Trace (36 page)

    
"I'll say it again, I have no plans for moving back to Richmond," Scarpetta says from her chair, her legs crossed, the hem of her dark blue pants speckled with mud, her shoes so smeared with mud it's hard to remember they were shiny black earlier today. "Besides, you don't really think I would make plans like that and not tell you, do you?"

    
"You never know," he replies.

    
"You do know."

    
"I ain't moving back here. Especially not now."

    
Someone knocks on the door and Marino's heart jumps and he thinks of the police and of jail and court. He shuts his eyes in relief when a voice on the other side of the door says, "Room service."

    
"I'll get it," Scarpetta says.

    
Marino sits still on the bed, and his eyes follow her as she moves across the small room and opens the door. If she were alone, were he not sitting right here, she would probably ask who is there and look through the peephole. But she isn't worried because Marino is right here and wears a Colt .280 semiautomatic in an ankle holster, not that it would be necessary to shoot anyone. He wouldn't mind beating the hell out of someone, though. Right now he would be happy to slam his big fists into someone's jaw and solar plexus, like he used to do when he boxed.

    
"How you folks today?" the pimply-faced young man in a uniform asks as he rolls in the cart.

    
"Fine, just fine," she says, digging in a pocket of her pants and pulling out a ten-dollar bill that is neatly folded. "You can leave it right there. Thank you." She hands him the folded bill.

    
"Thank you, ma'am. You all have a really nice day now." And he leaves. And the door shuts softly.

    
Marino doesn't move on the bed, only his eyes do as he watches her. He watches her loosen plastic wrap from the bagel and the oatmeal. He watches her open a pat of butter and mix the butter into the oatmeal, then sprinkle it with salt. She opens another pat of butter and spreads it on the bagel, then she pours two cups of tea. She does not put sugar in the tea. In fact, there is no sugar, none at all, on the cart.

    
"Here," she says, setting the oatmeal and a cup of strong tea on the table by the bed. "Eat." She walks back to the cart and carries the bagel to him. "The more you eat, the better. Maybe when you start feeling better, your memory will have a miraculous recovery."

    
The vision of the oatmeal causes a protest that rocks his gut, but he picks up the bowl and slowly dips in the spoon, and the spoon digging into the congealing oatmeal makes him think of Scarpetta digging the tongue depressor into the mud on the pavement, and then he imagines something else similar to oatmeal that causes another wave of disgust and remorse. If only he had been too drunk to do it. But he's done it. Seeing the oatmeal makes him certain he did it last night, finished what he started.

    
"I can't eat this," he says.

    
"Eat it," she replies, sitting back in the same chair like a judge, sitting up straight, looking right at him.

    
He tastes the oatmeal and is surprised that it's pretty good. It feels good going down. Before he knows it, he's eaten the entire bowl and is working on the bagel, and while he's doing this, he can feel her watching him. She isn't talking and he knows damn well why she's not saying anything and is watching him. He hasn't told her the truth yet. He is holding back the details that he is certain will kill the fantasy. Once she knows, he'll have no chance, and the bagel is suddenly dry in his throat and he can't swallow it.

    
"Feel a little bit better? Drink some of the tea," she suggests, and now she really is a judge dressed in dark clothes, sitting upright in the chair beneath the gray window. "Eat all of the bagel and drink at least one cup of the tea. You need food and you're dehydrated. I've got Advil."

    
"Yeah, Advil might be good," he says, chewing.

    
She reaches down into her nylon bag, and pills rattle as she pulls out a small bottle of Advil. He chews and gulps tea, suddenly very hungry, and he watches her walk back to him again, all the way to where he is propped against the pillows, and she removes the childproof cap easily because anything childproof may as well not exist when it gets into her hands. She shakes out two pills and places them in his palm. Her fingers are agile and strong and seem small against his huge palm, and they lightly brush his skin, and her touch feels better to him than most things he has felt in life.

    
"Thanks," he says as she returns to her chair.

    
She'll sit in that chair for a month if she has to, he thinks. Maybe I should just let her sit there for a month. She's not going anywhere until I tell her. I wish she'd quit looking at me like that.

    
"How's our memory doing?" she asks.

    
"Some things are lost for good, you know. It happens," he replies, draining the cup of tea and concentrating on the pills to make sure they haven't gotten stuck somewhere in his throat.

    
"Some things never do come back," she agrees. "Or were never completely gone. Other things are just hard to talk about. You were drinking bourbon with Eise and Browning, then what? About what time was it when you started on the bourbon?"

    
"Maybe eight-thirty, nine. My cell phone rings and it was Suz. She was upset and said she needed to talk to me, asked me if I could come by her house." He pauses, waiting for Scarpetta's reaction. She doesn't have to say it. She is thinking it.

