Patricia Cornwell: The Bone Bed

“Jack Klugman played Quincy. Not Tony Randall,” I reply. “A dog is a lot of work, Marino.”

“I don’t know. It’s just weird, Doc. Where time goes. I remember watching that show before I knew enough to realize how damn stupid it was, like that episode when cancer mutated and started killing everyone? And the guy who had his arm reattached and then his good one went bad after that? Jesus, at least thirty years ago, and I was still boxing, just getting started with NYPD, had never even met a real Quincy, and here I am working with you. People think getting old happens to everybody but them. Then you hit fifty and go What the fuck .”

I remove a damp cloth from a ceramic bowl and check on the dough, and Marino is sitting on the floor. His big legs are stretched out as he leans against the wall, at home inside my kitchen with a rangy-looking German shepherd puppy, a rescue Lucy airlifted out of a pig farm she and Janet shut down the other day. All paws, with huge brown eyes and cocked-up ears, black and tan, maybe four months old, curled up in Marino’s lap, my greyhound, Sock, on the rug next to them.

“Cambridge was all set up to get a K-nine, and then they didn’t approve the budget.” Marino reaches for his beer, and he’s different with the puppy.

Marino’s gentle. Even his voice is different.

“The problem’s paying overtime for whoever has the dog, but in my case I can do it for free and it’s not a union problem or whatever because I don’t work for them. You want to grow up to be a cadaver dog?” he says to his puppy.

“What an ambition.” I divide the dough into three balls.

“Then he could come to work with me. You’d like that, wouldn’t you? Come to my big fancy building every day,” he says to the puppy in a voice that can’t be described as anything but silly, and it licks his hand. “That would be okay, right, Doc? I’ll train him, take him to scenes, teach him to alert on all kinds of things. That would be really cool, don’t you think?”

I don’t care anymore. Sleeping over in an AeroBed, a dog in the office, none of it seems important anymore. I’ve played it out so many times and can’t answer the most fundamental question. Would I have cut him badly enough to save myself? It’s not that I wouldn’t have tried, because I have no doubt I was going to slash at his face, but a scalpel blade is very short and narrow, and can break off from the handle.

I had one slim chance that it turns out I didn’t need, but I can’t stop thinking about it because it’s just one more reminder that the tools of my profession don’t save anyone. Even as I’m thinking this I know it’s not entirely true, and I need to snap out of this damn mood.

“I’ve been making myself crazy trying to come up with a name,” Marino says. “Maybe Quincy. How about I call you Quincy?” he says to the puppy, and I hate it when I’m negative.

It certainly can be argued that if I help stop a killer I’m saving a life, maybe more than one life, that what I do morning, noon, and night prevents more violence, and Al Galbraith wasn’t finished. Benton says he was just getting started, that his elderly mother, Mary Galbraith, who has been a resident at Fayth House for years, suffered a stroke about ten months ago and has never recovered cognitive functions. That seems to have been the trigger, as much as it is possible to explain what can’t be explained.

The youngest child of a philanthropic Pennsylvania family that dabbles in farms and horses and wineries, a graduate of Yale, never married, and he hated his mother that much. She was a scholar, a member of the Society of Civil War Historians, and a consulting archivist for the Girl Scouts, and he couldn’t kill her enough.

“What kind of wine?” Lucy walks in with several bottles.

Janet already has helped herself to a glass, and I wipe my hands on my apron and inspect labels.

“Nope.” I return to the dough I’m working, flouring it, pressing it, gently stretching it into a circle. “Those pinots from Oregon.” I move the dough, using my knuckles so I don’t poke holes in it. “That lovely case you gave me for my birthday, the Domaine Drouhin down in the basement.”

Janet says she’ll get it, and I move my knuckles apart and rotate the dough, stretching it for the first pizza, this one mushrooms, extra sauce, extra cheese, extra onion, double smoked bacon, and pickled jalapeños. Marino’s pizza. I ask Lucy to get the fresh grated Parmigiano-Reggiano and whole-milk mozzarella out of refrigerator two, and I suggest Marino take both dogs out in the backyard.

“You see?” I say to Lucy when he’s gone. “I have to ask him. This is what worries me. It should occur to him on his own that it’s time to take his puppy out.”

“It’s going to be fine, Aunt Kay. He loves that dog.”

“Loving something’s not enough. You have to take care of it.” I start on the next pizza crust.

“Maybe that’s what he’s finally going to learn. How to take care of something and how to take care of himself; maybe it’s time he does.” Lucy sets bowls of cheese on the counter. “Maybe he needs a reason to go to the trouble. Maybe you have to want something so badly that you’re finally willing to be less selfish.”

“I’m glad you feel that way.” I toss the crust and place it in an oiled, floured pan, and I know Lucy is talking about herself and what’s going on in her life. “I just don’t understand why you felt you couldn’t tell me. Maybe you could get the onions and mushrooms out of refrigerator one; we’re going to need to sauté them and drain them. To get all the water out.”

“I was afraid to jinx it,” she says. “I needed to see if it could work, and most times it doesn’t work if you try to go back to someone you used to be with.” She finds a cutting board and a knife. “I know you feel you should be told absolutely everything, but I have to be alone in my life, to feel what I feel by myself sometimes.”

“I certainly don’t feel I should be told everything.” I place a third crust in a pan. “If I really felt that way, I wouldn’t have much of a marriage.”

I haven’t seen Benton since yesterday, when he was with me at my office. I took care of Douglas Burke because I didn’t think anyone else should, and Benton didn’t look on directly, but he was in the autopsy room the entire time. Mainly he wanted to know if she struggled, if she made any attempt at all to defend herself. Burke was armed with a nine-millimeter pistol, and Benton didn’t understand what could have happened, why she didn’t fight.

All she did was shoot the damn door and shoot it badly, he said repeatedly.

Based on the dents and holes in the door and door frame, she was aiming for the lock.

Why the hell didn’t she shoot him? Benton must have asked that a dozen times, and I’ve continued to explain what seems obvious to everyone else.

Burke was so hung up on Channing Lott, she was so convicted in her own beliefs, that she didn’t know who stood before her. She didn’t realize who the killer was until he led her into that windowless room, what Al Galbraith had turned into a death chamber, an empty storage area with walk-in deadbolted freezers and a port in a brick wall fixed with a nozzle. The dry-ice blaster was on the other side of that wall, and that’s where Galbraith would turn it on, a heavy-duty aggressive machine with a hopper that could hold enough dry-ice pellets to blast frozen CO 2for hours.

Galbraith had adjusted the settings as low as they would go, the purpose of this particular piece of equipment not for removing mold or sludge or grease or old paint or varnish or corrosion. He didn’t use this monster machine to blast clean the inside of wine barrels but to kill human beings, running at a low pressure of eighty pounds per square inch, consuming sixty pounds of dry ice pellets per hour, the carbon dioxide level slowly rising as the temperature in the room dropped, and the noise of compressed air would have been terrible.