Sue Grafton - C is for Corpse

It took incredible maneuvering to get the gurney through the morgue and out into the corridor, then into the reception area of the radiology offices and into one of the X-ray rooms in the rear. I lined the gurney up parallel to the X-ray table and shoved the body into place. I raised and lowered the nose cone a couple of times experimentally, sliding it along its overhead track until it was right over Franklin's abdomen. At some point, I was going to have to figure out how far away from the body it should be. Meanwhile, since I intended to take some pictures, I thought I better find some film of some kind.

I looked through the four cabinets in the room and found nothing. I circled the room. There was a shallow cupboard mounted on the wall, like a fuse box with double doors. A strip of masking tape was pasted on one side, with the word exposed printed on it in ballpoint pen. A second strip of tape said unexposed. I opened that door. There were film cassettes of varying sizes lined up like serving trays. I took one out.

I went over to the table and studied the layout of the machinery. I didn't see any way to slide the cassette into the apparatus above the table, but there was a sliding tray in the table itself, just under the padded edge. I pulled it out and inserted the cassette. I hoped I had guessed right about which side should be up. Looked right to me. Maybe I could fashion a whole new career out of this.

I figured Franklin didn't need protecting, so I picked up the full-length lead apron and put it on myself, feeling somehow like the goalie in a hockey match. Actually, I'd never seen an X-ray technician running around in one of these things, but it made me feel secure. I pointed the nose cone at Franklin's belly, about three feet up, and then went behind the screen in one corner of the room.

I checked the manual again, leafing through until I found diagrams that seemed relevant. Thefe were numerous gauges with little arrow-shaped pointers at rest, ready to whip into the green zone, the yellow, or the red at the flick of a switch. There was a lever on the right marked "power supply," which I flipped to the "on" position. Nothing went on. A puzzlement. I flipped it off and then checked the wall to my left. There were two breaker boxes with big switches that I shifted from "off" to "on." There was a murmur of power being generated. I flipped the power supply lever to "on" again. The machine came on. I smiled. That was great.

I studied the panel in front of me. There was a timer that would apparently have to be set on a scale from 1/120 of a second to six seconds. A gauge for kilovolts. One marked "milliamperes." God, three rows of lighted green squares to choose from. I started with a midrange setting on everything, figuring I could use one gauge as a control and adjust the other two in some sort of rotating system. In between, I would check my results on the finished film and see what kind of picture I was getting.

I peered around the screen. "O.K., Frank, take a deep breath and hold."

Well, at least he got the "holding" part right.

I pressed the switch on the handgrip. I heard a brief bzzt. Cautiously, I came out from behind the screen as though X rays might still be flying around the room. I crossed to the table and removed the cassette. Now what? There had to be some kind of developing process, but it didn't appear to be in here. I left the machine on and carried the cassette with me, checking into rooms nearby.

Two doors away, I found what looked right to me. On the wall was a flow chart, giving the step-by-step procedure for developing plates. I could get a job out here after this.

Again, it was necessary to switch the power on. After that, I worked in the dull red glow of the safelights, squinting my way through the process slowly. I filled the wall-mounted tank with water as specified. I flipped the cassette over and unlatched the back, removing the film, which I eased into the tray. It disappeared into the machine with a sound.

Shoot, where'd it go? I couldn't see anything in the room that looked like it would produce a piece of processed film. I felt like a puppy learning what happens when a ball rolls under the couch. I left the room and went next door. The hind end of the automatic developer was there, looking like a big Xerox machine with a slot. I waited. A minute and a half later, a finished piece of film slid out. I looked at it. Pitch black. Shit. What had I done wrong? How could it be overexposed when I'd been so careful? I stared at the developer. The lid was open a crack. I peered at it. Experimentally, I gave it a push. It snapped shut. Maybe that would do it.

I went back into the other room and got a second cassette out and went through the entire process again. Two rounds later, I found what I was looking for. The overall quality of the picture was poor, but the image was distinct. In the center of Franklin's belly was the solid white silhouette of a handgun. It looked like a large-frame automatic, arranged at an angle, maybe to accommodate his skeletal structure or internal organs. There was something unnerving about the sight. I rolled up the X ray and put a rubber band around it. Time to get out of here.

Hastily, I shut down the machinery and shifted Franklin onto the cart for the ride back to the morgue, turning off lights and locking up the office in my wake.

I navigated the gurney back through the hall and into the morgue. I was easing Franklin onto his berth again when something caught my eye. I glanced over at the next tier of bunks. A man's hand was resting just about at eye level and it didn't look right. The bodies I'd seen had been deadly pale, the flesh like a doll's skin, rubbery and unreal. This hand seemed too pink. I could see now that the body itself was only loosely covered with plastic sheeting. Had it been there before? I moved closer, reaching out hesitantly. I think I made that little humming sound you make when you're close to a shriek, but haven't yet committed yourself.

Tentatively, I lifted the plastic away from the face. Male, white, in his twenties. There was no pulse evident but that was probably because there was a ligature wound around his neck so tightly that it had all but disappeared, sinking into the flesh until his tongue bugged out. The body was cool, but not cold. I stopped breathing. I thought my heart would stop as well. I was reasonably sure I'd just made the acquaintance of Alfie Leadbetter, newly deceased. At that instant I wasn't as worried about who had killed him as who had buzzed the door open to let me in. I didn't think it was Alf. I suddenly suspected that I'd been cruising around that deserted building in the company of a killer who was undoubtedly still there, waiting to see what I was up to, waiting to do to me what had been done to the hapless morgue attendant who'd gotten in the way.

I backed out of the room as fast as I could, my heart banging away, sending sick spurts of fear through my electrified frame. The morgue was reassuringly bright, but so deadly still.

Mentally, I traced an escape route, wondering what choices I had. The windows down here were covered with burglar bars too narrow to slip through. The exterior doors were heavy glass, embedded with wire that I might or might not be able to penetrate. I certainly wasn't going to smash through them without calling attention to myself. I'd have to try for the stairs, pushing out of the same double doors I'd come through in the first place, though the idea of even going out into the hall at this point was nearly more than I could bear.

Somewhere above me, a door slammed and I jumped. I heard someone coping down the stairs, whistling aimlessly. A security guard? Someone coming back after work? I absolutely could not move. It was too late for action, too late for escape, and there was no place to hide. Transfixed, I stared at the door as footsteps approached. Someone paused in the corridor, singing the first few snatches of "Someone to Watch over Me." The knob turned and Dr. Fraker came in, glancing up, startled, at the sight of me.