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But even there, even after death, the bodies seemed to be suffering from the heat. Dark, greasy stains-volatile fatty acids leaching out of tissue as it liquefied-pooled around the bodies, just as the sweat pooled and soaked my shirt. One body, which Miranda and I had laid in the sun at the edge of the clearing just two days before, had actually burst like a balloon, the gases in its abdomen building up so fast that the skin could no longer contain the pressure. What had been a man’s belly was now a gaping crater, fringed by ragged entrails. I stared. In all these years of research experiments, I’d never seen a body pop. Scientifically, it was fascinating; emotionally, it was disturbing, one more omen hinting that we were gripped by a torrid plague of biblical proportions. I took a few photographs to document the event-without them I wasn’t sure anyone would believe my description-and then fled for the shaded, air-conditioned corridors beneath Neyland Stadium.
I had been wishing for a serious rain, to clear the air and cool the blasted earth. By midafternoon, thunder was vibrating the stadium’s grimy windows and mammoth girders. But by evening, when I drove home, the air was still steamy and the ground was still parched, and I decided it was just heat lightning toying with my hopes.
I was wrong. By the time I microwaved a can of soup for dinner, the branches of the big oaks in the front yard were whipping around like palm trees in a hurricane. The sky turned purple, then black, in a matter of minutes. A flash of lightning lit the world, followed by the tearing crack of thunder, and sheets of rain-torrential, horizontal rain-lashed the west-facing windows of my house.
Often I liked to sit out on my screened-in back porch during thunderstorms; in this case, though, when I stepped out the door, a soaking mist-rain shredded but not stopped by the wire mesh-drenched me from face to foot and sent me scurrying inside for protection and dry clothes.
One of my favorite features of the house was the bank of windows lining the west wall of the living room. Most summer evenings the living room stayed bright enough to read in until after eight. Tonight, seven o’clock was dark as midnight-blackness punctuated by blinding flashes of lightning, which lit the room like a flash gun, searing a negative afterimage onto my retinas. Reflexively, ever since childhood, I’d been in the habit of counting the seconds between the lightning’s flash and the thunder’s boom: “one Mississippi, two Mississippi, three Mississippi…” If I got to “five Mississippi” before the thunder rolled over me, I knew the lightning was a mile away. Within minutes after this evening’s storm broke, I found myself lucky to get through “one Mississippi”; sometimes I didn’t make it even through the “one.”
Then came a flash so bright, accompanied by a boom so loud, that I was sure the house itself had been hit dead on. When my vision returned, I saw a brief shower of sparks from a utility pole out by the street, and I knew that part of the boom was the sound of the electrical transformer on the pole exploding. I glanced at the face of my DVD player for confirmation and saw that the numerals had gone dark. I figured it might be a while before the power came back on, so I felt my way to the kitchen, opened the drawer beside the refrigerator, and fished around until I felt the box of wooden matches. I could have gone to the bedroom and retrieved the flashlight from the nightstand instead, but the idea of the flashlight beam, harsh and impersonal, made me choose the matches. They were the old-fashioned strike-anywhere kind-the kind you can strike on a stone fireplace, or a zipper, or even with your thumbnail if you’re daring and dexterous. I’d always preferred them to the kind you have to strike on the box-I liked getting to choose where to strike them, maybe, or liked the look of the red match heads tipped with white-but it was getting harder and harder to find this sort these days. The grocery store had stopped carrying them; the only place I knew where to buy them anymore was Parker Brothers, an old-style hardware store run by old-fashioned guys-guys like me, I supposed. Funny, I thought, people think nothing of careening through freeway traffic at ninety miles an hour, weaving in and out with a foot of clearance between their bumper and the next car’s. But God forbid we should do something as risky as strike a wooden match on a fireplace brick.