    
"Please continue," she says.

    
"I know what you're thinking. You're thinking I shouldn't have gone over there after drinking a few."

    
"You have no idea what I'm thinking," she replies from her chair.

    
"I was feeling all right."

    
"Define few," she adds.

    
"The beer, a couple bourbons."

    
"A couple?"

    
"No more than three."

    
"Six beers equals six ounces of alcohol. Three bourbons is another four or five ounces, depending on how well you know the bartender," she calculates. "Let's say over a three-hour period. That equals approximately ten ounces, I'm being conservative. Let's say you metabolized one ounce per hour, that's the norm. You still had at least seven ounces on board when you headed out of the FOP lounge."

    
"Shit," he says. "I sure could do without the math. I was feeling all right. I'm telling you I was."

    
"You hold it well. But you were legally drunk, more than legally drunk," the doctor-lawyer says. "By my calculations, more than point one-oh. You got to her house safe and sound, I presume. And by now it is what time?"

    
"Ten-thirty, maybe. I mean, I wasn't looking at my watch every damn minute." He stares at her and feels dark and sluggish slumped against pillows on the bed. What happened next heaves darkly inside him and he doesn't want to step into that darkness.

    
"I'm listening," Scarpetta says. "How are you feeling? Do you need some more tea? More food?"

    
He shakes his head no and feels again for the pills, worried they might be stuck somewhere and burning holes inside his throat. He burns in so many places, two more little burns might be hard to detect, but he doesn't need them.

    
"The headache better?"

    
"You ever been to a shrink?" he suddenly asks. " 'Cause that's what I'm feeling like. Like I'm sitting in a room with a shrink. But since I ain't never been to a shrink, I don't know if it feels like this. I thought you would know." He isn't sure why he said it, but it came out. He looks at her, helpless and angry and desperate to do anything that keeps him out of the heaving darkness.

    
"Let's not talk about me," she replies. "I'm not a shrink, and you know that better than anyone. This isn't about why you did what you did or why you didn't. This is about what. What is where trouble lies or doesn't. Psychiatrists don't care much about what."

    
"I know. What is it. What sure as hell is the problem, all right. I don't know what, Doc. That's the God's truth," he lies.

    
"We'll back up a little. You got to her house. How? You didn't have the rental car."

    
"Taxi."

    
"You have the receipt?"

    
"Probably in my coat pocket."

    
"It would be good if you still have it," she suggests.

    
"It should be in a pocket."

    
"You can look later. What happened next?"

    
"I got out and walked to the door. I rang the bell, she came to the door and let me in." The heaving darkness is right in front of his face now, like a storm about to break open on top of him. He takes a deep breath and his head throbs.

    
"Marino, it's all right," she says quietly. "You can tell me. Let's find out what. Exactly what. That's all we're trying to do."

    
"She . . . uh, she was wearing boots, like paratrooper boots, like steel-toed black leather boots. Military boots. And she had on a big camouflage t-shirt." The darkness swallows him, seems to swallow him whole, swallows more of him than he knew he had. "Nothing else, just that, and I was just sort of shocked, and didn't know why she was dressed like that. I didn't think nothing of it, not the way you might think. Then she shut the door behind me and put her hands on me."

    
"Where did she put her hands on you?"

    
"She said she'd wanted me the minute we walked in that morning," he says, embellishing a little, but not a lot, because whatever her exact words were, the message he got was just that. She wanted him. She had wanted him the first instant she saw him, when he and Scarpetta showed up at her house to ask about Gilly.

    
"You said she put her hands on you. Where? What part of your body?"

    
"My pockets. In my pockets."

    
"Front or back pockets?"

    
"Front." His eyes drop to his lap and he blinks as he looks at the deep front pockets of his black cargo pants.

    
"The same pants you have on now?" Scarpetta asks, her eyes never leaving him.

    
"Yeah. These pants. I didn't exactly get around to changing my clothes. I didn't exactly get back to my room this morning. I got a cab and went straight to the morgue."

    
"We'll get to that," she replies. "After she put her hands in your pockets, then what?"

    
"Why do you want to know all this?"

    
"You know why. You know exactly why," she says in that same calm, steady tone, her eyes on him.

    
He remembers Suz's hands digging deep into his pockets and her pulling him into her house, laughing, saying how good he looked as she pushed the door shut with her foot. A fog swirls in his thoughts like fog swirling in the headlights as the taxi drove him to her house, and he knew he was heading into the unknown, but he went, and then she had her hands in his pockets and was pulling him into the living room, laughing, dressed in nothing but a camouflage t-shirt and combat boots. She pressed against him and he knew she could feel him and she knew he could feel her soft and tight against him.