Trace (35 page)

    
Marino walks off quickly from the parking lot and back through the red mud, his big boots slipping. He slips and catches himself with a grunt that turns into a heave as he vomits, bending over deeply in loud heaves, a bitter brown liquid splashing on his boots. He is trembling and gagging and believing he will die when he feels her hand on his elbow. He would know that hand anywhere, that strong, sure hand.

    
"Come on," she says quietly, gripping his arm. "Let's get you back into the car. It's all right. Put your hand on my shoulder and for God's sake watch where you step or both of us are going down."

    
He wipes his mouth on his coat sleeve. Tears flood his eyes as he wills one foot at a time to move, holding on to her and holding himself up as he squishes through the muddy bloody-red battlefield around the ruined building where they first met.

    
"What if I raped her, Doc?" he says, so sick he might die. "What if I did?"

Chapter 29

    
It is very hot
inside the hotel room and Scarpetta has given up adjusting the thermostat. She sits in a chair by the window and watches Marino on the bed. He is stretched out in his black pants and black shirt, the baseball cap lonely on the dresser, his black boots lonely on the floor.

    
"You need to get
some food in you," she says from her chair near the window.

    
Nearby on the carpet is her mud-spotted black nylon crime scene kit, and draped over another chair is her mud-spattered coat. Wherever she has walked in the room she has tracked red mud, and when her eyes fall on the trail she has made, she is reminded of a crime scene, and then she thinks about Suzanna Paulsson's bedroom and what crime may or may not have occurred there within the past twelve hours.

    
"I can't eat nothing right now," Marino says from his supine position. "What if she goes to the police?"

    
Scarpetta has no intention of giving him false hope. She can't give him anything because she doesn't know anything. "Can you sit up, Marino? It would be better if you sit up. I'm going to order something."

    
She gets up from the chair and leaves behind her more bits and flakes of drying mud as she walks to the phone by the bed. She finds a pair of reading glasses in a pocket of her suit jacket and puts them on the tip of her nose, and she studies the phone. Unable to figure out the number for room service, she dials zero for the operator and is transferred to room service.

    
"Three large bottles of water," she orders. "Two pots of hot Earl Grey tea, a toasted bagel, and a bowl of oatmeal. No thank you. That will do it."

    
Marino works himself up to a sitting position and shoves pillows behind his back. She can feel him watching her as she returns to her chair and sits down, tired because she is overwhelmed, her brain a herd of wild horses galloping in fifty different directions. She is thinking about paint chips and other trace evidence, about the soil samples in her nylon bag, about Gilly and the tractor driver, about what Lucy is doing, about what Benton might be doing, and trying to imagine Marino as a rapist. He has been foolish, no, stupid, with women before. He has mixed business with the personal, specifically he has gotten sexually involved with witnesses and victims in the past, more than once, and it has cost him but never more than he can afford. Never before has he been accused of rape or worried that he might have committed rape.

    
"We have to do the best we can to sort through this," she begins. "For the record, I don't believe you raped Suzanna Paulsson. The obvious problem is whether she believes you did or wants to believe you did. If it's the latter, then we will have to get to motive. But let's start with what you remember, the last thing you remember.

    
And Marino?" She looks at him. "If you did rape her, then we'll deal with that."

    
Marino just stares at her from his upright position on the bed. His face is flushed, his eyes glassy with fear and pain, and a vein has popped out on his right temple. Now and then, he touches the vein.

    
"I know you probably have no burning desire to give me every detail of what you did last night, but I can't help you if you don't. I'm not squeamish," she adds, and after all they've been through, such a comment should be funny. But nothing is going to be funny for a while.

    
"I don't know if I can." He looks away from her.

    
"What I'm capable of imagining is worse than anything you may have done," she tells him in a quiet but objective tone.

    
"That's right. You probably wasn't born yesterday."

    
"Not hardly," she says. "If it makes you feel any better, I've done a thing or two myself." She smiles a little. "As hard as that might be for you to imagine."

Chapter 30

    
It isn't hard
for him to imagine. All these years, he has preferred not to imagine what she has done with other men, especially with Benton.

    
Marino stares past her head out the window. His plain single room is on the third floor, and he can't see the street, just the gray sky beyond her head. He feels very small inside and has a childish urge to hide under the covers, to sleep and hope when he wakes up he'll discover that nothing has happened. He wants to wake up and discover he is here in Richmond with the Doc, working a case, and nothing has happened. Funny how many times he has opened his eyes in a hotel room and wished he would find her there looking at him. Now here she is in his hotel room looking at him. He tries to think where to begin, then the childish urge clutches him again and he loses his voice. His voice dies somewhere between his heart and his mouth, like a firefly going out in the dark.