I felt my way into the living room, where an oil lamp-its glass chimney and base grimy to the touch-occupied a dusty spot on the mantel. Lifting the chimney free of the metal clips that held it in place, I set it on the mantel beside the base, then slid open the matchbox and removed one of the square wooden matches. I pressed the tip lightly against the surface of a brick above the mantel, then dragged the match upward. As it scratched across the rough surface, it gave off a small shower of sparks, then bloomed into a dazzling flower of yellow and blue. Once the flame shrank to a small teardrop of yellow, I touched it to the lamp’s wick, which took the flame and amplified it.
I tucked the box of matches into my pocket and buttoned the flap closed, then wiggled the lamp’s chimney back into position and lifted the lamp from the mantel by the narrow glass neck. Holding it aloft before me, like the Statue of Liberty-the Statue of Electrical Outage, actually, or the Statue of Paranoia-I made my way back to the kitchen and set the lamp on the table. The kitchen had always felt safer, somehow, or more comforting than any other room in the house, but tonight even the kitchen seemed perilous.
Leaves clawed and slapped at the windows like hands-like Garland Hamilton’s hands, slapping me in the face, again and again. Another flash split the darkness, and for a blinding moment I thought I saw a man silhouetted against the lashing rain and shuddering hedge. Then the night went black again, and the afterimage on my retina reversed to a negative: The dark figure looming against the brilliant background lingered as a ghostly shape in white on a field of black, the edges fringed by the bleached-bone fingers of tree branches. When the afterimage faded and my eyes returned to normal, all I could see was my own image reflected in the kitchen window, the oil lamp beneath and to one side of me, casting ominous shadows in the hollows of my eye sockets. I did not look like someone I’d want to meet in a dark alley.
I sat down at the table, close to the lamp, and tilted and angled my head to dispel the shadows around my eyes. Finally satisfied that the sinister expression was gone, I turned my gaze to the lamp itself. Its cotton wick nestled just below a slit in a small metal dome; a small hexagonal knob extended from the dome on a spindly shaft, and by twisting the knob I could roll the wick up or down with gears that were hidden within the dome. Twisting the wick slowly down, I watched it gradually disappear, like sand edging downward into the neck of an hourglass as time begins to run out. As the wick’s edge threatened to vanish through the small metal sleeve between the reservoir of oil and the glass chimney, the flame shrank to a pale blue flicker along the charred edge of woven cotton. I twisted the knob in the other direction, and the wick slowly rose, the flame blooming bright yellow again, its edge as sharp and solid as the edge of a full moon. How is it, I wondered, that something as nebulous as burning oil can look so solid? Why isn’t it ragged and flickering, like the flames of a fireplace or campfire? Why is there no fuzzy transition from glow to not-glow? And why can’t my own life feel so well defined, so neatly edged, anymore?
I lifted the oil lamp by its narrow neck, where the metal collar and wick mechanism screwed onto the glass base. Halfway up the base, at its widest part, oil sloshed within the clear container. The wick-a flat ribbon of woven white cotton-undulated within the liquid, like a tapeworm preserved in alcohol. The lamp’s neck felt small and vulnerable in my grasp, and I forced myself to ease the tension in my grip, lest it snap in my hand, sending the glass base and its flammable contents crashing onto the kitchen’s tile floor. I made my way through the house by lamplight, like some restless ghost from a campfire story, checking each outside door to be sure it was dead-bolted. Then I went into my bedroom, locked the door, and sat in my bed, my back against the headboard. I set the oil lamp on the nightstand beside me, scooting its useless electric companion to the far edge to make room. Then I slid open the nightstand drawer and took out the handgun Steve Morgan had loan
ed me. I studied it-the tiny blue-black pyramids machined into the grip, the matter-of-fact words and numbers etched into the barrel, the small, precise button of the safety, which I clicked back and forth, off and on, in a hypnotic pattern that was nearly as regular as the ticking of a clock.
I told time that way until a pale gray light seeped through the window, gradually erasing the reflection of the lamp’s glow, replacing it with the shapes of raindrops and bits of shredded leaves on the outside of the panes.
