"She's been dead less than six hours," LaManche was saying. "I think you'd better take a look."

6.

MARGARET A ADKINS WAS TWENTY-FOUR. SHE HAD LIVED WITH HER common-law husband and their six-year-old son in a neighborhood nestled in the shadow of the Olympic Stadium. She was to have met her sister at ten-thirty that morning for shopping and lunch. She didn't make it. Nor did she take later phone calls after speaking with her husband at ten. She couldn't. She'd been murdered sometime between his call and noon, when her sister discovered her body. That was four hours ago. That's all we knew. common-law husband and their six-year-old son in a neighborhood nestled in the shadow of the Olympic Stadium. She was to have met her sister at ten-thirty that morning for shopping and lunch. She didn't make it. Nor did she take later phone calls after speaking with her husband at ten. She couldn't. She'd been murdered sometime between his call and noon, when her sister discovered her body. That was four hours ago. That's all we knew.

Claudel was still at the scene. His partner, Michel Charbonneau, sat on one of the plastic chairs lining the far wall of the large autopsy suite. LaManche had returned from the murder scene less than an hour ago, the body preceding him by minutes. The autopsy was underway when I arrived. I knew immediately that we'd all work overtime that night.

She lay facedown, her arms straight against her sides, hands palm up with the fingers curving inward. The paper bags placed on them at the scene had already been removed. Her fingernails had been inspected and sc.r.a.pings taken. She was nude, and her skin looked waxy against the polished stainless steel. Small circles dotted her back, pressure points left by drainage holes in the table's surface. Here and there a solitary hair clung to her skin, estranged forever from the curly tangle on her head.

The back of her head was distorted, the shape slightly off, like a lopsided figure in a child's drawing. Blood oozed from her hair and mingled with the water used to clean her, gathering below the body in a translucent, red pool. Her sweat suit, bra, panties, shoes, and socks had been spread across the adjacent autopsy table. They were saturated with blood, and the sticky, metallic smell hung heavy on the air. A Ziploc bag next to the sweats held an elasticized belt and sanitary pad.

Daniel was taking Polaroids. The white-bordered squares lay on the desk next to Charbonneau, their emerging images in varying degrees of clarity. Charbonneau was inspecting them, one by one, then carefully returning each to its original place. He chewed on his lower lip as he studied them.

A uniformed officer from ident.i.ty was shooting with a Nikon and flash. As he circled the table, Lisa, newest of the autopsy technicians, positioned an old-fashioned screen behind the body. The painted metal frame, with its shirred white fabric, belonged to an era when such paraphernalia were used in hospital rooms to barricade patients during intimate procedures. The irony was jarring. I wondered whose privacy they were trying to protect here. Margaret Adkins was past caring.

After several shots the photographer stood down from his stool and looked questioningly at LaManche. The pathologist stepped closer to the body and pointed to a sc.r.a.pe on the back of the left shoulder.

"Did you get this?"

Lisa held a rectangular card to the left of the abrasion. On it were written the LML number, the morgue number, and the date: June 23, 1994. Both Daniel and the photographer took close-ups.

At LaManche's direction, Lisa shaved the hair from around the head wounds, spraying the scalp repeatedly with a nozzle. There were five in all. Each showed the jagged edges typical of blunt instrument trauma. LaManche measured and diagrammed them. The cameras captured them in close-up.

At length LaManche said, "That should do it from this angle. Please turn her back over."

Lisa stepped forward, momentarily blocking my view. She slid the body to the far left side of the table, rolled it back slightly, and snugged the left arm tightly against the stomach. Then she and Daniel turned the body onto its back. I heard a soft thunk as the head dropped onto the stainless steel. Lisa lifted the head, placed a rubber block behind the neck, and stepped back.

What I saw made my blood race even faster, as if the thumb had been slipped from the shaken soda bottle in my chest and a geyser of fear allowed to erupt.

Margaret Adkins had been ripped open from her breastbone to her pubis. A jagged fissure ran downward from her sternum, exposing along its course the colors and textures of her mutilated entrails. At its deepest points, where the organs had been displaced, I could see the glistening sheath surrounding her vertebral column.

I dragged my eyes upward, away from the terrible cruelty in her belly. But there was to be no relief there. Her head was turned slightly, revealing a pixie-like face, with upturned nose and delicately pointed chin. Her cheeks were high and sprinkled with freckles. In death, the tiny brown splotches stood out in sharp contrast to the surrounding white in which they floated. She looked like Pippi Longstocking in short brown hair. But the little elf mouth was not laughing. It was stretched wide, and a severed left breast bulged from it, the nipple resting on the delicate lower lip.

I looked up and met LaManche's eyes. The lines paralleling them seemed deeper than usual. There was a tension to the lower lids that caused the sagging parenthesis under each to twitch slightly. I saw sadness, but perhaps something more.

