Port Mortuary (7 page)

I hear him shake open the plastic bag, and then I see it as he looks down and I catch a glimpse of something else, what looks like a tiny wooden box.
A stash box,
I think. Some of them are made of cedar and even have a tiny hygrometer in them like a humidor, and I recall the amber glass smoking pipe on the desk inside the apartment. Maybe he likes to walk his dog in Norton’s Woods because it is remote and usually quite private, and of little interest to the police unless there is a VIP or high-level event that requires security. Maybe he enjoys coming here and smoking weed. He whistles at Sock, bends over, and slips the lead off him, and I can hear him say, “Hey, boy, do you remember our spot? Show me our spot.” Then he says something that’s muffled. I can’t quite make it out. “And for you,” it sounds like he says, followed by, “Do you want to send one…?” Or “Do you send one…?” After playing it twice I still can’t understand what he is saying, and it may be that he is bent over and talking into his coat collar.

Who is he talking to? I don’t see anyone nearby, just the dog and the gloved hands, and then the camera angle shifts up as the man straightens up and I see the park again, a vista of trees and benches, and off to one side a stone walkway near the building with the green metal roof. I catch glimpses of people and conclude by the way they are bundled up for the cold that they aren’t wedding guests but most likely are walking in the park just like the man is. Sock trots toward shrubs to leave his deposit, and his master moves deeper into the gracious wooded estate of ancient elms and green benches.

He whistles and says, “Hey, boy, follow me.”

In shaded areas around thick clumps of rhododendrons the snow is deep and churned up with dead leaves and stones and broken sticks that make me think morbidly of clandestine graves, of sloughed off skin and weathered bones that have been gnawed on and scattered. He is scanning, looking around, and the hidden camera pauses on the three-tier green metal roof of the glass-and-timber building I can see from the sunporch at Benton’s and my house. As the man turns his head, I see a door on the first floor that leads outside, and the camera pauses again on a woman with gray hair standing outside the door. She is dressed in a suit and a long brown leather coat and is talking on her phone.

The man whistles and makes a gritty sound as he walks on the granite gravel path toward Sock, to pick up what the dog has left… “
and this emptiness fills my heart…
“
Peter Gabriel sings. I think of the young soldier with the same name who burned up in his Humvee, and I smell him as though his foul odors are still trapped deep inside my nose. I think of his mother and her grief and anger on the phone when she called me this morning. Forensic pathologists aren’t always thanked, and there are times when those left behind act as if I am the reason their loved one is dead, and I try to remember that. Don’t take it personally.

The gloved hands shake out the rumpled plastic bag again, the type one gets at the market, and then something happens. The man’s gloved hand flies up at his head, and I hear the jostle of his hand hitting the headphones as if he’s swatting at something, and he exclaims, “What the…? Hey… !” in a breathy, startled way. Or maybe it is a cry of pain. But I don’t see anything or anyone, just the woods and distant figures in it. I don’t see his dog, and I don’t see him. I back up the recording and play it again. His black gloved hand suddenly enters the frame, and he blurts out, “What the…?” then, “Hey… !” I decide he sounds stunned and upset, as if something has knocked the wind out of him.

I play it again, listening for anything else, and what I detect in his tone is protest and maybe fear, and, yes, pain, as if someone has elbowed him or bumped him hard on a busy sidewalk. Then the tops of bare trees rush up and around. Chipped bits of slate zoom in and get large as he thuds down on the path, and either he is on his back or the headphones have come off. The screen is fixed on an image of bare branches and gray sky, and then the hem of a long black coat swishes past, flapping as someone walks swiftly, and another loud jostling noise and the picture changes again. Bare branches and a gray sky but different branches showing through the slats of a green bench. It happens so fast, so unbelievably fast, and then the voices and the sounds of people get loud.

“Someone call nine-one-one!”

“I don’t think he’s breathing.”

“I don’t have my phone. Call nine-one-one!”