CHAPTER 33
THE ANTHROPOLOGY DEPARTMENT WAS LOCKED AND dark when I arrived-not surprising at eight o’clock on a summer Sunday morning. Without bothering to shower or even change my rumpled clothes, I had eased my truck down the narrow service drive that ringed the base of the stadium, parking at the foot of the stairs beside the bone lab. Once inside, I flipped on the fluorescent lights overhead, then impulsively flipped them off again. Enough light filtered between the stadium’s girders and through the grimy windows to guide me across the lab, and for what I needed to do, semidarkness was better than the glare of the fluorescents.
The slide sorter was still plugged in, and the cranial X-ray of Freddie Parnell still lay atop the frosted glass. I switched on the light, and the homeless man’s ghostly skull lit up. I studied the overall contours awhile, then focused on the scalloped edges of the frontal sinus. The contours resembled a coastline, but it was an unknown country I was trying to steer toward. Retrieving the tray of cranial fragments from the Cooke County fire scene, I sighed in despair. It wasn’t a matter of simple navigation; what I had to do-what Miranda had been struggling for days to do-was reassemble a second map, the map of tiny, charred bits we’d plucked from the smoldering ruins of the cabin. If we couldn’t piece together more of that second map, we’d never be able to tell whether its landmarks matched Parnell’s or not.
I flipped the X-ray, so I was looking at the frontal sinus from the back-from the inside of Parnell’s skull, in effect-and then laid the two fragments Miranda had painstakingly reassembled just below the image of the sinus, with their curved inner surfaces facing up. Framed by the openings of the stadium’s steelwork, the daylight was spilling through the windows at a low angle, an angle that highlighted the contours of the cavities in the blackened bone. Staring first at one fragment, then at the other, I rotated and angled the bits in almost microscopically small shifts, my eyes darting from the bone to the X-ray and back again with each subtle movement. You’d think it would be easy to tell if a half-inch stretch of bone corresponded to some portion of a two-inch image, but it was maddening. Instead of a coastal map, I decided, what I was working with was a thousand-piece jigsaw puzzle depicting an overcast sky. I was trying to match one tiny detail to the image on the cover of the puzzle box-that’s what the X-ray was like-without actually knowing that this puzzle had indeed come out of that box.
After half an hour of this, my eyes were playing tricks on me. I didn’t think the fragments matched the X-ray, but then again, I didn’t want them to match. I wanted this to be the skull of Garland Hamilton, not some down-on-his-luck derelict. In any other forensic case, I’d have been able to compare the sinuses with scientific rigor and objectivity-I wouldn’t have anything personal invested in whether the comparison yielded a positive identification, a positive exclusion, or insufficient information to support either conclusion. Go with the facts, speak the truth, and let the chips fall where they may-that had always been one of my guiding principles. But never before had the chips come solely from the pockets of my own life. What’s more, the facts here were proving mighty hard to pin down.
Still holding both skull fragments, I reached up to rub my eyes with the back of one hand. That’s when I saw it: a sliver of light glinting through one of the seams where Miranda had pieced together the larger of the two fragments. I angled the piece this way and that, studying the slight gap. Then I laid down the other piece so I could examine this one more closely. Swiveling around to the lab table behind me, I switched on the magnifying lamp and held the piece under the lens. The bone practically glowed beneath the built-in fluorescent light that encircled the lens. Magnified five times, the glue joints appeared wavy and jagged, almost like the sutures that form naturally in the skull as its individual plates knit together during childhood. The innermost of the skull’s three layers of bone, the diploe, had peeled away, exposing the boundary where the sinus cavity stopped and the spongy inner layer of bone began. If not for the peeling, Miranda and I would be forced to X-ray the reconstructed pieces to see the sinus boundary, rather than being able to see the cavity take shape as we worked.
Even under the magnifying glass, it was difficult to find the gap where I’d seen the light shining through. Twice I had to twist the head of the lamp upside down, shining it up toward my face, in order to send light through the tiny opening again; the second time I did this, I took a pencil and drew faint arrows on both the inner and outer surfaces of the bone so I could find the spot again easily. Having marked the location, I held the bone beneath the magnifier once more and leaned in for a close look. From the outside, the fit looked fine: From one piece to the next, the edges of bone transitioned almost perfectly across the glue joint. But from the inside-a spot that would have lain just beneath the left eyebrow-something didn’t exactly match up.