LaManche said nothing and continued the autopsy, his attention shifting back and forth between the body and his clipboard. He recorded each atrocity, noting its position and dimensions. He detailed every scar and lesion. As he worked, the body was photographed from the front as it had been from the back. We waited. Charbonneau smoked.

After what seemed like hours, LaManche finished the external exam.

"Bon. Take her for radiography."

He stripped off his gloves and sat down at the desk, hunching over his clipboard like an old man with a stamp collection.

Lisa and Daniel rolled a steel gurney to the right of the autopsy table. With professional agility and detachment they transferred the body and wheeled it off to be X-rayed.

Silently, I moved over and took the chair next to Charbonneau. He half rose, nodding and smiling in my direction, took a long pull on his cigarette, and stubbed it out.

"Dr. Brennan, how goes it?"

Charbonneau always spoke to me in English, proud of his fluency. His speech was an odd mixture of Quebecois and Southern slang, born of a childhood in Chicoutimi, embellished by two years in the oil fields of east Texas.

"Good. And you?"

"Can't complain." He shrugged in a way only francophiles have mastered, shoulders hunched, palms raised.

Charbonneau had a wide, friendly face and p.r.i.c.kly gray hair that always reminded me of a sea anemone. He was a large man, his neck disproportionately so, and his collars always looked tight. His ties, perhaps in an attempt to compensate, either rolled over and slipped sideways, or disengaged themselves and hung below the level of his first shirt b.u.t.ton. He'd loosen them early in the morning, probably hoping to make the inevitable look intentional. Or maybe he just wanted to be comfortable. Unlike most of the c.u.m detectives, Charbonneau did not try to make a daily fashion statement. Or maybe he did. Today he wore a pale yellow shirt, polyester pants, and a green plaid sports jacket. The tie was brown.

"Seen the prom pics?" he asked, reaching to retrieve a brown envelope from the desk.

"Not yet."

He withdrew a stack of Polaroids and handed them to me. "These are just the backup shots that came in with the body."

I nodded and began going through them. Charbonneau watched me closely. Perhaps he hoped I would recoil from the carnage so he could tell Claudel I'd blinked. Perhaps he was genuinely interested in my reaction.

The photos were in chronological order, re-creating the scene as the recovery team had found it. The first showed a narrow street lined on both sides by old but well-kept buildings, each three stories high. Parallel rows of trees bordered the curbs on each side, their trunks disappearing into small squares of dirt surrounded by cement. The buildings were fronted by a series of postage-stamp yards, each bisected by a walkway leading to a steep metal staircase. Here and there a tricycle blocked the sidewalk.

The next several shots focused on the exterior of one of the red-brick buildings. Small details caught my attention. Plaques over a pair of second-story doors bore the numbers 1407 and 1409. Someone had planted flowers below one of the ground-floor windows in front. I could make out three forlorn marigolds huddled together, their huge yellow heads shriveled and drooping in identical arcs, solitary blooms coaxed into life and abandoned. A bicycle leaned against the rusted iron fence that surrounded the tiny front yard. A rusty sign angled from the gra.s.s, leaning low to the ground, as if to hide the message: a VENDRE a VENDRE. FOR SALE.

Despite the attempts at individualization, the building looked like all the others lining the street. Same stairs, same balcony, same double doors, same lace curtains. I wondered: Why this one? Why did tragedy visit this place? Why not 1405? Or across the street? Or down the block?

One by one the photos took me closer, like a microscope shifting to higher and higher magnification. The next series showed the condo's interior, and, again, it was the minutiae that I found arresting. Small rooms. Cheap furniture. The inevitable TV. A living room. A dining room. A boy's bedroom, walls hung with hockey posters. A book lying on the single bed: How the World Works How the World Works. Another stab of pain. I doubted the book would explain this.

Margaret Adkins had liked blue. Every door and inch of woodwork had been painted a bright, Santorini blue.

Finally, the victim. The body lay in a tiny room to the left of the front entrance. From it, doors gave on to a second bedroom and the kitchen. Through the entrance to the kitchen I could see a Formica table set with plastic place mats. The cramped s.p.a.ce where Adkins had died held only a TV, a sofa, and a sideboard. Her body lay centered between them.

She lay on her back, her legs spread wide. She was fully dressed, but the top of her sweat suit had been yanked up, covering her face. The sweatshirt pinned her wrists together above her head, elbows out, hands hanging limp. Third position, like a novice ballerina at her first recital.

The gash in her chest gaped raw and b.l.o.o.d.y, only partially camouflaged by the darkening film that surrounded the body and seemed to cover everything. A crimson square marked the place where her left breast had been, its borders formed by overlapping incisions, the long, perpendicular slashes crossing each other at ninety-degree angles at the corners. The wound reminded me of trephinations I'd seen on the skulls of ancient Mayans. But this mutilation had not been done to relieve the victim's pain, or to release imagined phantoms from her body. If any imprisoned spirit had been set free, it had not been hers. Margaret Adkins was made the trapdoor through which some stranger's twisted, tormented soul sought relief.

