dust. Its shape is irregular and crusty, like dried mud, but it isn't mud. This dust has fissures and blisters and smooth areas and thin transparent edges like the surface of a parched planet. Some particles have holes in them.

    
"What the hell is this?" he says. "I don't know what this is. How can this same weird stuff be in two cases? They can't be related. I don't know what's happened here."

    
He reaches for a pair of needle-tip tweezers and carefully removes several cotton fibers from the particles on the slide. Light passes through lenses and a congregation of magnified fibers look like snippets of bent white thread.

    
"You know how much I hate cotton swabs?" he asks the virtually empty laboratory. "You know what a pain in the ass cotton swabs are?" he asks the large angular area of black countertops, chemical hoods, work stations, and dozens of microscopes and all of the glass, metal, and chemical accoutrements that they demand.

    
Most of the lab's workers aren't at their work stations but are in other labs on this floor, preoccupied with atomic absorption, gas chromatography and mass spectroscopy, x-ray diffraction, the Fourier Transform Infrared Spectrophotometer, the scanning electron microscope or SEM/Energy Dispersive X-ray Spectrometer, and other instruments. In a world of endless backlogs and little money, scientists grab what they can, jumping onto instruments as if they are horses and riding the life out of them.

    
"Everybody knows how much you hate cotton swabs," remarks Kit Thompson, Eise's nearest neighbor at the moment.

    
"I could make a giant quilt out of all the cotton fibers I've collected in my short life," he says.

    
"I wish you would. I've been waiting to see one of your giant quilts," she replies.

    
Eise grips another fiber. They're not easy to catch. When he moves the tweezers or tungsten needle, just the slightest fan of air moves the fiber. He readjusts the focus and bumps down the magnification to 40X, sharpening his depth of focus. He barely breathes as he stares into the bright circle of light, trying to find the clues it holds. What law of physics dictates that when a disturbance of air dislodges a fiber, it moves away from you as if it is alive and on the lam? Why doesn't the fiber drift closer to captivity?

    
He backs off the objective lens several millimeters, and the tips of his needle-sharp tweezers hugely invade the field of view. The circle of light reminds him of a brightly lit circus ring, even after all he's been through. For an instant he sees trick elephants and clowns in a light so bright it hurts the eyes. He remembers sitting in wooden bleachers and watching big pink puffs of cotton candy float by. He gently grabs another cotton fiber and air-lifts it off the slide. He unceremoniously shakes it loose inside a small transparent plastic bag filled with other spidery cotton debris that most certainly is Q-tip-type contaminants and of no evidentiary value.

    
Dr. Marcus is the worst litterbug of all. What the hell is wrong with that man? Eise has sent him numerous memos insisting that his staff tape-lift trace evidence whenever possible, and please, please, don't use cotton-tipped swabs because they have zillions of fibers that are lighter than angel kisses and get all tangled up with the evidence.

    
Like white Angora cat hair on black velvet pants, he wrote Dr. Marcus several months back. Like picking pepper out of your mashed potatoes. Like spooning the creamer back out of your coffee. And other lame analogies and exaggerations.

    
"Last week I sent him two rolls of low-tack tape," Eise is saying. "And another package of Post-its, reminding him that low-tack adhesives are perfect for pulling hairs and fibers off things because they don't break or distort them or shed cotton fibers all over the ranch. Or, not to mention, interfere with x-ray diffraction and other results. So we're not just being finicky when we sit here picking them out of a sample all the livelong day."

    
Kit frowns at him as she unscrews the cap from a bottle of Permount. "Picking pepper out of mashed potatoes? You sent Post-Its to Dr. Marcus?"

    
When Eise gets impassioned, he says exactly what he thinks. He isn't always aware, and probably doesn't really care, that what is inside his head is also escaping from his lips and audible to all. "My point," he says, "is when Marcus or whoever checked the inside of that little girl's mouth, he swabbed it thoroughly with those cotton-tip swabs. Now, he didn't need to do that with the tongue. He cut the tongue out, now didn't he? Had it lying right there on the cutting board and could plainly see there's some sort of residue on it. He could have used a tape lift, but he kept on with the Q-tips, and all I do these days is pick out cotton fibers."