“Hello? There’s… uh, yeah, in Cambridge. Yes, Massachusetts.
Je-sus!
Hurry, hurry; they fucking have me on hold. Je-sus, hurry! I can’t believe this. Yes, yes, a man, he’s collapsed and doesn’t seem to be breathing… Norton’s Woods at the corner of Irving and Bryant… Yes, someone is trying CPR. I’ll stay on… I’m staying on. Yes, I mean, I don’t… She wants to know if he’s still not breathing. No, no, he’s not breathing! He’s not moving. He’s not breathing!… I didn’t really see it, just looked over and noticed he was on the ground, suddenly he was on the ground…”

I press pause and get out of the van, and it is cold and very windy as I walk quickly into the terminal. It is small, with restrooms and a sitting area, and an old television is turned on. For a moment I watch Fox News and fast-forward the video on the iPad while Lucy leans against the front desk and pays the landing fee with a credit card. I continue to stare at images of bare branches showing between the slats of green-painted wood, certain now that the headphones ended up under a bench, the camera fixed straight up as the XM radio plays…. “
Dark lady laughed and danced…
” The music is louder because the headphones aren’t pressed against the man’s head, and it seems absurdly incongruous to be listening to Cher.

Voices off camera are urgent and excited, and I hear the sounds of feet and the distant wail of a siren as my niece chats with an older man, a retired fighter pilot now working at Dover part-time as a fixed base operator, he is happy to tell her.

“… In ‘Nam. So that would have been, what, an F-Four?” Lucy chats with him.

“Oh, yeah, and the Tomcat. That was the last one I flew. But Phantoms were still around, you know, as late as the eighties. You build them right and they last like you wouldn’t believe. Look how long the C-Five’s been around. And still some Phantoms in Israel, I think. Maybe Iran. Nowadays those left in the US, we use them for unmanned targets, as drones. One hell of an aircraft. You ever seen one?”

“In Belle Chasse, Louisiana, at the Naval Air Station. Took my helicopter down there to help with Katrina.”

“They’ve been experimenting with hurricane-busting, using Phantoms to fly into the eye.” He nods.

The screen on the iPad goes black. The headphones weren’t recording anymore, and I’m convinced that when the man fell to the ground they must have ended up some distance away under a bench. The motion sensor wasn’t detecting enough activity to prevent it from dozing, and that’s curious to me. How exactly did his headphones get knocked off and end up where they did? Maybe someone kicked them out of the way. It could have been accidental if that’s what happened, perhaps by a person trying to help him, or it could have been deliberate by a person who was covertly recording him, stalking him. I think of the hem of the black coat flapping by, and I fast-forward intermittently, looking for the next images, listening for sounds, but nothing until four-thirty-seven p.m., when the woods and the darkening sky swing wildly, and bare hands loom large and paper crackles as the headphones are placed inside a brown bag, and I hear a voice say, “… Colts all the way.” And another voice says, “Saints are gonna take it. They got…” Then murky darkness and muffled voices, and nothing.

Finding the TV remote on the arm of a couch inside the terminal, I switch the channel to CNN and listen to the news and watch the crawl, but not a word about the man on the video clips. I need to ask about Sock again. Where is the dog? It’s not acceptable that no one seems to know. I fix on Marino as he enters the sitting area, pretending not to see me because he is sulking, or maybe he regrets what he’s done and is embarrassed. I refuse to ask him anything, and it feels as if the missing dog is somehow his fault, as if everything is Marino’s fault. I don’t want to forgive him for e-mailing the video clips to Briggs, for talking to him first. If I don’t forgive Marino for once, maybe he’ll learn a lesson for once, but the problem is I’m never quite able to convince myself of any case I make against him, against anyone I care about. Catholic guilt. I don’t know what it is, but already I am softening toward him, my resolve getting weaker. I feel it happening as I search channels on the television, looking for news that might damage the CFC, and he walks over to Lucy, keeping his back to me. I don’t want to fight with him. I don’t want to hurt his feelings.

I walk away from the TV, convinced at least for the moment that the media doesn’t know about the body waiting for me in my Cambridge morgue. Something as sensational as that would be a headline, I reason. Messages would be landing nonstop on my iPhone. Briggs would have heard about it and said something. Even Fielding would have alerted me. Except I’ve heard nothing from Fielding about anything at all, and I try to call him again. He doesn’t answer his cell phone, and he’s not in his office. Of course not. He never works this late, for God’s sake. I try him at his home in Concord and get voicemail again.