The bottom of her sweats had been pulled down around her spread knees, the elastic waist stretched taut. Blood trickled from between her legs and pooled below her. She'd died still wearing her sneakers and socks.

Wordlessly, I replaced the photos and handed the envelope to Charbonneau.

"It's a nasty one, eh?" he asked. He removed a speck from his lower lip, inspected and flicked it.

"Yes."

"a.s.shole thinks he's a G.o.dd.a.m.n surgeon. Real blade cowboy." He shook his head.

I was about to answer when Daniel returned with the X rays and began to clamp them to the light box on the wall. Each made a sound like distant thunder as it bowed in his hand.

We inspected them in sequence, our collective gaze moving from left to right, from her head to her feet. The frontal and lateral X rays of the skull showed multiple fractures. The shoulders, arms, and rib cage were normal. There was nothing extraordinary until we arrived at the radiograph of her abdomen and pelvis. Everyone saw it at once.

"Holy s.h.i.t," said Charbonneau.

"Christ."

"Tabernouche."

A small human form glowed from the depths of Margaret Adkins's abdomen. We all stared at it, mute. There was but one explanation. The figure had been thrust through the v.a.g.i.n.a and high into the viscera with enough force to conceal it completely from external view. On seeing it, I felt as if a hot poker had pierced my gut. Involuntarily, I clutched my belly, as my heart hammered against my ribs. I stared at the film. I saw a statue.

Framed by the broad pelvic bones, the silhouette stood out in sharp contrast to the organs in which it was embedded. Surrounded by the grays of her intestines, the stark white figure stood with one foot forward, hands outstretched. It appeared to be a religious statue. The figure's head was bowed, like a paleolithic Venus figurine.

For a few moments no one spoke. The room was absolutely silent.

"I've seen those," Daniel said at last. With a stabbing motion he pushed his gla.s.ses back onto the bridge of his nose. A tic squeezed his features like a rubber toy.

"It's our lady of something. You know. The Virgin. Mary."

We all examined the opaque shape on the X ray. Somehow it seemed to compound the offense, making it all the more obscene.

"This sonofab.i.t.c.h's a real sick b.a.s.t.a.r.d," said Charbonneau, the practiced nonchalance of the homicide detective overridden by the emotion of the moment.

His vehemence surprised me. I was unsure if the atrocity alone had stirred something in him, or if the religious nature of the offending object was contributing to his reaction. Like most Quebecois, Charbonneau had no doubt had a childhood permeated with traditional Catholicism, the rhythm of his daily life inextricably ruled by church dogma. Though many of us throw off the outward trappings, reverence for the symbols often lingers. A man might refuse to wear a scapular, but neither will he burn it. I understood. Different city, different language, but I, too, was a member of the tribe. Atavistic emotions die hard.

There was another long silence. Finally, LaManche spoke, choosing his words carefully. I couldn't tell if he realized the full implications of what we were seeing. I wasn't sure I did. Though he used milder tones than I'd have chosen, he voiced my thoughts perfectly.

"Monsieur Charbonneau, I believe you and your partner need to meet with Dr. Brennan and me. As I am sure you know, there are some unsettling aspects to this case and several others."

He paused to allow that to sink in, and to consult a mental calendar.

"I will have the results of this autopsy by later tonight. Tomorrow is a holiday. Would Monday morning be convenient?"

The detective looked at him, then at me. His face was neutral. I couldn't tell if he understood LaManche's meaning, or if he was truly unaware of the other cases. It was not beyond Claudel to have dismissed my comments without sharing them with his partner. If so, Charbonneau could not admit his ignorance.

"Yeah. Okay. I'll see what I can do."

LaManche held his melancholy eyes on Charbonneau and waited.

"Okay. Okay. We'll be here. Now I better get my a.s.s back on the street and start looking for this s.h.i.thook. If Claudel turns up, tell him I'll meet him back at headquarters around eight."

He was rattled. He'd failed to switch over to French when addressing LaManche. It was clear he would have a long talk with his partner.

LaManche resumed the autopsy before the door closed behind Charbonneau. The rest was routine. The chest was opened with a Y-shaped incision. The organs were removed, weighed, sliced, and inspected. The statue's position was determined, the internal damage a.s.sessed and described. Using a scalpel, Daniel cut the skin across the crown of the head, peeled the face forward and the scalp backward, and removed a section of skullcap with a Stryker saw. I took a step backward and held my breath as the air filled with the whine of the saw and the smell of burnt bone. The brain was structurally normal. Here and there gelatinous globs clung to its surface, like black jellyfish on a slick, gray globe. Subdural hematoma from the blows to her head.