Rebuilding a shattered skull is a lot like rebuilding a Ming dynasty vase you’ve hurled into the fireplace in a fit of rage. The first few pieces fit together perfectly, zigs and zags and undulations mating exactly-partly because you’ve started with the biggest, easiest pieces, but also because it’s too soon for imperfection and distortion to rear their cumulative, misshapen heads. Gradually, though, minor imperfections start to compound, and the jig is up. Even if you tell yourself you can live with the cracks showing-they add a certain character and drama to the vase, after all, like tattoos and scars on skin-you know that the cemented shards will never again possess those elegant Ming lines. A missing crumb here or there distorts the fit by a thousandth of a degree; the china glue, though it be thin as water and only a few molecules thick, enlarges a reconstructed triangle just enough to keep it from nestling into its triangular niche. The edges and angles gradually cease to mate, forcing you into approximations and compromises-just as in the rest of life.
The piece of frontal bone I held in my hand had been patched together from seven irregular fragments, none as large as the nail of my little finger; glued together, the seven pieces were about the size of the fat end of a Grade-A Large egg. The chunk of bone fit within the palm of my hand-with an inch of palm showing all around it. Even so, even as small as it was, the multitude of irregular seams and angles and edges had begun to rebel against being forced back together. As I zeroed in on the edges marked by my penciled arrow, I could see that the fracture lines on one edge didn’t correspond exactly to those of the adjoining edge. What’s more, now that I was examining the fit with a dubious eye, I gradually became aware of a slight difference in the hue of the char on the bone’s outer surface. The difference was slight-so slight it tended to vanish if I looked at it directly, the way a faint star vanishes if you look at it directly-but whenever I glanced at it slantwise, rather than dead on, there it was, an elusive and skittish truth, crouching in the forensic underbrush: Miranda had glued the wrong piece here. I batted the magnifying lamp away; it spun around in a half circle on the end of its spring-loaded arm, then stopped and swayed in place. “Damn,” I said angrily, then “damn” again, this time softly and sadly. The angry damn was for the wasted time and misdirected effort, butting our heads against the wrong wall, in our efforts to compare a faulty reconstruction with an X-ray. The sad damn was for Miranda, who would doubtless be devastated to learn of her mistake.
I thought on that for a while. Did she actually need to learn of her mistake? Did she need to learn from her mistake? The teacher in me was inclined to think she did; otherwise she might make it again someday, in a case where there was no mentor looking over her shoulder to catch it a
nd correct it. But another voice in me suggested that maybe I should cut her some slack, just this once-that I pushed too hard, expected too much, and held her to impossible standards; that the world wouldn’t end, and Miranda’s abilities wouldn’t self-destruct, if I didn’t point out this one small, understandable error. My inner teacher was winding up for a self-righteous retort-something to the effect that it would be condescending to protect Miranda from knowing she’d made a mistake-when my eye was caught by a glimmer in the tray of cranial fragments. The cascade of light from the magnifying lamp was now pooling in the tray of cranial fragments, and the lamp’s slight sway was causing a piece of bone to appear to move back and forth across the lens, growing and shrinking as it passed through the central field of view. It was almost as if the piece were breathing, expanding and contracting, coming to life. As I watched it, I realized that it looked familiar, in a backward sort of way, and then I realized why: Its jagged edge was the mirror image of one of the pieces in the reconstructed fragment. If I moistened the glue with just enough acetone-enough to detach Miranda’s mistake but not so much that all the pieces fell apart-I could substitute the piece that was dancing under the magnifying glass right now.
Ten minutes later the line of Duco cement was still damp where I’d plugged in the new piece of the puzzle. I left it drying on the light box-alongside the X-ray I’d just compared it to-and locked up the lab, springing into my truck. Threading out from beneath the stadium, I emerged into what I was surprised to find had become late-afternoon sunlight. I’d had my head buried in bone fragments for more than eight hours.