“Jack? It’s Kay,” I leave another message. “We’re about to take off from Dover. Maybe you can text or e-mail me an update. Investigator Law hasn’t called back, I assume? We’re still waiting for photographs, and have you heard anything about a missing dog, a greyhound? The victim’s dog, named Sock, last seen in Norton’s Woods.” My voice has an edge. Fielding is ducking me, and it’s not the first time. He’s a master at disappearing acts, and he should be. He’s staged enough of them. “Well, I’ll try you again when we land. I assume you’ll meet us at the office, probably sometime between nine-thirty and ten. I’ve sent messages to Anne and Ollie, and maybe you can make sure they are there. We need to take care of this tonight. Maybe you could check with Cambridge PD about the dog? He might have a microchip….”

It sounds silly to belabor my point about Sock. What the hell would Fielding know about it? He couldn’t be bothered to go to the scene, and Marino’s right. Someone should have gone.

Lucy’s Bell 407 is black with dark tinted glass in back, and she unlocks the doors and baggage compartment as wind buffets the ramp.

A wind sock is stiffly pointed north like a horizontal traffic cone, and that’s good and bad. The wind will still be on our tail but so will the storm front, heavy rains mixed with sleet and snow. Marino begins to load my luggage while Lucy walks around the helicopter, checking antennas, static ports, rotor blades, the emergency pop-out floats and the bottles of nitrogen that inflate them, then the aluminum alloy tail boom and its gear box, the hydraulic pump and reservoir.

“If someone was spying on him, covertly recording him, and realized he was dead, then the person had something to do with it,” I say to her, apropos of nothing. “So wouldn’t you expect that person to have remotely deleted the video files recorded by the headphones, at least gotten rid of them on the hard drive and SD card? Wouldn’t such a person want to make sure we didn’t find any recordings or have a clue?”

“Depends.” She grabs hold of a handle on the fuselage and inserts the toe of her boot into a built-in step, climbing up.

“If it were you doing it,” I ask.

“If it were me?” She opens fasteners and props open a panel of the lightweight aluminum skin. “If I didn’t think anything significant or incriminating had been recorded, I wouldn’t have deleted them.” Using a small but powerful SureFire flashlight, she inspects the engine and its mounts.

“Why not?”

Before she can answer, Marino walks over to me and says to no one in particular, “I got to make a visit. Anybody else needs to, now’s the time.” As if he’s the chief steward and reminding us that there is no restroom on the helicopter. He’s trying to make up to me.

“Thanks, I’m fine,” I tell him, and he walks off across the dark ramp, back to the terminal.

“If it were me, this is what I’d do after he’s dead,” Lucy continues as the strong light moves over hoses and tubing, as she makes sure nothing is loose or damaged. “I’d download the video files immediately by logging on to the webcam, and if I didn’t see anything that worried me, I’d leave them be.”

She climbs up higher to check the main rotor, its mast, its swash plate, and I wait until she is back on the tarmac before I ask, “Why would you leave them be?”

“Think about it.”

I follow her around the helicopter so she can climb up and check the other side. She almost seems amused by my questions, as if what I’m asking should be obvious.

“If they’re deleted after he’s dead, then someone else did it, right?” she says, checking under cowling, the light probing carefully.

Then she drops back down to the ramp.

“Of course he couldn’t do it after he was dead.” I wait to answer her, because she could get hurt climbing all over her helicopter, especially when she’s up around the rotor mast. I don’t want her distracted. “So that’s why you would leave them if you were the one spying on him and knew he was dead or were the one responsible for his death.”

“If I were spying on him, if I followed him so I could kill him, hell, yes, I’d leave the last video recordings made, and I wouldn’t grab the headphones from the scene, either.” She shines the brilliant light along the fuselage again. “Because if people saw him wearing them out there in the park or on his way to the park, why are they now missing? The headphones are rather beefy and noticeable.”