I knew what the essence of LaManche's report would be. The victim was a healthy young woman with no abnormalities or signs of disease. Then, that day, someone had bludgeoned her head with enough force to fracture her skull and cause her cerebral vessels to bleed into her brain. At least five times. He had then rammed a statue into her v.a.g.i.n.a, partially disemboweled her, and slashed off her breast.

A shudder ran through me as I considered her ordeal. The wounds to her v.a.g.i.n.a were vital. Her torn flesh had bled extensively. The statue had been inserted while her heart still beat. While she was alive.

". . . tell Daniel what you want, Temperance."

I hadn't been listening. LaManche's voice brought me back to the present. He'd finished, and was suggesting I take my bone samples. The sternum and front portions of the ribs had been removed early in the autopsy, so I told Daniel they were to be sent upstairs for soaking and cleaning.

I stepped close to the body and peered into the thoracic cavity. A number of small gashes meandered up the belly side of the vertebral bodies. They appeared as a trail of faint slits in the tough sheath covering the spine.

"I want the vertebrae from about here to here. Ribs, too." I indicated the segment containing the gashes. "Send it up to Denis. Tell him to soak it, no boiling. And be very careful in removing it. Don't touch it with any kind of blade."

He listened, holding his gloved hands out. His nose and upper lip jumped as he tried to adjust his gla.s.ses. He nodded continuously.

When I stopped speaking he looked at LaManche.

"Then close?" he asked.

"Close her up after that," LaManche responded.

Daniel set to the task. He would remove the bone segments, then replace the organs and close the midsection. Finally, he would restore the skullcap, reposition the face, and sew the severed borders of the scalp. Save for the Y-shaped seam down her front, Margaret Adkins would appear untouched. She would be ready for her funeral.

I returned to my office, determined to regroup mentally before driving home. The fifth floor was totally deserted. I swiveled my chair, put my feet on the window ledge, and looked out at my river world. On my sh.o.r.e, the Miron complex resembled a Lego creation, its eccentric gray buildings connected by a horizontal latticework of steel. Beyond the cement factory, a boat moved slowly upriver, its running lights barely visible behind the gray veil of dusk.

The building was absolutely still, but the spooky quiet failed to relax me. My thoughts were black as the river. I wondered briefly if there was someone looking back at me from the factory, someone who was equally alone, equally unnerved by the after-hours solitude that rings so loudly in an empty office building.

I was having trouble sleeping and had been up since 6:30 A.M A.M. I should have been tired. Instead I was agitated. I found myself absently playing with my right eyebrow, a nervous gesture that had profoundly irritated my husband. Years of his criticism had never broken me of the habit. Separation has its advantages. I can now fidget to my heart's content.

Pete. Our last year together. Katy's face when we'd told her about the split. Shouldn't be too traumatic, we thought, she's away at college. How wrong we'd been. The tears had almost made me reverse the decision. Margaret Adkins, her hands curled in death. She'd painted her doors blue with those hands. She'd hung her son's posters. The killer. Was he out there right now? Was he relishing what he'd done today? Was his blood l.u.s.t satiated, or was his need to kill heightened by the act itself?

The phone rang, splitting the silence like a sonic boom and yanking me back from whatever private grotto I'd entered. I was so startled I jumped, upending the pencil holder with my elbow. Bics and Scripto markers went flying.

"Dr. Bren-"

"Tempe. Oh, thank G.o.d! I tried your apartment but ya weren't there. Obviously." Her laugh was high and strained. "I thought I'd try this number just for the h.e.l.l of it. Didn't really think I'd find ya."

I recognized her voice, but it had a quality I'd never heard before. It was stretched taught with fear. The tone was elevated, the cadence spiky. Her words rushed at me, breathy and urgent, like a whisper carried on sharply expelled breath. My stomach muscles contracted once again.

"Gabby, I haven't heard from you in three weeks. Why haven't y-"

"I couldn't. I've been-involved-in something. Tempe, I need help."

A soft sc.r.a.ping and clattering came over the line as she repositioned the receiver. In the background I could hear the hollow sound of a public place. It was punctuated by a staccato of m.u.f.fled voices and metallic clangs. In my mind's eye I could see her standing at a pay phone, scanning her surroundings, her eyes never resting, broadcasting fear like Radio Free Europe.

"Where are you?" I selected a pen from the Pick-Up Sticks tumble on my desk and began to twirl it.

"I'm at a restaurant. La Belle Province. It's at the corner of Ste. Catherine and St. Laurent. Come get me, Temp. I can't go out there."

The rattling increased. She was becoming more agitated.

"Gabby, it's been a very long day here. You're only a few blocks from your apartment. Couldn't you-"