    
His thoughts about her have been long and drawn out, for years they have been, ever since they first met, if he is honest about it. His erotic imaginings are the most skillful, creative, incredible sex he's ever had, and he would never want her to know, he could never let her know, and he has not stopped hoping something might happen with her, but if he starts talking about what he remembers, then she might get an idea of what it would be like to be with him. That would ruin any chance. No matter how remote the chance, it would be killed. To confess in detail what little he does remember would be to show her what it would be like to be with him. That would ruin it. His fantasies wouldn't survive, either, and then he wouldn't even have them, never again. He considers lying.

    
"Let's go back to when you arrived at the FOP lounge," Scarpetta says, her eyes steady on him. "What time did you go there?"

    
Good. He can talk about the FOP lounge. "Around seven," Marino says. "I met Eise there and then Browning got there and we had something to eat."

    
"Details," she tells him without moving in the chair, her eyes directly on his. "What did you eat and what had you eaten during the day?"

    
"I thought we were starting with the FOP, not what I ate earlier."

    
"Did you eat breakfast yesterday?" she persists with the same steadiness and patience she has when she talks to those left behind after someone is annihilated by randomness or by an Act of God or by a murderer.

    
"Had coffee in my room," he replies.

    
"Snacks? Lunch?"

    
"Nope."

    
"I'll lecture you about that another time," she says. "No food all day, just coffee, and then you went to the FOP lounge at seven. Did you drink on an empty stomach?"

    
"I started with a couple beers. Then I had a steak and a salad."

    
"No potato or bread? No carbs? You were on your diet."

    
"Huh. About the only good habit I stuck to last night, that's for sure."

    
She doesn't answer, and he senses she is thinking that his low-carb habit isn't exactly a good habit, but she isn't going to lecture him about nutrition right now when he's sitting on a bed, miserable with a hangover and in pain and panicky because he might have committed a felony or is about to be accused of committing one, assuming he hasn't already been accused. He looks at the gray sky out the window and imagines a Richmond police unmarked Crown Victoria prowling the streets, looking for him. Hell, it could be Detective Browning himself out there ready to serve a warrant on him.

    
"Then what?" Scarpetta asks.

    
Marino imagines himself in the backseat of the Crown Vic and wonders if Browning would handcuff him. Out of professional respect he could let Marino sit in the back unrestrained, or he could forget respect and snap handcuffs on him. He would have to handcuff him, Marino decides.

    
"You drank a few beers and ate a steak and a salad starting at seven," Scarpetta prods him in that easygoing but unstoppable way of hers. "How many beers, exactly?"

    
"Four, I think."

    
"Not think. How many, exactly."

    
"Six," he replies.

    
"Glasses or bottles or cans? Tall ones? Regulars? What size, in other words?"

    
"Six bottles of Budweiser, regular size. That ain't all that much for me, by the way. I can hold it. Six beers for me is like half a beer for you."

    
"Unlikely," she replies. "We'll talk about your math later."

    
"Well, I don't need a lecture," he mutters, glancing at her, then staring steadily at her in sullen silence.

    
"Six beers, one steak, a salad at the FOP with Junius Eise and Detective Browning, and about when did you hear the rumor that I'm moving back to Richmond? Might this have been while you were eating with Eise and Browning?"

    
"Now you're really putting two and two together," he says crabbily.

    
Eise and Browning were sitting across from him in the booth, a candle moving in the red glass globe, all three of them drinking beer. Eise asks Marino what he thinks of Scarpetta, what he really thinks. Is she a big-shot doctor-chief, what is she really like. She's a big shot but don't act like one, were Marino's exact words. He does remember that much, and he remembers the way he felt when Eise and Browning started talking about her, about her getting reap-pointed as chief and moving back to Richmond. She hadn't said a word to Marino about any such thing, not even given him a hint, and he was humiliated and furious. That's when he switched from beer to bourbon.

    
I always thought she was hot, that idiot Eise had the balls to say, and then he switched to bourbon. Quite a set that one's got, he added a few minutes later, cupping his hands at his chest, grinning. Wouldn't mind getting into the lab coat of that one. Well, you've worked with her forever, haven't you, so maybe when you've been around her enough, you don't notice her looks anymore. Browning said he's never seen her, but he'd heard about her, and he was grinning too.

    
Marino didn't know what to say, so he drank the first bourbon and ordered another one. The thought of Eise looking at her body put him in a mood to punch him. Of course he didn't. He just sat in the booth and drank and tried not to think about the way she looks when she takes off her lab coat, when she drapes it over her chair or hangs it on the hook behind her door. He did his best to block out images of her taking off her suit jacket at a scene, unbuttoning the sleeves of her blouse, doing and undoing whatever is needed when a dead body is waiting for her. She has always been easy about herself, not showing it, not conscious of what she's got and whether anyone might be looking at it when she's unbuttoning and taking off and reaching and moving, because she has work and because the dead don't care about seeing it. They're dead. It's just Marino who isn't dead. Maybe she thinks he's dead.